Film industry#Hollywood

The worldwide theatrical market had a box office of {{USD|42.2 billion}} in 2019. The top three continents/regions by box-office gross were Asia-Pacific with {{USD|17.8 billion}}, the U.S. and Canada with {{USD|11.4 billion}}, and Europe, the Middle East and North Africa with {{USD|10.3 billion}}. {{as of|2019}}, the largest markets by box office were, in decreasing order, the United States, China, Japan, South Korea, the United Kingdom, France, and India. {{as of|2019}}, the countries with the largest number of film productions were India, and the United States.{{cite news |last1=Robinson |first1=Daniel B. |title=The trend shift of the modern film industry |url=https://www.bollywikia.com/ |access-date=2 April 2018 |agency=Lindale Avenue |issue=April '18 |publisher=San Fran & co |date=2 April 2018 |archive-date=16 October 2022 |archive-url=https://web.archive.org/web/20221016083023/https://www.bollywikia.com/ |url-status=dead }} In Europe, significant centers of movie production are France, Germany, Spain, Italy, and the United Kingdom.{{cite press release

|title= European Audiovisual Observatory

|url= http://www.obs.coe.int/

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|publisher= European Audiovisual Observatory, Council of Europe.

|access-date= 11 May 2009

}}

{{Main|Cinema of China}}

File:Qufu Cinema - P1060026.JPG, Shandong]]

The cinema of China is one of three distinct historical threads of Chinese-language cinema together with the cinema of Hong Kong and the cinema of Taiwan. Cinema was introduced in China in 1896 and the first Chinese film, Dingjun Mountain, was made in 1905, with the film industry being centered on Shanghai in the first decades. China is the home of one of the largest film studios in the world, the Hengdian World Studios, and in 2010 it had the third largest film industry by number of feature films produced annually. For the next decade, the production companies were mainly foreign-owned, and the domestic film industry was centered on Shanghai, a thriving entrepot and the largest city in the Far East. In 1913, the first independent Chinese screenplay, The Difficult Couple, was filmed in Shanghai by Zheng Zhengqiu and Zhang Shichuan.{{Cite book|title = East Asian Cinema|url = https://books.google.com/books?id=Nydlzbe2LhEC|publisher = Oldcastle Books, Limited|date = 4 November 2010|isbn = 9781842433805|first = David|last = Carter}}

As the Sixth Generation{{clarify|date=July 2020}} gained international exposure, many subsequent films were joint ventures and projects with international backers but remained quite resolutely low-key and low-budget {{Citation needed|date=November 2019}}. Jia's Platform (2000) was funded in part by Takeshi Kitano's production house,{{Cite web|title = A Touch of Sin: Interview with Jia Zhang-ke|url = http://www.electricsheepmagazine.co.uk/features/2014/05/16/a-touch-of-sin-interview-with-jia-zhangke/|website = Electric Sheep|date = 16 May 2014|access-date = 3 December 2015|language = en-US}} while his Still Life was shot on HD video. Still Life was a surprise addition and Golden Lion winner of the 2006 Venice International Film Festival. Still Life, which concerns provincial workers around the Three Gorges region, sharply contrasts with the works of Fifth Generation Chinese directors like Zhang Yimou and Chen Kaige who were at the time producing House of Flying Daggers (2004) and The Promise (2005). It featured no star of international renown and was acted mostly by non-professionals. In 2012 the country became the second-largest market in the world by box office receipts. In 2014, the gross box office in China was ¥29.6 billion (US$4.82 billion), with domestic films having a share of 55%.{{cite web |url= https://www.theguardian.com/film/filmblog/2013/dec/31/2013-global-box-office-review|title= Marvel rules, franchises dip, China thrives: 2013 global box office in review|first= Phil|last= Hoad|date=31 December 2013|access-date= 11 January 2014|work=The Guardian}} China has also become a major hub of business for Hollywood studios.{{cite web |last1=Brzeski |first1=Patrick |last2=Coonan |first2=Clifford |date=3 April 2014 |title=Inside Johnny Depp's 'Transcendence' Trip to China |url=https://hollywoodreporter.com/news/inside-johnny-depps-transcendence-trip-693223 |work=The Hollywood Reporter |quote=As China's box office continues to boom – it expanded 30 percent in the first quarter of 2014 and is expected to reach $4.64 billion by year's end – Beijing is replacing London and Tokyo as the most important promotional destination for Hollywood talent.}}{{cite web|url=http://www.ibtimes.com/beijing-becomes-top-spot-international-hollywood-promotional-tours-1566444|title=Beijing Becomes A Top Spot On International Hollywood Promotional Tours|website=International Business Times|first=Michelle|last=FlorCruz|date=2 April 2014|quote=The booming mainland Chinese movie market has focused Hollywood's attention on the Chinese audience and now makes Beijing more important on promo tours than Tokyo and Hong Kong}}

