How has the Advancement and Availability of Filmmaking Technology to the Everyman Changed Cinema?

A Dissertation Essay by George B. Hewer

Scriptwriting - SPW09306

Year of Graduation: 2013

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Contents

Title Contents List of Illustrations Acknowledgements Introduction History of Film Modern Online Independents A Visual Comparison Audiences Future Technology Conclusion Bibliography Progress Map

1 2 3 4 5 6 16 20 24 28 32 33 41

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List of Illustrations
- [1] (2010) The Trip to the Moon by Georges Mlis [online] Famous French Films. http:// famousfrenchlms.wordpress.com/category/english/early-cinema/ [accessed 10/11/12] - [2] (2011) Hooray for Hollywood [online] Not Yet Published. http://scheong.wordpress.com/2011/05/ [accessed 10/11/12] - [3] (2012) Equipment for Period [online] Golden Age Television Recreations. http://www.golden-agetv.co.uk/ equipment.php?FromID=4 [accessed 10/11/12] - [4] (2012) Equipment for Period [online] Golden Age Television Recreations. http://www.golden-agetv.co.uk/ equipment.php?FromID=4 [accessed 10/11/12] - [5] Harding, J. G. (2010) A Recording Musicians Guide to Making a Music Video [online] Sound on Sound. http://www.soundonsound.com/sos/may10/articles/makingmovies.htm [accessed 10/11/12] - [6] (2012) Vintage Style 1920s Film Studio Light Tripod [online] Second Shout Out. http:// www.secondshoutout.com/product/1259/vintage-style-1920039s-lm-studio-tripod-light [accessed 11/11/12] - [7] (2012) Equipment for Period [online] Golden Age Television Recreations. http://www.golden-agetv.co.uk/ equipment.php?FromID=4 [accessed 11/11/12] - [8] (2012) Movie Lights [online] Dreamstime. http://www.dreamstime.com/stock-photo-movie-lightsimage23810330 [accessed 11/11/12] - [9] (2012) First Maviola [online] Wikipedia. http://en.wikipedia.org/wiki/File:FirstMoviola.jpg [accessed 12/11/12] - [10] (2012) Equipment for Period [online] Golden Age Television Recreations. http://www.goldenagetv.co.uk/equipment.php?FromID=4 [accessed 12/11/12] - [11] (2012) Equipment for Period [online] Golden Age Television Recreations. http://www.goldenagetv.co.uk/equipment.php?FromID=4 [accessed 12/11/12] - [12] (2012) Video Editing Studio [online] Media Productions. http://www.media-productions.at/en/studiorental/video-editing-studio/ [accessed 12/11/12] - [13] (2012) Our Cine Film Transfer System [online] Anu Media. http://www.anumedia.co.uk/cine-lm-todvd.php [accessed 12/11/12] - [14] (2012) Neugersdorf Film Theater [online] Wikipedia. http://allekinos.pytalhost.com/kinowiki/index.php? title=Bild:Neugersdorf_Filmtheater_Saal.jpg [accessed 13/11/12] - [15] (2012) Kenyas First Digital IMAX Theatre Opens [online] Capital FM. http://www.capitalfm.co.ke/ lifestyle/2012/04/05/kenyas-rst-digital-imax-theatre-opens [accessed 13/11/12] - [16] (2012) Movie Theater Seating [online] Wikipedia. http://en.wikipedia.org/wiki/ File:MovieTheaterSeatingUSP06164018.png [accessed 13/11/12] - [17] (2012) IMAX Technical Fact Sheet [online] IEEE. http://ieee.ca/millennium/imax/imax_technical.html [accessed 13/11/12] - [18-21] The Motion Picture Association of America. (2011) Theatrical Market Statistics Summary. California. p. 3-18

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Acknowledgements

With thanks to my tutors, old and new, for giving me the knowledge to write this essay.

With thanks to my family and friends for undertaking the arduous task of proofreading.

With thanks to energy drinks, for giving me the strength to carry on.

And a very special thank you to Josh Fortune, for giving me an A.

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INTRODUCTION

So what does my chosen question actually mean? Well, with the prominence of videohosting websites such as YouTube and Vimeo (especially the former), there has also been a rise in notable stars on these sites, creating and publishing their own material, varying in genre and production quality. What I want to explore and research is, if anybody can go out and buy a camera, a computer, or even a phone, then lm something and upload it to one of these sites to an audience of millions, how has cinema been affected? Be it good or bad, and maybe even not at all. To explore this concept I will be utilising information gathered from the internet, books, pictures, reports, newspapers, magazines, blogs and interviews, as well as lms understanding of this subject. I will talk about the history of lm itself, before moving onto how the modern online independents came to prominence, with several examples of success. My third chapter will use images to compare the changes in some key lmmaking equipment throughout the last 100 years or so. This is followed by an in-depth look at some audience statistics from the MPAA, and some speculation on what has caused certain declines in the industry. My nal chapter is a look at some of the future technology that we may be lucky enough to see emerge in the coming years. I will be primarily concentrating on the US industry for my research, as this is the one that I am most familiar with and one day wish to work in but, more importantly, it has been the highest-grossing lm industry in the world every year since the 1920s. and videos themselves in order to formulate an in-depth

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HISTORY OF FILM

Before moving onto the impacts that certain technological landmarks have had on todays productions, it is rst important to understand the chronology of lmmaking advancements. The following milestones have been marked down in history as major turning points in the way in which motion pictures are conceived in the twenty-rst century, with reference to those that particularly helped the rise of independent lmmaking, which has become so prominent in the industry nowadays. There have been many dening moments in the advancement of motion picture production over the last one hundred and twenty years or so. The rst of which brought about the race to build the rst moving image recording device that could also be projected onto a screen for large audiences. It brought forth names such as William K. L. Dickson; Charles Francis Jenkins; Louis and Auguste Lumire; Robert W. Paul; Birt Acres; Max and Emil Skladanowsky and of course the infamous Thomas Edison, and gave them immortality in the history of human entertainment for their work in the late nineteenth century on primitive versions of today s cameras [2012, http://inventors.about.com/library/inventors/ blmotionpictures.htm]. It is thanks to the inventions of these men that we have the multiplexes screening hundred-million dollar productions in our towns and cities today. Arguably the next biggest step to follow in the moving image business was in 1912, with the effective disbandment of the Motion Picture Patents Company (MPPC), also known as the Edison Trust. This group comprised of all the major production companies at the time, who owned and controlled most of the major patents relating to motion pictures, including that of raw lm [Aberdeen, 2005, http://www.cobbles.com/simpp_archive/ edison_trust.htm]. This demobilisation, along with the relocation of many independent lmmakers to California, laid the groundwork for the formation of the studio system of classical Hollywood cinema and thus, made signicant changes to the processes of conventional lmmaking at that time. The First World War had a huge impact on the dynamics of lm production across the western world, with most of central Europes lm-producing companies having to

