History of World Cinema

7/31/2019 History of World Cinema

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History ofWorldCinema

Navpreet KaurAssitant Professor

Journalism & Mass Communication


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The history of film is the historical developmentof the medium known variously as cinema,

motion pictures, film, or the movies. The history of film spans over a hundred years,

from the latter part of the 19th century to thepresent day. Motion pictures developed gradually

from a carnival novelty to one of the mostimportant tools of communication andentertainment, and mass media in the 20thcentury and into the 21st century. Motion picturefilms have had a substantial impact on the arts,technology, and politics


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1816 - Nicephore Niepce made first photographicimages.

1839 - Louis Daguerre created clear, sharp imageson silver copperplate.

1841 - Only 3 minutes needed for exposure.

1872 - Set up 12 cameras along a track, tied stringsto the shutters which were tripped as the horseran down the track.

Created movement with photography.


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The history of film spans over 100 years, from thelatter part of the 19th century to the present day.Motion pictures developed gradually from acarnival novelty to one of the most important

tools of communication and entertainment, andmass media in the 20th century and into the 21stcentury. Most films before 1930 were silent.Motion picture films have substantially affectedthe arts, technology, and politics.[citation needed]
http://en.wikipedia.org/wiki/Communicationhttp://en.wikipedia.org/wiki/Entertainmenthttp://en.wikipedia.org/wiki/Mass_mediahttp://en.wikipedia.org/wiki/Filmhttp://en.wikipedia.org/wiki/The_artshttp://en.wikipedia.org/wiki/Technologyhttp://en.wikipedia.org/wiki/Politicshttp://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/wiki/Politicshttp://en.wikipedia.org/wiki/Technologyhttp://en.wikipedia.org/wiki/The_artshttp://en.wikipedia.org/wiki/Filmhttp://en.wikipedia.org/wiki/Mass_mediahttp://en.wikipedia.org/wiki/Entertainmenthttp://en.wikipedia.org/wiki/Communication


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Theatre and dance are ancient predecessors offilm and include many common elements: scripts,sets, lighting, costumes, direction, actors,

audiences, storyboards, choreography, andscores. Consequently, film and theatre sharemuch terminology.

One of the first technological precursors of film is

the pinhole camera, followed by the moreadvanced camera obscura, which was firstdescribed in detail by Alhazen in his Book of Optics(1021),[3][4][5] and later perfected by Giambattistadella Porta. Light is inverted through a small hole

or lens from outside, and projected on to a surfaceor screen. Using camera obscura, it is possible tocreate a projected moving image, but, in theabsence of recording technology, only in real-

time.
http://en.wikipedia.org/wiki/Theatrehttp://en.wikipedia.org/wiki/Dancehttp://en.wikipedia.org/wiki/Set_constructionhttp://en.wikipedia.org/wiki/Lightinghttp://en.wikipedia.org/wiki/Costumeshttp://en.wikipedia.org/wiki/Film_directorhttp://en.wikipedia.org/wiki/Actorshttp://en.wikipedia.org/wiki/Audienceshttp://en.wikipedia.org/wiki/Storyboardshttp://en.wikipedia.org/wiki/Choreographyhttp://en.wikipedia.org/wiki/Pinhole_camerahttp://en.wikipedia.org/wiki/Camera_obscurahttp://en.wikipedia.org/wiki/Alhazenhttp://en.wikipedia.org/wiki/Book_of_Opticshttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Lighthttp://en.wikipedia.org/wiki/Lens_(optics)http://en.wikipedia.org/wiki/Projection_screenhttp://en.wikipedia.org/wiki/Moving_imagehttp://en.wikipedia.org/wiki/Real_time_(media)http://en.wikipedia.org/wiki/Real_time_(media)http://en.wikipedia.org/wiki/Real_time_(media)http://en.wikipedia.org/wiki/Real_time_(media)http://en.wikipedia.org/wiki/Real_time_(media)http://en.wikipedia.org/wiki/Moving_imagehttp://en.wikipedia.org/wiki/Projection_screenhttp://en.wikipedia.org/wiki/Lens_(optics)http://en.wikipedia.org/wiki/Lighthttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/Giambattista_della_Portahttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Book_of_Opticshttp://en.wikipedia.org/wiki/Alhazenhttp://en.wikipedia.org/wiki/Camera_obscurahttp://en.wikipedia.org/wiki/Camera_obscurahttp://en.wikipedia.org/wiki/Pinhole_camerahttp://en.wikipedia.org/wiki/Choreographyhttp://en.wikipedia.org/wiki/Storyboardshttp://en.wikipedia.org/wiki/Audienceshttp://en.wikipedia.org/wiki/Actorshttp://en.wikipedia.org/wiki/Film_directorhttp://en.wikipedia.org/wiki/Costumeshttp://en.wikipedia.org/wiki/Lightinghttp://en.wikipedia.org/wiki/Set_constructionhttp://en.wikipedia.org/wiki/Dancehttp://en.wikipedia.org/wiki/Theatre