In 2018, China's gross box office was US$8.9 Billion{{Cite web|url=https://variety.com/2019/film/news/china-box-office-2018-annual-1203097545/|title=China Box Office Growth Slows to 9% in 2018, Hits $8.9 Billion|date=2 January 2019}}

In 2013, China's gross box office was ¥21.8 billion (US$3.6 billion), the second-largest film market in the world by box office receipts{{Cite web|title = China B.O. up 27% in 2013|url = http://www.filmbiz.asia/news/china-bo-up-27-in-2013|website = www.filmbiz.asia|access-date = 2 December 2015|url-status = dead|archive-url = https://web.archive.org/web/20160101005554/http://www.filmbiz.asia/news/china-bo-up-27-in-2013|archive-date = 1 January 2016|df = dmy-all}} It increased to $4.8 Billion in 2014 box office grosser in film industry.{{Cite web|url = http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf|title = Theatrical Market Statistics 2014 – MPAA}} Due to the COVID-19 pandemic, in 2020 China overtook North America as world's biggest box office, being the first country to achieve this status.{{cite news | last=Brzeski | first=Patrick | url=https://www.hollywoodreporter.com/news/its-official-china-overtakes-north-america-as-worlds-biggest-box-office-in-2020 | title=It's Official: China Overtakes North America as World's Biggest Box Office in 2020 | work=The Hollywood Reporter | date=18 October 2020 | access-date=19 October 2020 }} China retained this status in 2021. However, in 2022, North America once again overtook China as the global box office's biggest market.{{Cite web|url=https://variety.com/2022/biz/asia/north-america-china-global-box-office-recovery-1235275084/|title=North America Set to Beat China as the Global Box Office's Biggest Market|date=23 May 2022}}

{{Main|Cinema of the United States}}

File:Hollywood Sign (Zuschnitt).jpg|226x226px]]

The cinema of the United States, often generally referred to as Hollywood, has had a profound effect on cinema across the world since the early 20th century. The United States cinema (Hollywood) is the oldest film industry in the world and also the largest film industry in terms of revenue. Hollywood is the primary nexus of the U.S. film industry with established film study facilities such as the American Film Institute, LA Film School, and NYFA being established in the area.{{cite web|url=https://www.nyfa.edu/los-angeles/|title=New York Film Academy – Los Angeles|website=www.nyfa.edu}} However, four of the six major film studios are owned by East Coast companies. The major film studios of Hollywood including Metro-Goldwyn-Mayer, 20th Century Studios, and Paramount Pictures are the primary source of the most commercially successful movies in the world,{{cite book |last1=Kerrigan |first1=Finola |title=Film Marketing |date=2010 |publisher=Butterworth-Heinemann |location=Oxford |isbn=9780750686839 |page=18 |url=https://books.google.com/books?id=ufMdvuuTQ7MC&pg=PA18 |access-date=4 February 2022}}{{cite book |last1=Davis |first1=Glyn |last2=Dickinson |first2=Kay |last3=Patti |first3=Lisa |last4=Villarejo |first4=Amy |title=Film Studies: A Global Introduction |date=2015 |publisher=Routledge |location=Abingdon |isbn=9781317623380 |page=299 |url=https://books.google.com/books?id=dnXABgAAQBAJ&pg=PA299 |access-date=24 August 2020}} including movies such as The Sound of Music (1965), Star Wars (1977), Titanic (1997), and Avatar (2009).

