Factors promoting the development of films
In the classical Hollywood film, the story is primary. Filmmakers rely on a certain style, structure, narrative, and visual elements to effectively tell their story. Martin Scorsese and Sydney Pollack are among the premier directors who discuss how classical Hollywood style evolved and yet enduring over time, informed their work ( David Bordwell; Janet Staiger; Kristin Thompson; Columbia University Press., 1985). Several factors oversee this developments.
Movie plot and Presentation
During the primitive period, films presented narratives in such a way• that they were minimally intelligible. Given that a camera was fixed for the most part at a long-shot distance, actors performed with large gestures, holding up relevant objects briefly to give the spectator a better view. So long as the action was performed within the frame, its narrative function was considered to be fulfilled. However, Primitive framing and action did not always oversee intelligibility. Sometimes a less important gesture at another part of the screen might cause the audience to miss the main action.
But with regards to the general shift to the classical model, the status of the narrative changed. Styles such as editing, camera distance, and acting function became more specific to narrate the causal information as clearly as possible (Staples & (Organization), 1973.). The cinematic technique began to be considered a way to convey narrative through careful manipulation of audience attention. David Hulfish summarized this new conception in 1909. To secure art in a motion picture, there must be an end to be attained, a thought to be given, a truth to be set forth, a story to be told, and the story must be told by a skillful and systematic arrangement or adaptation of the means at hand subject to the author’s use.
Filmmakers noted the kind of political system present had a direct account of working of film houses, making it clear that democracies provide better protection for the freedom to produce and circulate accurate news and information than countries where human rights are disregarded. However, being in a democracy does not mean the media are unconstrained. In dictatorships, news providers and their families are exposed to ruthless reprisals, while in democracies, news providers have to cope with the media’s economic crises and conflicts of interest. These various types of pressure on the media differ widely, but they all affect. To better understand media and entertainment alike, we need to consider the political environment they operate in. Governments in all nations serve as an organizing structure that can, to varying degrees, constrain or promote the movie industry’s free activity (or agency). This is the tension between structure and agency as it applies to media and the political world. State regulation of media can include policies to influence the ownership structure of media, the content being produced, and the technological infrastructure used to access and distribute content. In totalitarian systems, the structural constraint of the state largely dominates the potential agency of the media. Sometimes state-owned news agencies, broadcast media, and film studios can act as propaganda arms of the state, promoting a narrow set of government-sanctioned images and messages. Even if media outlets are not state-owned, autocratic governments often impose formal and informal ground rules for what can and can’t be said in the media. Indirect mechanisms supporting state interests can be used as well. For example, authoritarian regimes hire sympathetic bloggers and tweeters to spread their messages while using censorship and surveillance technologies to monitor potential political threats. In extreme cases, journalists can be imprisoned or killed for challenging state policies.
The historical context of factors affecting film making
The constitution guarantees press freedom, but political and economic forces control the media. Libel laws are criminalized and used to control the media. State-owned broadcasters favor the ruling party. Half of all local television stations are owned at least in part by former ruling party politicians and business people. Individuals with close ties to the party control many of the newspapers. Foreign publishers have been accused of censoring the local journalists. The foreign publishers say they must tone down coverage to obtain advertising. The distribution system for media is state-owned and functions poorly. Film production is used as a tool to pressure media outlets to better standards.
Economic factors that influenced film development
Market structure is an issue for broadcasters in many nations. All of the producers were operating in markets characterized by low seller concentration levels relative to their comparatively high-levels of cinema attender concentration.
In other words, the producers face high-levels of competition for intriguing films, particularly when the media in the market is also factored in. The problem is exacerbated because some countries have multilingual populations, meaning that broadcasters reach only a subset of the total potential audience. Additionally, there was significant market distortion in all of the markets. Networks heavily subsidized by the government, political, business, or criminal interests compete side-by-side with commercial companies that are wholly dependent on film production. Subsidized networks can use their subsidies to support productions that commercial broadcasters can’t match. Although many producers have limits on the amount of money they can spend to sell a film, those limits are not enforced in some producers. Finally, commercial networks compete in international programming markets against their subsidized brethren, which drives up program prices.
If most producers cannot be termed as financially strong, they appear to be relatively financially secure. The increase in population led to high demand for entertainment. More importantly, most films continue to make a substantial investment in the journalism and entertainment field; it can be neither argued nor assumed that Hollywood is producing high-quality films. However, their evolution and advancements have led many of the producers to have hired experienced consultants or have sought opportunities for broadening the film production education by sending staff to study in developed countries or inviting leading international producers and mass communication experts to hold educative forums with.
David Bordwell; Janet Staiger; Kristin Thompson; Columbia University Press. (, 1985). The classical Holywood cinema: film style & mode of production to 1960. New York: New York: Columbia University Press, [post-2006], cop. 1985.
Staples, D. E., & (Organization), V. o. (1973.). The American cinema. Washington: Washington : [publisher not identified], 1973.