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The cinema was invented during the 1890s,

during what is now called the industrialrevolution. It was considered a cheaper, simplerway to provide entertainment to the masses.Movies would become the most popular visualart form of the late Victorian age. It was simplerbecause of the fact that before the cinema peoplewould have to travel long distances to see majordioramas or amusement parks. With the adventof the cinema this changed. During the first

decade of the cinema's existence, inventorsworked to improve the machines for making andshowing films. The cinema is a complicatedmedium, and before it could be invented, several

technological requirements had to be met.[2]
http://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/History_of_film


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The first commercial exhibition of film took place on April14, 1894 at the first Kinetoscope parlor ever built.However, it was clear that Edison originally intended to

create a sound film system, which would not gainworldwide recognition until the release of "The JazzSinger" in 1927. In 1896 it became clear that more moneywas to be made by showing motion picture films with aprojector to a large audience than exhibiting them inEdison's Kinetoscopepeep-show machines. The Edisoncompany took up a projector developed by Armat and

Jenkins, the Phantoscope, which was renamed theVitascope, and it joined various projecting machines made

by other people to show the 480 mm. width films beingmade by the Edison company and others in France andthe UK.
http://en.wikipedia.org/wiki/Sound_filmhttp://en.wikipedia.org/wiki/The_Jazz_Singer_(1927_film)http://en.wikipedia.org/wiki/The_Jazz_Singer_(1927_film)http://en.wikipedia.org/wiki/Kinetoscopehttp://en.wikipedia.org/wiki/Peep_showhttp://en.wikipedia.org/wiki/Peep_showhttp://en.wikipedia.org/wiki/Peep_showhttp://en.wikipedia.org/wiki/Peep_showhttp://en.wikipedia.org/wiki/Kinetoscopehttp://en.wikipedia.org/wiki/The_Jazz_Singer_(1927_film)http://en.wikipedia.org/wiki/The_Jazz_Singer_(1927_film)http://en.wikipedia.org/wiki/Sound_film


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However, the most successful motionpicture company in the United States, withthe largest production until 1900, was theAmerican Mutoscope company. This was

initially set up to exploit peep-show typefilms using designs made by W.K.L.Dickson after he left the Edison companyin 1895.
http://en.wikipedia.org/wiki/American_Mutoscope_and_Biograph_Companyhttp://en.wikipedia.org/wiki/William_Kennedy_Dicksonhttp://en.wikipedia.org/wiki/William_Kennedy_Dicksonhttp://en.wikipedia.org/wiki/William_Kennedy_Dicksonhttp://en.wikipedia.org/wiki/William_Kennedy_Dicksonhttp://en.wikipedia.org/wiki/American_Mutoscope_and_Biograph_Companyhttp://en.wikipedia.org/wiki/American_Mutoscope_and_Biograph_Company


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In France, the Lumire company sent cameramen all

round the world from 1896 onwards to shoot films,which were exhibited locally by the cameramen, andthen sent back to the company factory in Lyon to makeprints for sale to whoever wanted them. There were

nearly a thousand of these films made up to 1901, nearlyall of them actualities.