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signicantly reduce their output and ll their theatres with imported lms from America. This shift in European lm exhibition has never fully corrected itself, leaving most cinemas throughout the UK, France, Spain, Germany and Italy to occupy their screens with American productions [2012, http://en.wikipedia.org/wiki/History_of_lm]. One of the most signicant progressions ever in lm came with the introduction of recorded sound in motion pictures. Warner Bros. were at the forefront of this movement which saw the release of The Jazz Singer in 1927, widely regarded as the rst feature lm to attribute synchronized dialogue and singing. This is not entirely accurate as Charles T. Russells lengthy production, The Photo-Drama of Creation (1914) also implemented these characteristics some thirteen years earlier, however The Jazz Singer was the rst commercially successful one and sparked a new era in the production of lm: the talkies. Such was the popularity of this new multi-sensory medium that, by the end of 1929, almost all of Hollywoods productions featured synchronized sound, leading to the notorious Golden Age of Hollywood [2012, http://lenardaudio.com/education/17_cinema.html]. The US was not the only lm industry to benet lucratively from the sound era. It also paved the way for the traditional song-and-dance entertainment culture of India to blossom into what is now the most prolic lmmaking country in the world, dubbed Bollywood. The introduction of sound was not a uniform success though, as many production companies, especially across the Atlantic, simply could not cope with the nancial expense of the transition and were overwhelmed. This further tightened the grip of the major studios on the global industry. Personnel also suffered as a vast amount of directors, producers, writers and actors were unable to successfully adjust to the rapid changeover of dialoguebased storytelling, which led to their theatre-based counterparts taking over much of the business [2012, http://en.wikipedia.org/wiki/History_of_lm]. In 1941, The Society of Independent Motion Picture Producers (SIMPP) was founded by Mary Pickford, Charlie Chaplin, Walt Disney, Orson Welles, Samuel Goldwyn, David O. Selznick, Alexander Korda and Walter Wanger, in an attempt to try and loosen the studios monopolistic grip on the Hollywood lm industry by preserving the rights of independent lm producers (reminiscent of what happened to MPPC some thirty years earlier, which

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allowed the studios to be formed in the rst place) [2012, http://en.wikipedia.org/wiki/ Independent_lm]. The actions taken by SIMPP went some way to relinquishing the Hollywood-productionexclusive theatres throughout the USA. This, coupled with the advent of less-expensive, more portable cameras during World War II (originally for espionage purposes), made the possibility of writing, producing and directing a lm outside the major studios, open to the everyman for the rst time. Some of the most inuential and successful works being Meshes of the Afternoon (1943), Fireworks (1947) and Little Fugitive (1953), which was nominated for an Academy Award for Best Original Screenplay, becoming the rst independent lm to do so. These new low-budget features could afford to take narrative risks, unfamiliar to those of the traditional, safer techniques used by the Hollywood studios, which, in turn, conceived the idea that lm could be seen as a piece art, rather than just a piece of entertainment. After the second World War had passed, along with its propaganda-fueled lm period, the 50s brought about a brand new threat to lm industries around the world: the television [2012, http://www.high-techproductions.com/historyoftelevision.htm]. Many people thought that this new invention would bring about the extinction of lm but, although many smaller theatres did have to close their doors for good, the lmmakers rose to the challenge and literally widened cinemas appeal with new screen formats. These included technology such as CinemaScope [Mullen, 1998, http://www.widescreenmuseum.com/widescreen/ cscope-ac.htm], VistaVision [Hart, 1996, http://www.widescreenmuseum.com/widescreen/ wingvv1.htm] and Cinerama [1996, http://www.widescreenmuseum.com/widescreen/ wingcr1.htm], all of which involved greatly increasing the size of the movie screen, in order to create a more pleasurable, and altogether grander, experience for audiences. This new style of lmmaking provoked a resurgence in the popularity of the epic motion picture with The Ten Commandments (1956), The Vikings (1958), Ben-Hur (1959), Spartacus (1960) and El Cid (1961), all of which were big box ofce hits. The success of widescreen initiated the launch of several gimmicks in cinema, most notably of which was 3D, utilised in features such as House of Wax (1953) and Creature from the Black Lagoon (1954). The technology was a mere shadow of the version that we

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currently see stocking out the multiplexes today however, and was only prominent for a couple of years before fading away [Sung, 2009, http://www.pocket-lint.com/news/27146/ the-history-of-3d-cinema]. The 1960s brought about a decline in Hollywoods studio system, as more and more lms were being made on location in other countries such as Pinewood Studios in the UK and Cinecitt in Rome. This helped to develop an escalated awareness in foreign language lms, especially those in France. The decline can also be partly attributed to the increase in the amount of independent producers and production companies. It is this point that I wish to concentrate on, as independent cinema is the most comparable form of mainstream lm to that of the YouTubers of today that will form the other side of my discussion. During this period, independent producer/director Roger Corman began what would blossom into a legendary body of work, cornerstoned by his frugality and grueling shooting schedules, which produced up to seven lms a year [Dixon, 2006, http:// sensesofcinema.com/2006/great-directors/corman/]. His 1960 ick, The Little Shop of Horrors, set a world record for the shortest shooting schedule for a feature lm at just two days. Corman took advantage of the fact that independent lms were not bound by the Production Code [Hayes, 2000, http://productioncode.dhwritings.com/ multipleframes_productioncode.php] that the Hollywood studios self-imposed upon themselves in order to control the distribution of potentially offensive material. This meant that a new wave of explicit content such as sex, wanton violence, drug use and nudity was available in theatres for audiences. And they loved it. Low-budget producers, theatres and distributors strived to undercut each other in these departments, so as to bring the public something that they had genuinely never seen before. The Sci-Fi and Horror genres showed a particular increase in success during this period and, in 1968, young lmmaker, George A. Romero brought Night of the Living Dead to cinemas. It was released just after the abandonment of the Production Code but just before the introduction of the Motion Picture Association of America (MPAA) rating system [2012, http://www.mpaa.org], making it one of the very few movies in history to enjoy a completely unrestricted screening in theatres. Even young children were able to witness

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Romeros highly realistic gore and violence. The success of this lm helped set the ethos for boundary-pushing horror even years later, with the release of lms such as The Texas Chainsaw Massacre (1974) and Cannibal Holocaust (1980) following in its stead. Once the MPAA rating system was introduced however, independent lm faced its rst real threat, as it would directly inuence the potential number of tickets that could be sold. Younger audience members would not be permitted to see lms that were deemed to contain inappropriate material, reducing their potential audience, and further widening the divide between commercial and non-commercial productions. In an attempt to try and engage this newly available market, Hollywood hired a host of young lmmakers, many of whom were mentored by Roger Corman, and gave them a healthy amount of creative control over their projects. After the success of Bonnie and Clyde in 1967 (where producer and star, Warren Beatty, was given 40% of the lms gross revenue as apposed to a minimal fee), the studios relinquished almost all of their control on projects to the new lm school generation, which included modern greats such as Martin Scorsese, Francis Ford Coppola, Roman Polanski, Steven Spielberg, George Lucas and Brian De Palma. This new way of working was dubbed, New Hollywood and the studios began to take up the roles that we currently see them operating in today, where they nance a large portion of the production and distribution costs, but leave the production itself to the independent companies [Dirks, 2012, http://www.lmsite.org/ 70sintro.html]. Like Coppolas company, American Zoetrope for example, who formed a distribution agreement with Warner Bros., thus allowing Coppola to make the lms he wanted, while utilising the resources of a major studio who, in turn, kept their investments at a safer level, minimizing their own risk on projects [1996, http://www.zoetrope.com/ zoe_lms.cgi?page=history]. Motion pictures are the art form of the 20th century, and one of the reasons is the fact that lms are a slightly corrupted art form. They t this century - they combine art and business! - Roger Corman [2001, http://www.brainyquote.com/quotes/quotes/r/rogercorma182111.html]