American film studios today collectively generate several hundred films every year, making the United States the most prolific producers of films in the world.{{cite web|last=Donckels

|first=William|title=Disney Raises SoCal Annual Pass Prices 30% – to Keep Locals "Out"|url=http://technorati.com/business/article/disney-raises-socal-annual-pass-prices/|publisher=Technorati.com|access-date=28 November 2012|archive-date=6 June 2012|archive-url=https://web.archive.org/web/20120606051516/http://technorati.com/business/article/disney-raises-socal-annual-pass-prices/}} Most shooting now{{When|date=November 2019}} takes place in California, New York, Louisiana, Georgia and North Carolina. New Mexico, especially in the Albuquerque and Santa Fe areas, had been an increasingly popular state for filming; the television show Breaking Bad was set there, and movies such as No Country for Old Men and Rust were shot there. {{Citation needed|date=November 2019}} Between 2009 and 2015, Hollywood consistently grossed $10 billion (or more) annually.Number of total movies in 2014 are taken from http://www.boxofficemojo.com/yearly/chart/?yr=2014 {{Webarchive|url=https://web.archive.org/web/20140707182331/http://www.boxofficemojo.com/yearly/chart/?yr=2014&p=.htm |date=7 July 2014 }} Hollywood's award ceremony, the Academy Awards, officially known as The Oscars, is held by the Academy of Motion Picture Arts and Sciences (AMPAS) every year and as of 2019, more than 3,000 Oscars have been awarded.{{Cite web|url=https://www.oscars.org/oscars/statuette|title=Oscar Statuette|website=Oscars.org|date=25 July 2014|publisher=Academy of Motion Picture Arts and Sciences|language=en|access-date=8 November 2019}}File:Nestor studio 1911.jpg

On 27 October 1911, Nestor Film Company established Hollywood's first permanent film studio. The California weather allowed for year-round filming. In 1912, Universal Studios was formed, merging Nestor and several other motion picture companies, including Independent Moving Pictures (IMP).

{{Main|Cinema of India}}

{{Further|Hindi cinema|Tamil cinema|Telugu cinema|Malayalam cinema|Kannada cinema|Cinema of West Bengal|Marathi cinema}}

File:Raja Harishchandra.jpg (1913) – credited as the first full-length Indian motion picture.]]

India is the largest producer of films in the world and the second-oldest film industry in the world.Khanna, "The Business of Hindi Films", 140 The country is home to some of the most important cities in the global film industry: Mumbai (previously Bombay), Hyderabad and Chennai (Madras). In 2009, India produced a total of 2,961 films on celluloid; this figure includes 1,288 feature films.{{Cite journal

|title = Annual Report 2010

|url = http://cbfcindia.gov.in/html/uniquepage.aspx?unique_page_id=30

|format = PDF

|access-date = 16 July 2010

|publisher = Central Board of Film Certification, Ministry of Information and Broadcasting, GOVERNMENT OF INDIA.

|url-status = dead

|archive-url = https://web.archive.org/web/20110301022622/http://cbfcindia.gov.in/html/uniquepage.aspx?unique_page_id=30

|archive-date = 1 March 2011

}} Besides being the largest producer of films in the world, India also has the largest number of admissions.According to 2014 [http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf Theatrical Market Statistics] {{Webarchive|url=https://web.archive.org/web/20150328004449/http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf |date=28 March 2015 }} by MPAA Indian film industry is multi-lingual and the largest in the world in terms of ticket sales but 3rd-largest in terms of revenue, mainly due to having among the lowest ticket prices in the world.{{Cite news|url=https://www.hollywoodreporter.com/news/hollywood-film-revenue-india-rises-10-percent-boosted-by-dubbed-versions-987585|title=Hollywood Film Revenue in India Rises 10 Percent, Boosted by Dubbed Versions|work=The Hollywood Reporter|access-date=23 March 2018|language=en}} The industry is viewed mainly by a vast film-going Indian public.{{Citation needed|date=February 2020}} Indian film industry is also the dominant source of films and entertainment in its neighboring countries of South Asia. The three largest film industries in India are Hindi cinema, Telugu cinema and Tamil cinema. The Hindi film industry is mostly concentrated in Mumbai (Bombay), and it is commonly referred to as Bollywood, a portmanteau of Bombay and Hollywood. Telugu cinema is primarily concentrated in Hyderabad and is commonly referred to as Tollywood. The Tamil film industry i.e. Kollywood is mostly concentrated in Chennai.