By 1898 Georges Mlis was the largest producer offiction films in France, and from this point onwards his

output was almost entirely films featuring trick effects,which were very successful in all markets. The specialpopularity of his longer films, which were severalminutes long from 1899 onwards (while most other filmswere still only a minute long), led other makers to start

producing longer films.
http://en.wikipedia.org/wiki/Auguste_and_Louis_Lumi%C3%A8rehttp://en.wikipedia.org/wiki/Georges_M%C3%A9li%C3%A8shttp://en.wikipedia.org/wiki/Georges_M%C3%A9li%C3%A8shttp://en.wikipedia.org/wiki/Georges_M%C3%A9li%C3%A8shttp://en.wikipedia.org/wiki/Auguste_and_Louis_Lumi%C3%A8re


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In France, film production and exhibition closed

down as its personnel became part of the generalmilitary mobilization of the country at thebeginning of the war. Although film productionbegan again in 1915, it was on a reduced scale,

and the biggest companies gradually retired fromproduction, to concentrate on film distributionand exhibition. Hence the cinemas were givenover to imported films, particularly Americanones. New small companies entered the business,and new young directors arrived to replace thosedrafted or working in the United States. The mostnotable of these was Abel Gance.
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Italian film production held up during thewar, with long features already established asthe main form. However, there was a

disastrous move in subject matter to whatwere called diva films. These romanticdramas had the female star (the diva)suffering from unhappy love, and strikingendless anguished Art Nouveau poses, whilesurrounded by male admirers and luxury.They were a commercial failure outside Italy.
http://en.wikipedia.org/wiki/Art_Nouveauhttp://en.wikipedia.org/wiki/Art_Nouveau


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InDenmark the Nordisk company increased itsproduction so much in 1915 and 1916 that itcould not sell all its films, which led to a very

sharp decline in Danish production, and the endof Denmark's importance on the world filmscene. The Nordisk distribution and cinemachain in Germany was effectively expropriatedby the German government in 1917.

TheSwedish industry did not have this

problem, as its production was more in balancewith the market, and more importantly, thequality of its films was now superior to thosefrom Denmark.


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Until this point, the cinemas of France and Italyhad been the most globally popular and

powerful. But the United States was alreadygaining quickly when World War I (19141918)caused a devastating interruption in theEuropean film industries. The American

industry, or "Hollywood", as it was becomingknown after its new geographical center inCalifornia, gained the position it has held, moreor less, ever since: film factory for the world,

exporting its product to most countries on earthand controlling the market in many of them.
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Because of the large local market for films in Russia,the industry there was not harmed by the war at first,although the isolation of the country led manyRussian films to develop peculiarly distinctivefeatures. The Khanzhonkov company retained its

dominance, but the Ermoliev company, which hadbeen formed in 1914, became its principal competitor,propelled by the work of its star, Ivan Mosjoukin,and principal director, Yaakov Protazanov. TheBolshevik revolution in October 1917 did not

eliminate the privately owned film companies at first,though production was reduced through 1918. It wasonly in 1919 that the exodus of talent from thecountry took place, and fiction film production wasreduced to practically nothing.
http://en.wikipedia.org/wiki/Ivan_Mozzhukhinhttp://en.wikipedia.org/wiki/Yakov_Protazanovhttp://en.wikipedia.org/wiki/October_Revolutionhttp://en.wikipedia.org/wiki/October_Revolutionhttp://en.wikipedia.org/wiki/Yakov_Protazanovhttp://en.wikipedia.org/wiki/Ivan_Mozzhukhinhttp://en.wikipedia.org/wiki/Ivan_Mozzhukhin