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This era marked a blurring of the lines between studio and independent lms, as most of the movies that were made had aspects of both weaved into their conception. Exemplied with George Lucass Star Wars (1977), which was produced by Lucass own independent studio, Lucaslm but distributed and funded by Hollywood giant 20th Century Fox [1990, http://www.imdb.com/title/tt0076759/]. It was the unprecedented critical and commercial success of Star Wars, along with Spielbergs monster thriller, Jaws (1975), that sparked the blockbuster mentality of lmmaking in this period. The attention shifted to high-concept premises with a greater focus on merchandising, spin-offs (soundtracks etc.) and the use of sequels (also through Coppola s, The Godfather: Part II in 1974) [2012, http://en.wikipedia.org/wiki/ Cultural_impact_of_Star_Wars]. This increased potential for commercial success attracted the interests of many major corporations, who began buying up most of the remaining Hollywood studios, which led to an exodus of some of the more idiosyncratic lmmakers, leaving behind only the already-established, commercially successful ones. At around this time, the VCR became a prominent inclusion in the homes of the masses [2012, http://www.tvhistory.tv/VCR%20History.htm]. As a result, the lm studios attempted to have the ownership of home VCRs banned as a violation of copyright. An act which proved to be unsuccessful, however they quickly realised that the sale and rental of home videos was a signicant market that could be tapped into as another venue for the exhibition of their lms, and therefore an additional source of revenue [2012, http:// en.wikipedia.org/wiki/History_of_lm]. What this also meant was lms that the studios did not see worth risking with a widespread theatrical release, could be produced for a directto-video distribution. It is thanks to this that our TV screens are currently graced with what are sure to be future classics, such as 2-Headed Shark Attack (2012), Mega Shark Vs Giant Octopus (2010) and Supercroc (2007). The following quote from Roger Corman demonstrates the affect of home video on cinema. When I started in the late 1950s, every lm I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our lms get a theatrical release - Roger Corman [2001, http://www.brainyquote.com/quotes/quotes/r/rogercorma182114.html]

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Sequels continued to become a more expected trend with the successes of a further two Star Wars movies, three to Jaws and a lucrative trilogy in Indiana Jones (1981-1989). Other lm triumphs came in the form of Raging Bull (1980), E.T. (1982), Tron (1982), Scarface (1983) and Tim Burtons Batman in 1989, which exceeded box-ofce records and earned Jack Nicholson a total of $60 million (after accounting for his percentage of the lms gross) for his portrayal of The Joker [Batman, 1989, lm]. Across the pond in the UK there was also a great deal of commercial success with the arrival of David Puttnams Goldcrest Films [2012, http://www.goldcrestlms.com/about], producing back-to-back Academy Award wins for Best Picture with Chariots of Fire (1981) and Gandhi (1982). Further afuence came in the form of Escape from New York (1981) and The Killing Fields (1984), however there were just as many box-ofce ops to follow, which ultimately cost the company from becoming a big player in the global industry. The 90s brought about a fresh, new batch of animated features from Disney with hits such as Beauty and the Beast (1991), Aladdin (1992) and The Lion King (1994). However the biggest triumph was to come in 1995 when they teamed up with animation studio, Pixar for the release of Toy Story. This was the rst ever computer-animated feature and changed the way in which the whole genre was produced [Toy Story, 1995, lm], with Dreamworks Animation also being introduced as the main competitor to Disney for dominance of the genre. Independent cinema also underwent some heavy change in this period, with some of the more successful companies being bought out by Hollywood heavyweights. Miramax Films for example, had a string of hits at the back end of the 80s with Sex, Lies and Videotape (1989), My Left Foot: The Story of Christy Brown (1989) and Cinema Paradiso (1988), all of which attracted the attention of Disney, who went on to buy Miramax for $60 million in 1993 [2012, http://www.fundinguniverse.com/company-histories/miramax-lm-corporationhistory/]. Another example can be found in New Line Cinema, whose live-action feature Teenage Mutant Ninja Turtles (1990) became the most successful indie lm ever at the box ofces, raking in over $200 million worldwide (as of October 2012) [2012, http:// boxofcemojo.com/movies/?id=teenagemutantninjaturtles.htm]. The purchase of New Line

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by Turner Broadcasting subsequently followed in 1994. This was part of a billion-dollar deal which also included the acquisition of Fine Line Features and Castle Rock E n t e r t a i n m e n t [ M u l l e n , 2 0 1 2 , h t t p : / / w w w. m u s e u m . t v / e o t v s e c t i o n . p h p ? entrycode=turnerbroadc]. These deals proved to be lucrative moves for both companies as they saw the release of The Mask and Dumb & Dumber from New Line, The Shawshank Redemption from Castle Rock and Miramaxs Pulp Fiction, all in 1994. While some of the big studios, such as Disney, were purchasing other independent studios as a source of material, others were conceiving their own art-house divisions under the banner of their particular name [2012, http://en.wikipedia.org/wiki/Independent_lm], such as: - Sony Pictures Classics (Sony) - Fox Searchlight Pictures (20th Century Fox) - Paramount Vantage (Paramount) - Focus Features (Universal) - Warner Independent Pictures (Warner Bros.) As Hollywood transitioned into the new millennium, it was clear that there were three different types of lms being produced: Big-budget blockbusters (budgets around $100+ million); art/speciality/niche-market lms from the conglomerate-owned indie studios (budgets around $40 million) and the genre and speciality lms from the true independents (budgets commonly between $5 million and $10 million) [2012, http:// en.wikipedia.org/wiki/Independent_lm]. One of the few constants that remained between each and every production though, was that a large portion of the specied budgets was put towards marketing and distributing the lms. It had become clear over recent years that simply, the more theatres a movie is exhibited in, the more potential there was for it to make money. At this time, there was another major technological turning point for the lmmaking process in general, as we saw the changeover from raw, physical lm stock to digital cinema technology. This meant that cameras used to shoot footage could become smaller in size and therefore more mobile, without sacricing footage quality, and also meant that the distribution of features became simpler. In addition to this however, there was a fresh