Besides the mainstream commercial movies, India also offers a different approach to cinema: the parallel cinema. The parallel cinema movement originated in West Bengal around the 1950s. The movement was initially led by Bengali cinema. It later gained prominence in other film industries in India. Parallel cinema is a blanket term designated to a certain type of films that stray away from the conventions of popular mainstream cinema. Parallel cinema has assumed various forms throughout the years. Filmmakers associated with parallel cinema are Satyajit Ray, Mrinal Sen, Ritwik Ghatak. Parallel films are characterized by their rejection of popular forms like the songs and fight sequences, their affinity for rural settings, their use of method actors, and toned-down color palettes. The best examples of parallel cinema are the most famous films of Ray – Pather Panchali (1955), Aparajito (1956), and The World of Apu (1959) – which formed The Apu Trilogy. Some other examples of such movies are Raincoat, Dhobi Ghat, Mithya. Indian films have garnered popularity not only in the domestic market but also in the international markets, with Dangal having an overseas gross revenue of $260 million, Secret Superstar and Bajrangi Bhaijaan making a gross revenue of $80.4 million, and Baahubali: The Beginning and Baahubali 2: The Conclusion (a blockbuster duology from Telugu cinema) grossing over $370 million globally.{{Cite news |last=Sudhir |first=TS |date=May 2017 |title=Is Baahubali 2 a Hindu film? Dissecting religion, folklore, mythology in Rajamouli's epic saga |work=FirstPost |url=http://www.firstpost.com/entertainment/is-baahubali-2-a-hindu-film-bahubali-2-religion-rajamouli-3416228.html |access-date=11 June 2022}} In India, they have over 400 production houses with 32 corporate houses; also supporting the livelihood of more than 6 million people.{{Cite journal |last1=Selvalakshmi M. |last2=Verma |first2=Hema |last3=Jain |first3=Neeta |date=July 2020 |title=Emergence of Indian Film Industry in the International Markets: Facilitators and Impeders |journal=International Journal of Asian Business and Information Management |language=en |volume=11 |issue=3 |pages=32–44 |doi=10.4018/IJABIM.2020070103 |issn=1947-9638|doi-access=free }}

The other largest film industries are Malayalam cinema, Kannada cinema, Bengali cinema (cinema of West Bengal) and Marathi cinema, primarily located in Kochi, Bengaluru, Kolkata, and Mumbai, respectively. The remaining majority portion are spread across northern, eastern, western, and southern India (with Gujarati, Punjabi, Odia, Bhojpuri, Assamese Cinema). However, there are several smaller centers of Indian film industries in regional languages centered in the states where those languages are spoken. Indian cinema encloses several several artforms like Indian classical music, folk music of different regions throughout the country, Indian classical dance, folk dance, and much more. Bollywood, Kollywood and Tollywood forms the largest portion of the Indian film industry and is viewed all over the Indian Subcontinent, and is increasingly{{When|date=February 2020}} popular in Australia, UK, United States, New Zealand, Southeast Asia, Africa, Gulf countries, European countries, East Asia and China. The largest film studio complex in the world is Ramoji Film City located at Hyderabad, India, which opened in 1996 and measures 674 ha (1,666 acres). Comprising 47 sound stages, it has permanent sets ranging from railway stations to temples.{{Cite web|url=http://www.guinnessworldrecords.com/world-records/largest-film-studio/|title=Largest film studio|website=Guinness World Records|access-date=31 May 2016}}