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By the 1920s, the U.S. reached what is still its era ofgreatest-ever output, producing an average of 800

feature films annually,[13] or 82% of the global total(Eyman, 1997). The comedies of Charlie Chaplin

and Buster Keaton, the swashbuckling adventuresof Douglas Fairbanks and the romances of ClaraBow, to cite just a few examples, made theseperformers faces well-known on every continent.The Western visual norm that would become

classical continuity editing was developed andexported - although its adoption was slower insome non-Western countries without strong realisttraditions in art and drama, such asJapan.
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This development was contemporary with thegrowth of the studio system and its greatest

publicity method, the star system, whichcharacterized American film for decades to comeand provided models for other film industries.The studios efficient, top-down control over allstages of their product enabled a new and ever-growing level of lavish production and technicalsophistication. At the same time, the system'scommercial regimentation and focus onglamorous escapism discouraged daring and

ambition beyond a certain degree, a primeexample being the brief but still legendarydirecting career of the iconoclastic Erich vonStroheimin the late teens and the 20s.
http://en.wikipedia.org/wiki/Studio_systemhttp://en.wikipedia.org/wiki/Star_system_(film)http://en.wikipedia.org/wiki/Escapismhttp://en.wikipedia.org/wiki/Erich_von_Stroheimhttp://en.wikipedia.org/wiki/Erich_von_Stroheimhttp://en.wikipedia.org/wiki/Erich_von_Stroheimhttp://en.wikipedia.org/wiki/Erich_von_Stroheimhttp://en.wikipedia.org/wiki/Escapismhttp://en.wikipedia.org/wiki/Star_system_(film)http://en.wikipedia.org/wiki/Studio_system


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Experimentation with sound film technology, both

for recording and playback, was virtually constantthroughout the silent era, but the twin problems ofaccurate synchronization and sufficientamplification had been difficult to overcome

(Eyman, 1997). In 1926, Hollywood studio WarnerBros. introduced the "Vitaphone" system,producing short films of live entertainment actsand public figures and adding recorded soundeffects and orchestral scores to some of its majorfeatures. During late 1927, Warners released The

Jazz Singer, which was mostly silent but containedwhat is generally regarded as the first synchronizeddialogue (and singing) in a feature film
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but this process was actually accomplished first byCharles Taze Russell in 1914 with the lengthy filmThe Photo-Drama of Creation. This drama consistedof picture slides and moving pictures synchronizedwith phonograph records of talks and music. Theearly sound-on-disc processes such as Vitaphone

were soon superseded by sound-on-film methodslike Fox Movietone, DeForest Phonofilm, and RCAPhotophone. The trend convinced the largelyreluctant industrialists that "talking pictures", or

"talkies", were the future. A lot of attempts weremade before the success of theJazz Singer, that canbe seen in the List of film sound systems.
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Following the end of World War II in the 1940s, the

following decade, the 1950s, marked a 'Golden Age' fornon-English world cinema,[14][15] especially for Asiancinema.[16][17] Many of the most critically acclaimedAsian films of all time were produced during thisdecade, including Yasujiro Ozu's Tokyo Story (1953),

Satyajit Ray's The Apu Trilogy (19551959) and The MusicRoom (1958), Kenji Mizoguchi's Ugetsu (1954) and Sanshothe Bailiff(1954), Raj Kapoor'sAwaara (1951), MikioNaruse's Floating Clouds (1955), Guru Dutt's Pyaasa

(1957) and Kaagaz Ke Phool (1959), and the AkiraKurosawa films Rashomon (1950), Ikiru (1952), SevenSamurai (1954) and Throne of Blood (1957).
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DuringJapanese cinema's 'Golden Age' of the