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battle to be waged against the piracy of lms, as the illegal streaming, sharing and downloading of movies (and TV shows) became much easier with their digitalisation [2009, http://www.sciencedaily.com/releases/2009/06/090622194344.htm]. This became an even bigger problem when the DVD replaced the VHS as the dominant format of consumer home videos. The fact that DVDs could be very easily uploaded onto a computer, meant that anybody could illegally re-distribute a lm to potentially millions of people at no cost. During the same period, more gimmicks were introduced to mainstream cinema in the form of IMAX [2012, http://www.imax.com/about/history/] and a re-integration of 3D (now dubbed Real D) [2012, http://www.reald.com/content/about-reald.aspx]. The rst commercially successful lms to be given a theatrical run in IMAX were Treasure Planet (2002) and the two Matrix sequels, Reloaded and Revolutions in 2003. However the format really took off with the second installment of Christopher Nolans Batman trilogy, The Dark Knight (2008) later on in the decade. This was the rst motion picture to be partially shot with IMAX cameras, with a total of just under thirty minutes of the lm shot in the format [The Dark Knight, 2008, lm]. Similarly, Real D didnt fully take off until the back end of the noughties, with the huge success of James Camerons Avatar (2009) [Avatar, 2009, lm], which not only became the most successful 3D lm ever, but the highest-grossing movie of all time (although this was in-part down to the increased prices of 3D tickets). Unlike some of the gimmicks that were tried and tested during the Golden Ages of Hollywood, both IMAX and Real D have become very popular enhancements to the cinematic experience, with almost all of the big releases nowadays featuring one, the other, or both during their run in cinemas. Meanwhile, the Blu-ray Disc was introduced by Sony as the dominant format for HD home videos, seeing off competition from Toshibas HD DVD system [Block, 2005, http:// www.engadget.com/2005/09/19/blu-ray-vs-hd-dvd-state-of-the-s-union-s-division/]. The Blu-ray saw the picture quality improved from that of regular DVDs, while the soundtrack to the lms was also enhanced. The heavy increase in the prices of Blu-ray discs from that of DVDs however, has held it back from becoming the exclusive home video format. In the last few years, the equipment available to consumers has come on leaps and bounds. Technology such as Arri Alexa, RED Epic and sophisticated, new DSLR cameras

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(a far cry from the original camcorders released in the mid-eighties) meant that independent lmmakers could nally shoot material that looked like genuine 35mm lm, but avoid the lofty costs that usually come with it. This, accompanied by high-end editing and post-production software such as Avid Media Composer, Adobe Premier Pro and Final Cut Pro, resulted in the potential that anybody could lm in 1080p HD video, at 24fps, in low-light conditions with a greater control over the depth of eld, and then edit their footage in the comfort of their own homes. In principal, this allowed completely amateur lmmakers, or even just enthusiasts, to produce a piece of work comparable in aesthetic quality to that of a major studio motion picture [2012, http://en.wikipedia.org/wiki/ Independent_lm]. Cinema is escaping being controlled by the nancier, and thats a wonderful thing. You dont have to go hat-in-hand to some lm distributor and say, Please will you let me make a movie? - Francis Ford Coppola, 2007. [Scott, 2008, p.199.] Hollywood thinks art is like Latin in the Middle Agesonly a few should know it, only a few should speak it. I don't think so. - Guillermo del Toro, 2009 [Brown, 2009, http://www.wired.com/entertainment/hollywood/magazine/17-06/mf_deltoro? currentPage=2]

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MODERN ONLINE INDEPENDENTS

Since that quote from Coppola ve years ago, the independent lmmaking industry has taken some new twists and turns, one of which has led to an emerging market in the form of online entertainment. This rise in popularity can be partially attributed to the advent of YouTube in 2005 and its meteoric rise to infamy by 2008, becoming the third most visited website in the world, behind Google (its now parent company) and Facebook. It is estimated that the website receives upwards of four billion streams per day and, in 2011 alone, the site received more than a trillion video views, equating to around 140 views for every single person on the planet [2012, http://www.youtube.com/t/press_statistics]. All of a sudden, not only could content be produced cheaper than ever before, but it could also be distributed for viewing to, literally, anyone in the world, provided they have an internet connection. Many big broadcasters and studios entered into partnerships with YouTube including NBC, CBS, MGM and Lionsgate Entertainment, each of which allowed full-length TV episodes and lms to be posted on the site for viewing [2012, http://en.wikipedia.org/wiki/Youtube]. This drew in larger, more diverse audiences to the site, also exposing them to a huge range of original, home-made content. This gave fame to several early hits such as The Bus Uncle in 2006, which was talked about abundantly in the mainstream media, featuring a heated conversation between a youth and an older man on a bus in Hong Kong. Another was Guitar, where Pachelbels Canon was performed on an electric guitar by 23 year-old South Korean, Lim Jeong-hyun in his bedroom. Though the most famous was uploaded on 22nd May 2007, starring two English brothers, Charlie and Harry. In the video, one yearold Charlie repeatedly bites his three year-old brothers nger, with many tears and much laughter ensuing. Charlie Bit My Finger has achieved over 498 million views in the time it has been uploaded, making it the most-watched user-generated video on YouTube [Charlie Bit My Finger, 2012, video]. Although all of these, and many more, viral videos garnered huge amounts of domestic and international observation, it is the more structured, scripted and recurring uploads that I wish to draw attention to. For example, the web-based video series lonelygirl15, which

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rst aired on YouTube in June 2006. It was a simple show that featured a teenage girl, Bree, mostly talking directly to her webcam about everyday life. For the initial two months, the shows ctionality was questioned, such was the realism of the material, before the LA Times announced that it was indeed scripted. The entire lonelygirl15 catalogue consists of three seasons, amounting to 547 episodes of varying length and, by its nale in August 2008, had received over 110 million views on its episodes. The success of the show earned Jessica Lee Rose several awards for her portrayal of Bree, thrusting her into worldwide recognition [2006, http://www.youtube.com/user/lonelygirl15]. Another example of long-running YouTube success would be Epic Meal Time. This channel has received over 465 million views from 120 videos since its inception in October 2010 [2010, http://www.youtube.com/user/EpicMealTime]. In that time, the Canadian group, led by ex-teacher Harley Morenstein, has uploaded one video a week (plus extras), each documenting the preparation and consumption of gargantuan meals consisting of tens-of-thousands of calories. Epic Meal Time now has its own brand of clothing made up of t-shirts, hooded sweatshirts, caps and other accessories, all of which feature sayings and catch phrases from the shows, creating an exclusive brand [2010, http:// shop.epicmealtime.com/]. As the channel has progressed, there has been an increased inclusion of themed episodes, comedy, character development, production value and collaborations with other YouTube personalities. One of these collaborated acts was Kyle Myers, who portrays the Russian character Dmitri Potapoff on his channel, FPS Russia. In his videos, Kyle demonstrates the extraordinary power and capabilities of different rearms and explosive devices. He has rounded up over half a billion views since April 2010 and also has a range of clothing [2010, http://www.youtube.com/user/FPSRussia]. In the UK, a duo called The Slow Mo Guys have collated over 146 million video views [2010, http://www.youtube.com/user/theslowmoguys] and garnered international attention (as well as being featured in several newspapers such as the Daily Mail and The Sun [2010, http://www.thesun.co.uk/sol/homepage/news/3570595/Slo-mo-guys-fast-becomingstars.html]) by using HD Phantom cameras to lm interesting items and incidents at very high-resolution and super slow-motion speeds. Their most popular video, Giant 6ft Water Balloon [Giant 6ft Water Balloon, 2011, video], shows the two members, Gav and Dan, lling a giant water balloon with gallons of water and their many attempts to try and burst it.