By 1986, India's annual film output had increased from 741 films produced annually to 833 films, making India the world's largest film producer.{{cite book |title=Films in Review |date=1986 |publisher=Then and There Media, LCC. |page=368 |url=https://books.google.com/books?id=Ah1CAQAAIAAJ |quote=And then I had forgotten that India leads the world in film production, with 833 motion pictures up from 741 the previous year.}} {{As of|2014}}, Bollywood represents 45% of Indian net box office revenue, while Tamil and Telugu cinemas together represent 36%, and the rest of the regional film industries constitute 21% of Indian cinema.{{cite web|title=The Digital March Media & Entertainment in South India|url=http://www2.deloitte.com/content/dam/Deloitte/in/Documents/technology-media-telecommunications/in-tmt-economic-contribution-of-motion-picture-and-television-industry-noexp.pdf|publisher=Deloitte|access-date=21 April 2014|archive-url=https://web.archive.org/web/20160114100635/http://www2.deloitte.com/content/dam/Deloitte/in/Documents/technology-media-telecommunications/in-tmt-economic-contribution-of-motion-picture-and-television-industry-noexp.pdf|archive-date=14 January 2016|url-status=live}} By 2021, Telugu Cinema (Tollywood) has overtaken both Hindi cinema (Bollywood) and Tamil cinema (Kollywood), emerged as the largest film industry in India in terms of box-office. In 2023, Bollywood again emerged as the largest film industry in India.{{Cite news |last=S |first=Srivatsan |date=7 January 2022 |title=The 'pan-Indian' strategy of Telugu cinema |language=en-IN |work=The Hindu |url=https://www.thehindu.com/entertainment/movies/the-pan-indian-strategy-of-telugu-cinema/article38163523.ece |access-date=20 January 2022 |issn=0971-751X}}{{Cite magazine |last1=Mukherjee |first1=Nairita |last2=Joshi |first2=Tushar |date=23 December 2021 |title=Is South cinema the new Bollywood? |url=https://www.indiatoday.in/movies/regional-cinema/story/is-south-cinema-the-new-bollywood-1890835-2021-12-22 |magazine=India Today |language=en |access-date=20 January 2022}}

{{Main|Cinema of Russia}}

The cinema of Russia, popularly known as Mollywood, refers to the film industry in Russia, engaged in producing motion pictures in the Russian language. The popular term Mollywood is a portmanteau of "Moscow" and "Hollywood". It began in the Russian Empire, widely developed in the Soviet Union, and the years following its dissolution. The Russian film industry would remain internationally recognized. In the 21st century, Russian cinema has become known internationally with films such as Hardcore Henry (2015), Leviathan (2014), Night Watch (2004) and Brother (1997). The Moscow International Film Festival began in Moscow during 1935. The Nika Award is the main annual national film award in Russia.

File:Кадр из фильма Анна Каренина (1914), перешедший в общественное достояние.jpg in Anna Karenina (1914)]]

The first films seen in the Russian Empire were brought in by the Lumière brothers, who exhibited films in Moscow and St. Petersburg in May 1896. That same month, Lumière cameraman Camille Cerf made the first film in Russia, recording the coronation of Nicholas II at the Kremlin.{{cite book|title=Historical Dictionary of Russian and Soviet Cinema|author=Peter Rollberg|publisher=Rowman & Littlefield|year=2009|place=US|isbn=978-0-8108-6072-8|page=xxiii}} Aleksandr Drankov produced the first Russian narrative film Stenka Razin (1908), based on events told in a folk song and directed by Vladimir Romashkov. Among the notable Russian filmmakers of the era were Aleksandr Khanzhonkov and Ivan Mozzhukhin, who made Defence of Sevastopol in 1912. Yakov Protazanov made Departure of a Grand Old Man (1912), a biographical film about Lev Tolstoy.

Animation pioneer Ladislas Starevich made the first Russian animated film (and the first stop motion puppet film with a story) in 1910 – Lucanus Cervus. His other stop-motion shorts The Beautiful Leukanida (1912) and The Cameraman's Revenge (1912), produced for Aleksandr Khanzhonkov, are also among the first animated films. In the following years, Starevich made shorts based on fables such as The Grasshopper and the Ant (1913), as well as World War I propaganda films.{{citation needed|date=June 2024}}.