1950s, successful films included Rashomon (1950),Seven Samurai (1954) and The Hidden Fortress(1958) by Akira Kurosawa, as well as YasujiroOzu's Tokyo Story (1953) and Ishir Honda'sGodzilla (1954).[18] These films have had aprofound influence on world cinema. DuringIndian cinema's 'Golden Age' of the 1950s, it wasproducing 200 films annually, while Indianindependent films gained greater recognition

through international film festivals
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One of the most famous was The Apu Trilogy (1955

1959) from critically acclaimed Bengali film directorSatyajit Ray, whose films had a profound influenceon world cinema, with directors such as AkiraKurosawa, Martin Scorsese,[20][21]James Ivory,Abbas

Kiarostami, Elia Kazan, Franois Truffaut,[StevenSpielberg,Carlos Saura,Jean-Luc Godard, IsaoTakahata, Gregory Nava, Ira Sachs, Wes Anderson[30]and Danny Boyle being influenced by his cinematicstyle.
http://en.wikipedia.org/wiki/The_Apu_Trilogyhttp://en.wikipedia.org/wiki/Bengali_cinemahttp://en.wikipedia.org/wiki/Satyajit_Rayhttp://en.wikipedia.org/wiki/Martin_Scorsesehttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/James_Ivory_(director)http://en.wikipedia.org/wiki/Abbas_Kiarostamihttp://en.wikipedia.org/wiki/Abbas_Kiarostamihttp://en.wikipedia.org/wiki/Elia_Kazanhttp://en.wikipedia.org/wiki/Fran%C3%A7ois_Truffauthttp://en.wikipedia.org/wiki/Steven_Spielberghttp://en.wikipedia.org/wiki/Steven_Spielberghttp://en.wikipedia.org/wiki/Carlos_Saurahttp://en.wikipedia.org/wiki/Jean-Luc_Godardhttp://en.wikipedia.org/wiki/Isao_Takahatahttp://en.wikipedia.org/wiki/Isao_Takahatahttp://en.wikipedia.org/wiki/Gregory_Navahttp://en.wikipedia.org/wiki/Ira_Sachshttp://en.wikipedia.org/wiki/Wes_Andersonhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Danny_Boylehttp://en.wikipedia.org/wiki/Danny_Boylehttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Wes_Andersonhttp://en.wikipedia.org/wiki/Ira_Sachshttp://en.wikipedia.org/wiki/Gregory_Navahttp://en.wikipedia.org/wiki/Isao_Takahatahttp://en.wikipedia.org/wiki/Isao_Takahatahttp://en.wikipedia.org/wiki/Jean-Luc_Godardhttp://en.wikipedia.org/wiki/Jean-Luc_Godardhttp://en.wikipedia.org/wiki/Jean-Luc_Godardhttp://en.wikipedia.org/wiki/Carlos_Saurahttp://en.wikipedia.org/wiki/Carlos_Saurahttp://en.wikipedia.org/wiki/Steven_Spielberghttp://en.wikipedia.org/wiki/Steven_Spielberghttp://en.wikipedia.org/wiki/Fran%C3%A7ois_Truffauthttp://en.wikipedia.org/wiki/Elia_Kazanhttp://en.wikipedia.org/wiki/Elia_Kazanhttp://en.wikipedia.org/wiki/Elia_Kazanhttp://en.wikipedia.org/wiki/Abbas_Kiarostamihttp://en.wikipedia.org/wiki/Abbas_Kiarostamihttp://en.wikipedia.org/wiki/Abbas_Kiarostamihttp://en.wikipedia.org/wiki/James_Ivory_(director)http://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Martin_Scorsesehttp://en.wikipedia.org/wiki/Satyajit_Rayhttp://en.wikipedia.org/wiki/Satyajit_Rayhttp://en.wikipedia.org/wiki/Satyajit_Rayhttp://en.wikipedia.org/wiki/Bengali_cinemahttp://en.wikipedia.org/wiki/The_Apu_Trilogyhttp://en.wikipedia.org/wiki/The_Apu_Trilogyhttp://en.wikipedia.org/wiki/The_Apu_Trilogyhttp://en.wikipedia.org/wiki/The_Apu_Trilogy