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The resulting footage is truly captivating once slowed down, as is the case with many of their other videos. Such as one of the early sequences, Football to the Face [Football to the Face, 2010, video], where a football, also lled with water, is thrown at their faces, leaving the viewer engrossed as Dans skull is clearly seen moving out of sync with the covering skin. Another terric example of their work is Droplet Collisions [Droplet Collisions, 2011, video], a mesmerizing video where drops of different-coloured liquids are collided at 5000 frames-per-second. Since the start of The Slow Mo Guyss YouTube channel, team member Gavin Gav Free has gone on to work for Rooster Teeth Productions and has been involved with slowmotion photography in several big-budget lms, such as Hot Fuzz (2007), Sherlock Holmes: A Game of Shadows (2011), Snow White and the Huntsman (2012), and Dredd (2012) [2010, http://www.imdb.com/name/nm2259283/]. This is a fantastic example of how a simple idea, conceived at home and broadcasted online for the world to see, has provided the perfect platform to start what looks like becoming a fantastic career in cinematography for Gavin. I was lucky enough to have Mr. Free answer a few of my questions about lm technology and the like, via e-mail. The most notable answer came from the question: how much do you feel the advancement and availability of lmmaking technology to the public has devalued the idea of the modern professional lmmaker, if at all? i.e. does the fact that anyone can go and buy a camera and lm something, devalue the work of the professionals? He answered thusly: I dont think it devalues the so-called professionals, as theyre the ones making all the mega bucks with these huge productions. What we make for the internet is generally a way of having a bit of fun and then if we make some money or loads of people get to see what we make then so be it, thats great. But it would always be a big step forward for us independents to get a chance at making something in Hollywood. - Gavin Free, 2012 [Free, Gavin. Slow-motion Cinematographer. Oxforshire. 27 November 2012]

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With that quote in mind, a suitable nal example of YouTube success would be Uruguayan lmmaker, Fede Alvarez. Alvarezs career started when he made Ataque de Pnico! [Ataque de Pnico!, 2009, video] (translated as Panic Attack!) and uploaded it onto YouTube in 2009. It is a science-ction short lm in which aliens attack and invade the city of Montevideo. The lm has nearly 7 million views, but most importantly, one of those viewers was Hollywood director Sam Raimi, creator of such works as The Evil Dead series (1981 & 1987), the Spider-Man trilogy (2002-2007) and Drag Me to Hell (2009). Upon seeing the lm online, Raimi took such a liking to it, and the creators style, that he offered Alvarez a development deal with his newly-formed Ghost House Pictures. In the space of a few weeks, this young, Uruguayan, amateur lmmaker went from a $300 YouTube production, to a reported $40 million budget feature lm project with an established Hollywood director [Scott, 2010, http://www.reelseo.com/youtube-success-landslmmaker-real-hollywood-directing-gig/]. If these examples of online success arent enough to convince inexperienced lmmakers, with limited resources, that they should do everything they can to develop and produce their own projects to exhibit their lmmaking abilities, then I dont know what will.

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A VISUAL COMPARISON

In this chapter I shall show some of the key changes to fundamental lmmaking technology in both production and exhibition, through the use of pictures and photographs, with a brief description of the changes that occurred and how that affected their respective users. Cameras:

These images show the Cinmatographe of the Lumire brothers (left [1]), used in the late 19th Century, to a 1930s model (middle [2]), where the camera itself has become smaller and added more lenses, while the space for the reels has become larger, allowing for longer shooting periods. The third image (right [3]) shows a camera used throughout the 50s and 60s. As you can see the lenses have become longer, allowing for a greater depth of eld, the lm case still remains but the overall weight of the unit was greatly reduced.

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The two images above show cameras from the 70s and 80s (left [4]). There is now only one lens on the camera but a manual zoom capability for the camera operator. The modern Sony camera (right [5]), shows a vast array of buttons and controls as well as a viewnder and microphone attachment. The camera unit has decreased signicantly, once again, in weight, making it more maneuverable for the user. Throughout these periods, cameras also became much less expensive, meaning that independent lmmakers have had an increased access to equipment as the years have gone on. Lighting:

The rst picture (left [6]) shows a typical piece of lighting equipment from the 1920s. The structure was heavy and imsy, and it used a single, bare bulb with no cover. It could only pan left and right, it wasnt able to pivot up and down. The next image (middle [7]) displays a typical model used between the 40s and 70s, they were much lighter and more economical than previous lights used in the industry. As the design developed, more bulbs were used in the appliance for a more even and natural glow. The nal picture (right [8]) is a modern model. As it depicts, they have become much lighter and thus more maneuverable, able to be mounted on cranes for optimum positioning in shots. As with cameras, they dramatically reduced in price and running cost, meaning, as is in the photo, many lights could be used on one location.

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Editing:

The Maviola splicing machine (above left [9]) was one of the rst pieces of editing equipment. The editor would have to literally cut between shots of positive raw lm footage and stick them together. The next to images (above centre [10] & above right [11]) show how editing equipment gradually became a lot smaller and easier to use from the 40s and 50s through to the 80s. The nal two pictures (below left [12] & below right [13]) showcase the digital age of editing and how it moved from physical lm to computer les. In the early years of digitalisation, much more computer power was required to edit a feature lm, with an entire suite necessary to house the machinery. Nowadays, anyone can purchase the software needed for post-production and install it on their personal home computer, such is the processing power, and affordable prices, of modern technology.

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Theatres:

These pictures show the differences between an early lm theatre (above left [14]) and a modern cinema (above right [15]). Early screens would seat around 50-100 people while nowadays we can expect to share the movie experience with several hundred people. Over time the stadium-seating approach has been adopted (below left [16]) as the norm in cinemas, with each row of seating being a step higher than the one below so as to optimize the viewers perspective of the screen, which itself has also become much larger. As the picture (below right [17]) indicates, showing a regular 35mm screen (smallest invert - brown) against an IMAX screen of today (largest invert - orange). Bigger screens means bigger rooms, which means more seats for more customers, and more customers means more money for the theatres. Also, instead of having just one cinema screen per building, there are now multiplexes where up to 12, 13 and 14 screens can be showing lms at any given time.

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AUDIENCES

But has all this extravagance in the advancement of lmmaking technology, actually made cinema any more popular in the years since its inception? If you were to look at a list of the highest-grossing lms of all-time, then you may be led to think that, with only twelve of the top one hundred being released before the year 2000, and all of the top thirty being shown in theatres (either original or re-release) during this millennium [2012, http:// boxofcemojo.com/alltime/world/]. These gures are very misleading though, as they dont take into account the serious economic alterations that have taken place in our history. A list of the top ten highest grossing lms, but this time adjusted for ination, shows that Gone With the Wind, made all the way back in 1939, is the most successful feature ever. It also shows that only one of these lms, Avatar (2009), was made in the last fteen years, and only two in the last thirty [2012, http://en.wikipedia.org/wiki/List_of_highestgrossing_lms]. Even Avatar can attribute much of its box ofce takings to the higher prices of 3D tickets, and so therefore doesnt accurately reect cinema attendances. This quite staggering statistic, should surely be sending off alarm bells at production ofces, lm studios and working sets around the world, should it not? Are lms not as good as they used to be? The Theatrical Market Statistics Summary for 2011, published by the MPAA, supports this statement, showing that cinema attendances in the US and Canada over that last ten years alone are down by approximately 290 million [18] and that, on average, each person attends the cinema 1.3 times less per year than in 2002 [MPAA, 2011, p. 3-18].