{{Main|Cinema of the United Kingdom}}

File:Williamfriesegreen.jpg

File:BFI London IMAX at night.jpg has the largest cinema screen in Britain with a total screen size of 520 m².{{cite web|url=http://www.bfi.org.uk/whatson/bfi_imax/the_imax_experience/about_the_bfi_imax |title=About the BFI IMAX {{pipe}} BFI |access-date=2 June 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120613235503/http://www.bfi.org.uk/whatson/bfi_imax/the_imax_experience/about_the_bfi_imax |archive-date=13 June 2012 }}]]

The United Kingdom has had a significant film industry for over a century. While film production reached an all-time high in 1936,{{cite web|url = http://www.screenonline.org.uk/film/facts/fact2.html |title = BFI Screenonline: UK Feature Films Produced 1912–2003 |access-date =30 June 2008}} the "golden age" of British cinema is usually thought to have occurred in the 1940s, during which the directors David Lean,{{cite web|url=http://www.bfi.org.uk/sightandsound/topten/poll/directors-directors.html |title=The Directors' Top Ten Directors |access-date=2 November 2010 |publisher=British Film Institute |url-status=dead |archive-url=https://web.archive.org/web/20110514093259/http://www.bfi.org.uk/sightandsound/topten/poll/directors-directors.html |archive-date=14 May 2011 }} Michael Powell, (with Emeric Pressburger){{cite web|url=http://www.screenonline.org.uk/people/id/447167/index.html|title=Powell, Michael (1905–1990)|access-date=25 January 2011|publisher=British Film Institute}} and Carol Reed{{cite web|url=http://www.screenonline.org.uk/people/id/459891/index.html|title=Reed, Carol (1906–1976)|access-date=25 January 2011|publisher=British Film Institute}} produced their most highly acclaimed work. Many British actors have achieved worldwide fame and critical success, such as Maggie Smith, Roger Moore, Michael Caine,{{cite web|url=http://www.screenonline.org.uk/people/id/463342/index.html|title=Caine, Michael (1933–)|access-date=11 December 2010|publisher=British Film Institute}} Sean Connery,{{cite web|url=http://www.screenonline.org.uk/people/id/455509/index.html|title=Connery, Sean (1930–)|access-date=11 December 2010|publisher=British Film Institute}} Daniel Day-Lewis, Gary Oldman, and Kate Winslet.{{cite web|url=http://www.screenonline.org.uk/people/id/489012/index.html|title=Winslet, Kate (1975–)|access-date=11 December 2010|publisher=British Film Institute}} Some of the films with the largest-ever box-office returns have been made in the United Kingdom, including the third- and fourth-highest-grossing film series (Harry Potter and James Bond).{{cite news|url=https://www.theguardian.com/film/2007/sep/11/jkjoannekathleenrowling|title=Harry Potter becomes highest-grossing film franchise|access-date=2 November 2010|work=The Guardian|date=11 September 2007|location=London}}

The first moving picture was shot in Leeds by Louis Le Prince in 1888,{{cite web|url=https://www.bbc.co.uk/education/local_heroes/biogs/biogleprince.shtml|archive-url=https://web.archive.org/web/19991128020048/http://www.bbc.co.uk/education/local_heroes/biogs/biogleprince.shtml |archive-date=28 November 1999|publisher=BBC Education|work=Local Heroes|title=Louis Le Prince|date=28 November 1999|access-date=14 August 2011}}{{cite journal|last=Howells|first=Richard|title=Louis Le Prince: the body of evidence|journal=Screen|volume=47|issue=2|pages=179–200|publisher=Oxford Journals|date=Summer 2006|issn=0036-9543|doi=10.1093/screen/hjl015}} and the first moving pictures developed on celluloid film were made in Hyde Park, London, in 1889 by British inventor William Friese Greene,{{cite web|url=http://www.victorian-cinema.net/friesegreene|title=Who's Who of Victorian Cinema|website=www.victorian-cinema.net|access-date=28 September 2016}} who patented the process in 1890.

Two of the top eight-highest-grossing films worldwide of all time{{When|date=February 2020}} have some British historical, cultural or creative dimensions: Titanic (1997), Harry Potter and the Deathly Hallows – Part 2 (2011), The Lord of the Rings: The Return of the King (2003), and Pirates of the Caribbean: Dead Man's Chest (2005). Adding four more Harry Potter films and one more Lord of the Rings movie, plus the Tim Burton version of Alice in Wonderland (2010), and more than half of the top twenty most financially successful{{When|date=February 2020}} films had a substantial British dimension.[https://boxofficemojo.com/alltime/world/ "All time Box Office Worldwide Grosses"] {{Webarchive|url=https://web.archive.org/web/20111022040157/http://www.boxofficemojo.com/alltime/world/ |date=22 October 2011 }}. Box Office Mojo. Retrieved 25 July 2008.{{Original research inline|date=February 2020}}