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According to Michael Sragow of The AtlanticMonthly, the "youthful coming-of-agedramas thathave flooded art houses since the mid-fifties owea tremendous debt to the Apu trilogy".[32]SubrataMitra's cinematographic technique of bounce

lighting also originates from The Apu Trilogy.[33]Other famous Indian filmmakers from this periodinclude Guru Dutt,[16]Ritwik Ghatak,[17]MrinalSen, Raj Kapoor, Bimal Roy, K. Asif and Mehboob

Khan.[34]
http://en.wikipedia.org/wiki/The_Atlantichttp://en.wikipedia.org/wiki/The_Atlantichttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/Drama_filmhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Subrata_Mitrahttp://en.wikipedia.org/wiki/Subrata_Mitrahttp://en.wikipedia.org/wiki/Reflector_(photography)http://en.wikipedia.org/wiki/Reflector_(photography)http://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Guru_Dutthttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Ritwik_Ghatakhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Mrinal_Senhttp://en.wikipedia.org/wiki/Mrinal_Senhttp://en.wikipedia.org/wiki/Raj_Kapoorhttp://en.wikipedia.org/wiki/Bimal_Royhttp://en.wikipedia.org/wiki/K._Asifhttp://en.wikipedia.org/wiki/Mehboob_Khanhttp://en.wikipedia.org/wiki/Mehboob_Khanhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Mehboob_Khanhttp://en.wikipedia.org/wiki/Mehboob_Khanhttp://en.wikipedia.org/wiki/Mehboob_Khanhttp://en.wikipedia.org/wiki/K._Asifhttp://en.wikipedia.org/wiki/K._Asifhttp://en.wikipedia.org/wiki/Bimal_Royhttp://en.wikipedia.org/wiki/Bimal_Royhttp://en.wikipedia.org/wiki/Bimal_Royhttp://en.wikipedia.org/wiki/Raj_Kapoorhttp://en.wikipedia.org/wiki/Raj_Kapoorhttp://en.wikipedia.org/wiki/Mrinal_Senhttp://en.wikipedia.org/wiki/Mrinal_Senhttp://en.wikipedia.org/wiki/Mrinal_Senhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Ritwik_Ghatakhttp://en.wikipedia.org/wiki/Ritwik_Ghatakhttp://en.wikipedia.org/wiki/Ritwik_Ghatakhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Guru_Dutthttp://en.wikipedia.org/wiki/Guru_Dutthttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Reflector_(photography)http://en.wikipedia.org/wiki/Reflector_(photography)http://en.wikipedia.org/wiki/Subrata_Mitrahttp://en.wikipedia.org/wiki/Subrata_Mitrahttp://en.wikipedia.org/wiki/Subrata_Mitrahttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Drama_filmhttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/Coming_of_agehttp://en.wikipedia.org/wiki/The_Atlantichttp://en.wikipedia.org/wiki/The_Atlantic


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The 1950s was also a 'Golden Age' forPhilippine cinema, with the emergence ofmore artistic and mature films, and significantimprovement in cinematic techniques among

filmmakers. The studio system producedfrenetic activity in the local film industry asmany films were made annually and severallocal talents started to earn recognition