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Could this be due to inated ticket prices? Perhaps, but the same report also shows that the average cinema admission price never rose by more than 5% during the same ten year period, and as little as 1% and 2% in some years, with an average ticket price rise of only 3.4% annually [19]. Hardly enough to stop someone going to see the new Summer blockbuster.

Despite these gures, cinema admissions still vastly dwarf those of theme parks and sports events combined. In 2011, 1.285 billion lm theatre attendances were recorded, compared to the mere 350 million for theme parks and 133 million for sports events, including NFL, NHL, NBA and MLB [20].

Admittedly, it is far more expensive to go and see one of these sports events or theme parks than it is to go and watch a movie, but as the graph shows below, for a family of four to attend an NFL match, it would cost, on average, around ten times more than to go to a

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lm theatre. But as the graph above shows, cinemas are visited much more than ten times the number that watches NFL, an incredible 75-times more in fact [21].

The cause of this decrease must then be able to be attributed to another factor. As I mentioned earlier, the digitalisation of lm and the advent of DVDs and sophisticated home computer systems made the illegal sharing, downloading and exhibiting of lms much easier than it ever had been previously. In January 2011, Envisional released a report on the estimated amount of infringing internet trafc in the world. It was calculated that approximately a quarter of global internet trafc is in violation of copyright laws [Envisional, 2011, p.1], a truly staggering amount, that will only have risen since the publication of the report. This mass infringement could hold at least a fair amount of the responsibility for declining cinema attendances, as clearly, many people are neglecting their desire to watch a lm in the theatre and opting instead to download or stream the lm through le-sharing and video-hosting sites. Due to the sheer amount of people and websites indulging in these activities, it is simply unrealistic to expect each and every individual to be caught and prosecuted. Therefore, unfortunately, cinema as an industry will have to endure this enemy for the foreseeable future. With that in mind, Hollywood and all the other lm industries of the world, must continue to produce as much as they can with what they have available to them, as

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evidently, the demand for good quality movies is still very high, no matter how much people are having to pay to watch them. Staggering though the gures may be, they still cant account for the unmistakeable decline in the popularity of cinema over recent times. What is it that has caused it then? Well, if my research has led me to believe anything, its that no one thing can be held responsible for the success or failure of an industry that has been prominent for as long as that of lm. It was no one event, person or creation that single-handedly led motion pictures to the height of entertainment around the world, it was the collaboration of many efforts that did so, and I believe that is the case with the current slump it nds itself in. It is not solely due to the deteriorating economic climate, or the vast amount of online video piracy, or even the rise of the internet independents. It is an amalgamation of all these ingredients that has created the somewhat bland dish that cinema may be seen to have become. But as is the case with every bland dish, all it needs is a dash of cayenne pepper to liven it right back up again.

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FUTURE TECHNOLOGY

One such solution to the apparent spiceless article that lm has arguably evolved into, could be the introduction of hologram technology into commercial cinema. We have already seen some early examples of this invention from the Musion Eyeliner System, with their well-exhibited projection of the late rapper, Tupac Shakur performing songs on-stage live with fellow artist, Snoop Dogg at Coachella in 2012. Other displays that Musion have created include The Gorillaz, Madonna, The Black Eyed Peas, Al Gore and Prince Charles among others [2012, http://www.eyeliner3d.com/tupac_hologram_coachella_2012.html]. Although this technology is currently limited to stage performances, perhaps in the coming years we may have the opportunity to see movies from a truly three-dimensional perspective, that would allow us to actually be in and around the action of the lms that we watch. A similar concept that audiences may hope to experience in the future is Mediated and Augmented Reality. We have already been exposed to some very basic forms of this technology, especially with the globalization of smart phones. For example, in celebration of the 100th anniversary of Universal Studios, they released limited edition Blu Ray covers that, when viewed through the Universal 100 smart phone app, an augmented reality character (from the movie of the cover that was being used) would stroll across the screen and interact with the user [2012, http://www.avforums.com/forums/blu-rays-dvdsdownload-services/1621625-universal-100th-anniversary-uk-augmented-realityeditions.html]. Despite being merely a simple marketing tool, this feature is a sound introduction of augmented reality to a mainstream market. What Universals experiment also proved was that the mobile market is not one that lmmakers should shy away from, and not just as a distribution platform. The capabilities of some handheld systems that are available for consumers nowadays is staggering. The Apple iPhone for example, allows users to write a correctly formatted script, storyboard shots, arrange lming schedules, shoot HD quality video, record sound, edit footage and distribute nished lms to worldwide audiences, all on the same 5-inch device (provided the user has installed the necessary applications, of course) [2012, http://www.apple.com/

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iphone/]. And all thats going to happen in the coming months and years is an improvement on all of these fronts. Lets not forget that none of these features are even close to the primary uses of this gadget, which is rst and foremost, just a phone. Imagine what a specialised lmmaking contraption would be able to do with the same technology. An exciting prospect indeed for the independents out there. Another area that is surely yet to be explored to its full potential is the social media industry. Weve seen that Youtube and Vimeo among others, have really brought the concept of peer-to-peer interaction into focus for lmmakers, but Facebook and Twitter are somewhat unchartered territories for lms, besides being used as marketing platforms. Perhaps we may see a completely new style of live storytelling altogether, where audiences can directly interact with characters who, for all intents and purposes, are normal people. Maybe well see the John McClane of the 21st Century uploading footage of his adventures, that he lmed on his GoPro camera, onto his Facebook and Twitter pages and telling his friends and followers all about what happened. In recent years we have seen the amount of IMAX theatres around the world greatly increase, bringing about the suggestion that cinemas are simply going to get bigger, louder and even better. This is backed up by the showcasing of the new Dolby Atmos system in April 2012 [Fuchs, 2012, http://www.lmjournal.com/lmjournal/content_display/news-andfeatures/features/technology/e3i6bc2381e4316e9773b5d74a8c3c72916]. This new technology allows for a completely new level of surround sound in cinemas where, in a reght for example, a single gunshot can be directed to a single speaker on the theatre, thus creating a more realistic sound experience for audiences. What it also does it greatly enhance the resolution of the sound, as it is no longer being spread out through several speakers, but instead being concentrated to a very specic area of the room. Having seen various lms in IMAX recently, I have noticed that, although the much louder and deeper sound output is very enjoyable and, coupled with the enormous screen, adds a great deal to the experience, it can occasionally come across a little vague, where individual noises are often drowned out by the sheer volume. The advent of Dolbys new system would be a welcome solution to this criticism that myself, and many others, have found.

