The San Peoples Land (film)

Films are cultural artifacts created by specific cultures.

They reflect those cultures, and, in turn, affect them.

Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens.

The visual basis of film gives it a universal power of communication.

Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer.

Some have criticized the film industry's glorification of violence and its potentially negative treatment of women.

The individual images that make up a film are called frames.

During projection of traditional films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed.

The perception of motion is due to a psychological effect called phi phenomenon.

The name originates from the fact that photographic film has historically been the medium for recording and displaying motion pictures.

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.

Terms for the field, in general, include the big screen, the silver screen, the movies, and cinema; the latter is commonly used in scholarly texts and critical essays, especially by European writers.

In early years, the word sheet was sometimes used instead of screen.

Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides.

Typically, two glass slides, one with the stationary part of the picture and the other with the part that was to move, would be placed one on top of the other and projected together, then the moving slide would be hand-operated, either directly or by means of a lever or other mechanism.

Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc.

In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the later zoetropedemonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate.

These devices relied on the phenomenon of persistence of vision to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed.

Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions.

By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen.

The use of sequences of photographs in such devices was initially limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were actually moving.

The sensitivity was gradually improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time.

A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most.

Muybridge used his system to analyze the movements of a wide variety of animal and human subjects.

Hand-painted images based on the photographs were projected as moving images by means of his zoopraxiscope.

Big Smoke, Carl Johnson.

The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques.

Around the turn of the 20th century, films started stringing several scenes together to tell a story.

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 filmbecame 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.

The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation and Intolerance.

However, in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau and Fritz Lang, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium.

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.

The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies." 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.

Another major technological development was the introduction of "natural color," which meant color that was photographically recorded from nature rather than added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance.

While the advent of sound films quickly made silent films and theater musicians obsolete, color replaced black-and-white much more gradually.

The pivotal innovation was the introduction of the three-strip version of the Technicolor process, first used for animated cartoons in 1932, then also for live-action short films and isolated sequences in a few feature films, then for an entire feature film, Becky Sharp, in 1935.

The expense of the process was daunting, but favorable public response in the form of increased box office receipts usually justified the added cost.

The number of films made in color slowly increased year after year.

In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance.

n an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection, and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception.

Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era.

Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color.

During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed.

The overwhelming public verdict in favor of color was clear.

After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with rare exceptions reluctantly made only at the insistence of directors such as Peter Bogdanovichand Martin Scorsese.

Cast

 * Young Maylay as Carl Johnson
 * Clifton Powell as Melvin Harris
 * Faizon Love as Sean Johnson
 * Yolanda Whitakker as Kendl Johnson
 * MC Eiht as Lance Wilson
 * Clifton Collins Jr. as Cesar Vialpando
 * Jas Anderson as Jeffrey Cross
 * Samuel L. Jackson as Officer Frank Tenpenny
 * Chris Penn as Officer Eddie Pulaski
 * Armando Riesco as Officer Jimmy Hernandez
 * Secret Voice as Grove
 * Secret Voice#2 as Ballas
 * Secret Voice#3 as Vagos

Symptoms
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 * The San Peoples Land 2