abroad. The premiere Philippine directors ofthe era included Gerardo de Leon, GregorioFernandez, Eddie Romero, LambertoAvellana, and Cirio Santiago.[37][38]
http://en.wikipedia.org/wiki/Cinema_of_the_Philippineshttp://en.wikipedia.org/wiki/Gerardo_de_Leonhttp://en.wikipedia.org/wiki/Gregorio_Fernandezhttp://en.wikipedia.org/wiki/Gregorio_Fernandezhttp://en.wikipedia.org/wiki/Eddie_Romerohttp://en.wikipedia.org/wiki/Lamberto_Avellanahttp://en.wikipedia.org/wiki/Lamberto_Avellanahttp://en.wikipedia.org/wiki/Cirio_Santiagohttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Cirio_Santiagohttp://en.wikipedia.org/wiki/Cirio_Santiagohttp://en.wikipedia.org/wiki/Cirio_Santiagohttp://en.wikipedia.org/wiki/Lamberto_Avellanahttp://en.wikipedia.org/wiki/Lamberto_Avellanahttp://en.wikipedia.org/wiki/Lamberto_Avellanahttp://en.wikipedia.org/wiki/Eddie_Romerohttp://en.wikipedia.org/wiki/Gregorio_Fernandezhttp://en.wikipedia.org/wiki/Gregorio_Fernandezhttp://en.wikipedia.org/wiki/Gerardo_de_Leonhttp://en.wikipedia.org/wiki/Cinema_of_the_Philippines


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In world cinema, the 1970s saw a dramatic increasein the popularity of martial arts films, largely dueto its reinvention by Bruce Lee, who departed fromthe artistic style of traditional Chinese martial artsfilms and added a much greater sense of realism tothem with hisJeet Kune Do style. This began withThe Big Boss (1971), which was a major successacross Asia. However, he didn't gain fame in theWestern world until shortly after his death in 1973,

when Enter the Dragon was released.
http://en.wikipedia.org/wiki/World_cinemahttp://en.wikipedia.org/wiki/Martial_arts_filmhttp://en.wikipedia.org/wiki/Bruce_Leehttp://en.wikipedia.org/wiki/Chinese_martial_artshttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/The_Big_Bosshttp://en.wikipedia.org/wiki/Asian_cinemahttp://en.wikipedia.org/wiki/Western_worldhttp://en.wikipedia.org/wiki/Enter_the_Dragonhttp://en.wikipedia.org/wiki/Enter_the_Dragonhttp://en.wikipedia.org/wiki/Western_worldhttp://en.wikipedia.org/wiki/Asian_cinemahttp://en.wikipedia.org/wiki/The_Big_Bosshttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/Jeet_Kune_Dohttp://en.wikipedia.org/wiki/Chinese_martial_artshttp://en.wikipedia.org/wiki/Bruce_Leehttp://en.wikipedia.org/wiki/Martial_arts_filmhttp://en.wikipedia.org/wiki/World_cinema


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The film went on to become the most successfulmartial arts film in cinematic history, popularizedthe martial arts film genre across the world, andcemented Bruce Lee's status as a cultural icon.Hong Kong action cinema, however, was indecline due to a wave of "Bruceploitation" films.

This trend eventually came to an end in 1978 withthe martial arts comedy films, Snake in the Eagle'sShadow and Drunken Master, directed by YuenWoo-ping and starringJackie Chan, laying the

foundations for the rise of Hong Kong actioncinema in the 1980s.
http://en.wikipedia.org/wiki/Hong_Kong_action_cinemahttp://en.wikipedia.org/wiki/Bruceploitationhttp://en.wikipedia.org/wiki/Comedy_filmhttp://en.wikipedia.org/wiki/Snake_in_the_Eagle's_Shadowhttp://en.wikipedia.org/wiki/Snake_in_the_Eagle's_Shadowhttp://en.wikipedia.org/wiki/Drunken_Masterhttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Jackie_Chanhttp://en.wikipedia.org/wiki/Jackie_Chanhttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Yuen_Woo-pinghttp://en.wikipedia.org/wiki/Drunken_Masterhttp://en.wikipedia.org/wiki/Snake_in_the_Eagle's_Shadowhttp://en.wikipedia.org/wiki/Snake_in_the_Eagle's_Shadowhttp://en.wikipedia.org/wiki/Comedy_filmhttp://en.wikipedia.org/wiki/Bruceploitationhttp://en.wikipedia.org/wiki/Hong_Kong_action_cinema


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THANK YOU.

History of World Cinema

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