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In the last couple of years we have seen a meteoric rise in the online home video market, with sites such as Netix and LoveFilm both offering customers an enormous library of lm and television shows all located from one central hub. If these companies (and the many more like them that are likely to spawn up in the coming years) continue to grow, then we could see a serious threat to the DVD and Blu Ray Disc format of home video. This prospect is made even more of a possibility with the recent release of the new iMac and MacBook Pro from Apple Computers. Although this may seem a very random connection, it is actually a very big step for the design of home computers as, for the rst time, Apple have decided not to build DVD-ROM drives into the hardware of their products and, as the biggest trend-setters of the industry, we can expect to see other companies like Dell and HP following suit with their next models [Sarthak, 2012, http://digitallmmaking.blogspot.com/]. Apples reasoning was that the DVD has become obsolete in the age of blazing broadband speeds when movies and television can be easily streamed online or downloaded. If this does indeed bring about the demise of the physical home video format,then we could see a complete digitalisation of home cinema for the rst time. One undoubted positive that can be anticipated in the near future is a crack down on illegal online downloads of lms. Since the Sumer of 2010, several torrent-hosting sites have been seized by U.S. federal agencies and shut down permanently, with several bank, investment and advertising accounts also expropriated. The sites in question, such as Torrent-Finder.com, TVShack.net, PlanetMoviez.com, ThePirateCity.org, NinjaVideo.net, as well as big hitters like ThePirateBay.com and BTJunkie.com all had their domain names frozen, displaying a threatening takedown notice that explained the sites were in breach of several copyright laws and showed the penalties for offenders involved in such activities [Sisario, 2010, http://www.nytimes.com/2010/11/27/technology/27torrent.html?_r=0]. These sites alone generated tens of millions of visitors every month. John T. Morton, the assistant secretary of the ICE, and representative of the Motion Picture Association of America said that it was a long-term effort against online piracy and that suspected criminals would be pursued anywhere in the world. Preet Bharara, U.S. attorney for the Southern District of New York also went on to say, if your business model is piracy, your story will not have a happy ending [Verrier, 2010, http://articles.latimes.com/2010/jul/01/business/la--ctpiracy-20100701]. Major studios say that they lose hundreds of millions of dollars every year to piracy, and if these crackdowns continue to shut down the big players of this illegal

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activity, that would equate to an extra blockbuster produced annually by every major studio. However, as Mr. Morton was quoted, this is a long-term battle, and it will be some time before the war on piracy is anywhere near being won. In the next 10 years, we're going to see all the forms of entertainmentlm, television, video, games, and printmelding into a single-platform story engine. - Guillermo del Toro, 2009 [http://www.wired.com/entertainment/hollywood/magazine/17-06/mf_deltoro? currentPage=2 4/11/12]

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CONCLUSION

Cinema has been a prominent and successful form of entertainment across the globe for the best part of one hundred-and-twenty years now, and throughout that time it has faced many signicant hurdles. The television for example, VCRs, DVDs, economic downturns, online le sharing, successful YouTube personalities etc. Yet each time it has been faced with such competition, cinema has endured. This is down to one simple reason: people love the cinematic experience. They are captivated by the huge screens, the foundationtrembling sound and the capacity to share their adventure with a huge number of people all at once. For sure, theatre attendances are down on what they have been in recent years, and indeed generations, gone by but youll struggle to nd any area of the entertainment industry that hasnt suffered with the worlds economic struggles. And with regard to the questionable quality of lms nowadays, (apart from the fact that this is a subjective viewpoint) all this will do is make the movies of the next generation to come, seem all the better. Many theatre managers will be shrugging their shoulders at this accusation however, as they can charge upwards of 10 a ticket and still sell out screens. Until this unique experience of watching a lm in a cinema can be successfully replicated across the homes of lm-enthusiasts everywhere, cinema will survive, and the people who make those lms will continue to be considered a very talented and respected bunch of individuals. No matter how technology changes, this is still a people business. - Phil Valera, Audio Recording Technology Professor, Barton College, North Carolina [2012, http://www.jobmonkey.com/lmmusic/technology_advances.html]

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- (2012) Universal 100th Anniversary - UK Reality Editions [online] AV Forums. http:// www.avforums.com/forums/blu-rays-dvds-download-services/1621625-universal-100thanniversary-uk-augmented-reality-editions.html [accessed 4/11/12] - (2012) iPhone 5 [online] Apple. http://www.apple.com/iphone/ [accessed 4/11/12] - Fuchs, Andreas (2012) Soundsational! Dolby Atmos Delivers Exciting New Audio Platform [online] Film Journal. http://www.lmjournal.com/lmjournal/content_display/ news-and-features/features/technology/e3i6bc2381e4316e9773b5d74a8c3c72916 [accessed 4/11/12] - Sarthak, K.(2012) How Apples New Computers Impact Filmmaking [online] Digital Filmmaking Blog. http://digital-lmmaking.blogspot.com/ [accessed 4/11/12] - Sisario, Ben (2010) U.S. Shuts Down Websites in Piracy Crackdown [online] The New York Times. http://www.nytimes.com/2010/11/27/technology/27torrent.html?_r=0 [accessed 4/11/12] - Verrier, Richard (2010) Feds Shut Down Nine Websites in Movie Piracy Crackdown [online] Los Angeles Times. http://articles.latimes.com/2010/jul/01/business/la--ctpiracy-20100701 [accessed 4/11/12] - (2012) Filmmaking Technology and Music Industry Technology Advances [online] Job Monkey. http://www.jobmonkey.com/lmmusic/technology_advances.html [accessed 5/11/12] Films: - The Jazz Singer (1927) Crosland, Alan - The Photo-Drama of Creation (1914) Russell, Charles Taze - Meshes of the Afternoon (1943) Deren, Maya; Hammid, Alexander - Fireworks (1947) Anger, Kenneth - Little Fugitive (1953) Ashley, Ray; Engel, Morris; Orkin, Ruth - The Ten Commandments (1956) DeMille, Cecil B. - The Vikings (1958) Fleischer, Richard - Ben Hur (1959) Wyler, William - Spartacus (1960) Kubrick, Stanley - El Cid (1961) Mann, Anthony - House of Wax (1953) De Toth, Andr - Creature from the Black Lagoon (1954) Arnold, Jack

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- The Little Shop of Horrors (1960) Corman, Roger - Night of the Living Dead (1968) Romero, George A. - The Texas Chainsaw Massacre (1974) Hooper, Tobe - Cannibal Holocaust (1980) Deodato, Ruggero - Bonnie and Clyde (1967) Penn, Arthur - Star Wars (1977) Lucas, George - Jaws (1975) Spielberg, Steven - The Godfather: Part II (1974) Coppola, Francis Ford - 2-Headed Shark Attack (2012) Ray, Christopher - Mega Shark Vs Giant Octopus (2010) Perez, Jack - Supercroc (2007) Harper, Scott - Indiana Jones Trilogy (1981-1989) Lucas, George - Raging Bull (1980) Scorsese, Martin - E.T. (1982) Spielberg, Steven - Tron (1982) Lisberger, Steven - Scarface (1983) De Palma, Brian - Batman (1989) Burton, Tim [motion picture] California. Warner Bros. - Chariots of Fire (1981) Hudson, Hugh - Gandhi (1982) Attenborough, Richard - Escape from New York (1981) Carpenter, John - The Killing Fields (1984) Joff, Roland - Beauty and the Beast (1991) Trousdale, Gary; Wise, Kirk - Aladdin (1992) Clements, Ron; Musker, John - The Lion King (1994) Allers, Roger, Minkoff, Rob - Toy Story (1995) Lasseter, John [motion picture] California. Pixar Animation Studios - Sex, Lies and Videotape (1989) Soderbergh, Steven - My Left Foot: The Story of Christy Brown (1989) Sheridan, Jim - Cinema Paradiso (1988) Tornatore, Guiseppe - Teenage Mutant Ninja Turtles (1990) Barron, Steven - The Mask (1994) Russell, Chuck - Dumb & Dumber (1994) Farrelly, Peter - The Shawshank Redemption (1994) Darabont, Frank - Pulp Fiction (1994) Tarantino, Quentin

