Picture Download Tamil Movies [BETTER]
Enriqueta Tehney
The rules allow a bona fide team of not more than two people to be considered a single "producer" if the two individuals have had an established producing partnership as determined by the Producers Guild of America Producing Partnership Panel. Final determination of the qualifying producer nominees for each nominated picture will be made by the Producers Branch Executive Committee, including the right to name any additional qualified producer as a nominee.[12]
On June 24, 2009, AMPAS announced that the number of films to be nominated in the Best Picture award category would increase from five to ten, starting with the 82nd Academy Awards (2009).[15] Although the Academy never officially said so, many commenters noted the expansion was likely in part a response to public criticism of The Dark Knight and WALL-E (both 2008) (and, in previous years, other blockbusters and popular films) not being nominated for Best Picture.[16][17][18] Officially, the Academy said the rule change was a throwback to the Academy's early years in the 1930s and 1940s, when eight to 12 films were nominated each year. "Having 10 Best Picture nominees is going to allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories but have been squeezed out of the race for the top prize," AMPAS President Sid Ganis said in a press conference. "I can't wait to see what that list of 10 looks like when the nominees are announced in February."[15]
At the same time, the voting system was switched from first-past-the-post to instant runoff voting (also known as preferential voting).[19] In 2011, the Academy revised the rule again so that the number of films nominated was between five and ten; nominated films must earn either 5% of first-place rankings or 5% after an abbreviated variation of the single transferable vote nominating process.[20] Bruce Davis, the Academy executive director at the time, said, "A Best Picture nomination should be an indication of extraordinary merit. If there are only eight pictures that truly earn that honor in a given year, we shouldn't feel an obligation to round out the number."[21] This system lasted until 2021, when the Academy reverted back to a set number of ten nominees from the 94th Academy Awards onward.[22]
The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects.
Many other terms exist for an individual motion-picture, including "picture", "picture show", "moving picture", "photoplay", and "flick". The most common term in the United States is "movie", while in Europe, "film" is preferred. Archaic terms include "animated pictures" and "animated photography".
Common terms for the field, in general, include "the big screen", "the silver screen", "the movies", and "cinema"; the last of these is commonly used, as an overarching term, in scholarly texts and critical essays. In the early years, the word "sheet" was sometimes used instead of "screen".
Anschütz made his first instantaneous photographs in 1881. He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882. The quality of his pictures was generally regarded to be much higher than that of the chronophotography works Muybridge and Étienne-Jules Marey.[4]In 1886, Anschütz developed the Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions and arcades from 1887 until at least 1894. Starting in 1891, some 152 examples of a coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally.[5][4] Nearly 34,000 people paid to see it at the Berlin Exhibition Park in summer 1892. Others saw it in London or at the 1893 Chicago World's Fair.On 25 November 1894, Anschütz introduced a Electrotachyscope projector with a 6x8 meter screening in Berlin. Between 22 February and 30 March 1895, a total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin.[6]
Émile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application. He presented a praxinoscope projection device at the Société française de photographie on 4 June 1880, but did not market his praxinoscope a projection before 1882. He then further developed the device into the Théâtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Musée Grévin in Paris.
By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph a rapid sequence of images using only one lens, allowed action to be captured and stored on a single compact reel of film.
The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Typical films showed employees leaving a factory gate, people walking in the street, and the view from the front of a trolley as it traveled a city's Main Street. According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater. Around the turn of the 20th century, films started stringing several scenes together to tell a story. (The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes a relationship between the content in the separate shots in the minds of the viewer. It is this relationship that makes all film storytelling possible. In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.) Each scene was a single stationary shot with the action occurring before it. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell a story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art, but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.
In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen.[citation needed] The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies."[citation needed] The revolution they wrought was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium."[citation needed]
The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology. Early sound-film systems, such as Thomas Edison's Kinetoscope and the Vitaphone used by Warner Bros., laid the groundwork for synchronized sound in film. The Vitaphone system, produced alongside Bell Telephone Company and Western Electric, faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927).[8]
American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems. This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933).[9]
The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially. The Oberammergau Passion Play of 1898[31] was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars. From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.
The terminology used for describing motion pictures varies considerably between British and American English. In British usage, the name of the medium is "film". The word "movie" is understood but seldom used.[34][35] Additionally, "the pictures" (plural) is used semi-frequently to refer to the place where movies are exhibited, while in American English this may be called "the movies", but it is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or movie theatre. By contrast, in the United States, "movie" is the predominant form. Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects. The term "movies" more often refers to entertainment or commercial aspects, as where to go for fun evening on a date. For example, a book titled "How to Understand a Film" would probably be about the aesthetics or theory of film, while a book entitled "Let's Go to the Movies" would probably be about the history of entertaining movies and blockbusters.
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