Before the 1920s, films used to be silent with just the action on the scene along with subtitles. Come the decade of 1920 and the advent of new technology, the filmmakers had the possibility to synchronise a soundtrack with the action on the screen. This included dialogues, musical score and special effects. After this development, the movies were called talkies since the audience was able to hear the actors talk with each other. There was no stopping from then on and the next significant development was the introduction of colour. However, colour movies were somewhat slow to catch on, especially when compared to the addition of sound to the movie. Another reason for this slow acceptance of colour was the considerable developing and processing cost it entailed. With passing of time, and improving technology, the colour processing became as affordable as black-and-white films. More and more movies were filmed in colour to a point when the film-makers did away with black-and-white films.
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Pre-World War I American cinema
Multiple-reel films had appeared in the United States as early as 1907, when Adolph Zukor distributed Pathé’s three-reel Passion Play, but when Vitagraph produced the five-reel The Life of Moses in 1909, the MPPC forced it to be released in serial fashion at the rate of one reel a week. The multiple-reel film—which came to be called a “feature,” in the vaudevillian sense of a headline attraction—achieved general acceptance with the smashing success of the three-and-one-half-reel Les Amours de la reine Élisabeth (Queen Elizabeth, 1912), which starred Sarah Bernhardt and was imported by Zukor (who founded the independent Famous Players production company with its profits). In 1912 Enrico Guazzoni’s nine-reel Italian superspectacle Quo Vadis? (“Whither Are You Going?”) was road-shown in legitimate theatres across the country at a top admission price of one dollar, and the feature craze was on.
Queen Elizabeth
Queen Elizabeth
A scene from Les Amours de la reine Élisabeth (1912; also called Queen Elizabeth).
© 1912 Paramount Pictures
At first there were difficulties in distributing features, because the exchanges associated with both the MPPC and the independents were geared toward cheaply made one-reel shorts. Because of their more elaborate production values, features had relatively higher negative costs. This was a disadvantage to distributors, who charged a uniform price per foot. By 1914, however, several national feature-distribution alliances that correlated pricing with a film’s negative cost and box-office receipts were organized. These new exchanges demonstrated the economic advantage of multiple-reel films over shorts. Exhibitors quickly learned that features could command higher admission prices and longer runs; single-title packages were also cheaper and easier to advertise than programs of multiple titles. As for manufacturing, producers found that the higher expenditure for features was readily amortized by high volume sales to distributors, who in turn were eager to share in the higher admission returns from the theatres. The whole industry soon reorganized itself around the economics of the multiple-reel film, and the effects of this restructuring did much to give movies their characteristic modern form.
other qualities (such as access to acting talent) essential to their highly unconventional form of manufacturing.
Various companies experimented with location di
A film also called a movie, motion picture, or moving picture is a work of visual art used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.