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- Treasure Planet (2002) Clements, Ron; Musker, John - The Matrix: Reloaded (2003) Wachowski, Andy; Wachowski, Lana - The Matrix: Revolutions (2003) Wachowski, Andy; Wachowski, Lana - The Dark Knight (2008) Nolan, Christopher [motion picture] California. Warner Bros. - Avatar (2009) Cameron, James [motion picture] California. 20th Century Fox - Hot Fuzz (2007) Wright, Edgar - Sherlock Holmes: A Game of Shadows (2011) Ritchie, Guy - Snow White and the Huntsman (2012) Sanders, Rupert - Dredd (2012) Travis, Pete - The Evil Dead series (1981 & 1987) Raimi, Sam - Spider-Man Trilogy (2002-2007) Raimi, Sam - Drag Me to Hell (2009) Raimi, Sam - Gone With the Wind (1939) Fleming, Victor YouTube Videos: - The Bus Uncle. YouTube. May 12 2006. Alan Chong [6 min 0 secs] - Guitar. YouTube. 2005. guitar90 [unknown length] - Charlie Bit My Finger. YouTube. May 22 2007. HDCYT [0 min 58 secs] - Giant 6ft Water Balloon. YouTube. May 3 2011. theslowmoguys [5 min 23 secs] - Football to the Face. YouTube. November 27 2010. theslowmoguys [1 min 23 secs] - Droplet Collisions. YouTube. February 18 2011. theslowmoguys [2 min 48 secs] - Ataque de Pnico!. YouTube. November 3 2009. fedalvar [4 min 49 secs] Pictures: - [1] (2010) The Trip to the Moon by Georges Mlis [online] Famous French Films. http://famousfrenchlms.wordpress.com/category/english/early-cinema/ [accessed 10/11/12] - [2] (2011) Hooray for Hollywood [online] Not Yet Published. http:// scheong.wordpress.com/2011/05/ [accessed 10/11/12] - [3] (2012) Equipment for Period [online] Golden Age Television Recreations. http:// www.golden-agetv.co.uk/equipment.php?FromID=4 [accessed 10/11/12] - [4] (2012) Equipment for Period [online] Golden Age Television Recreations. http:// www.golden-agetv.co.uk/equipment.php?FromID=4 [accessed 10/11/12]

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- [5] Harding, J. G. (2010) A Recording Musicians Guide to Making a Music Video [online] Sound on Sound. http://www.soundonsound.com/sos/may10/articles/makingmovies.htm [accessed 10/11/12] - [6] (2012) Vintage Style 1920s Film Studio Light Tripod [online] Second Shout Out. http:// www.secondshoutout.com/product/1259/vintage-style-1920039s-lm-studio-tripod-light [accessed 11/11/12] - [7] (2012) Equipment for Period [online] Golden Age Television Recreations. http:// www.golden-agetv.co.uk/equipment.php?FromID=4 [accessed 11/11/12] - [8] (2012) Movie Lights [online] Dreamstime. http://www.dreamstime.com/stock-photomovie-lights-image23810330 [accessed 11/11/12] - [9] (2012) First Maviola [online] Wikipedia. http://en.wikipedia.org/wiki/ File:FirstMoviola.jpg [accessed 12/11/12] - [10] (2012) Equipment for Period [online] Golden Age Television Recreations. http:// www.golden-agetv.co.uk/equipment.php?FromID=4 [accessed 12/11/12] - [11] (2012) Equipment for Period [online] Golden Age Television Recreations. http:// www.golden-agetv.co.uk/equipment.php?FromID=4 [accessed 12/11/12] - [12] (2012) Video Editing Studio [online] Media Productions. http://www.mediaproductions.at/en/studio-rental/video-editing-studio/ [accessed 12/11/12] - [13] (2012) Our Cine Film Transfer System [online] Anu Media. http:// www.anumedia.co.uk/cine-lm-to-dvd.php [accessed 12/11/12] - [14] (2012) Neugersdorf Film Theater [online] Wikipedia. http://allekinos.pytalhost.com/ kinowiki/index.php?title=Bild:Neugersdorf_Filmtheater_Saal.jpg [accessed 13/11/12] - [15] (2012) Kenyas First Digital IMAX Theatre Opens [online] Capital FM. http:// www.capitalfm.co.ke/lifestyle/2012/04/05/kenyas-rst-digital-imax-theatre-opens [accessed 13/11/12] - [16] (2012) Movie Theater Seating [online] Wikipedia. http://en.wikipedia.org/wiki/ File:MovieTheaterSeatingUSP06164018.png [accessed 13/11/12] - [17] (2012) IMAX Technical Fact Sheet [online] IEEE. http://ieee.ca/millennium/imax/ imax_technical.html [accessed 13/11/12] - [18-21] The Motion Picture Association of America. (2011) Theatrical Market Statistics Summary. California.

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Books: - Kirsner, Scott (2008). Inventing the Movies: Hollywood's Epic Battle Between Innovation and the Status Quo, from Thomas Edison to Steve Jobs. Boston, CinemaTech Books. p.199. Reports: - The Motion Picture Association of America. (2011) Theatrical Market Statistics Summary. California. - Envisional. (2011) An Estimate of Infringing Use of the Internet - Summary. Cambridge. Interviews: - Free, Gavin. Slow-motion Cinematographer. Oxforshire. 27 November 2012 [E-Mail]

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Progress Map
Time Period October 2012 Aim Map out chapters and content Research for chapter one Start writing chapter one Research for chapter two Start writing chapter two Start writing chapter three Write introduction Establish contact with a primary source for chapter two Research for chapter four Research for chapter ve November 2012 Finish introduction Start writing chapter four Establish contact with a primary source for chapter ve Finish chapter three Finish chapter four Finish chapter ve Write conclusion Compile bibliography Write title, contents and acknowledgements pages Proof-read entire essay Achievement Mapped out chapters and content Researched content for chapter one Finished writing chapter one Researched content for chapter two Finished writing chapter two Started writing chapter three Started introduction Established contact with Gavin Free from The Slow Mo Guys on YouTube Researched content for chapter four researched content for chapter ve Finished introduction Finished writing chapter four Failed to attain a primary source for chapter ve Finished chapter three Finished chapter four Finished chapter ve Wrote conclusion Compiled complete bibliography Wrote title, contents and acknowledgements pages Proof-read entire essay

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