British influence can also be seen with the 'English Cycle' of Disney animated films, which include Alice in Wonderland (1951), Peter Pan (1953), One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), and The Jungle Book (1967).[http://www.timeslive.co.za/sundaytimes/article600292.ece/Barry-Ronges-Classic-DVD---Alice-in-Wonderland Barry Ronge's Classic DVD : Alice in Wonderland] {{Webarchive|url=https://web.archive.org/web/20131225173852/http://www.timeslive.co.za/sundaytimes/article600292.ece/Barry-Ronges-Classic-DVD---Alice-in-Wonderland |date=25 December 2013 }}, The Times, It was made under the personal supervision of Walt Disney, who called them his "English Cycle". Disney first became interested in live-action films as a means of using financial reserves which had built up in Britain, and could not be repatriated owing to exchange controls, by making two films from Scottish and English sources. These were Treasure Island (1950) and The Story of Robin Hood and His Merrie Men (1952), which were both successes at the box office. The studio continued to draw on British source material for its animated films after Walt Disney died in 1967, with the cartoon feature films Robin Hood (1973), The Many Adventures of Winnie the Pooh and The Rescuers (both 1977), one of many Disney to draw on A. A. Milne's characters.

In the 1970s and 1980s, British studios established a reputation{{Citation needed|date=February 2020}} for great special effects in films such as Superman (1978), Alien (1979), and Batman (1989). Some of this reputation was founded on the core of talent brought together for the filming of 2001: A Space Odyssey (1968) who subsequently worked together on series and feature films for Gerry Anderson. The Bristol-based Aardman Animations is known for its stop-motion animation.

In late 1998, Channel 4 launched their free-to-air film channel Film4 – a channel specifically designed to show films. It broadcasts from 11:00 am BST and competes with pay television film network Sky Cinema.

The London-based visual effects company Framestore, with Tim Webber the visual effects supervisor, have worked on the films The Dark Knight (2008) and Gravity (2013), with new techniques involved in Gravity taking three years to complete.Nick Roddick, [https://www.standard.co.uk/goingout/film/tim-webber-the-man-who-put-sandra-bullock-in-space-8804917.html "Tim Webber: the man who put Sandra Bullock in space"] {{Webarchive|url=https://web.archive.org/web/20140122140458/http://www.standard.co.uk/goingout/film/tim-webber-the-man-who-put-sandra-bullock-in-space-8804917.html |date=22 January 2014 }}, Evening Standard, 17 September 2013. Retrieved 17 January 2014.

{{Main|Cinema of France}}

France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself.{{cite news |url=https://www.nytimes.com/1995/02/28/movies/the-birthplace-celebrates-film-s-big-1-0-0.html |title=The Birthplace Celebrates Film's Big 1–0–0 |work=The New York Times |date=28 February 1995 |author=Alan Riding |url-status=live |archive-url=https://web.archive.org/web/20170626084746/http://www.nytimes.com/1995/02/28/movies/the-birthplace-celebrates-film-s-big-1-0-0.html |archive-date=26 June 2017 }} Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.

French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina (Gaspar Noé and Edgardo Cozarinsky), Russia (Alexandre Alexeieff, Anatole Litvak), Austria (Michael Haneke), and Georgia (Géla Babluani, Otar Iosseliani) are prominent in the ranks of French cinema. Conversely, some French directors have had careers in other countries, such as Luc Besson, Jacques Tourneur, or Francis Veber in the United States.

Another element supporting this fact is that Paris has the highest density of cinemas in the world, measured by the number of movie theaters per inhabitant,[http://old.campusfrance.org/en/a-etudier/faq.htm 20 questions about studying in France] {{webarchive|url=https://web.archive.org/web/20110504080519/http://old.campusfrance.org/en/a-etudier/faq.htm |date=4 May 2011 }} and that in most "downtown Paris" movie theaters, foreign movies which would be secluded to "art houses" cinemas in other places are shown alongside "mainstream" works. Philippe Binant realized, on 2 February 2000, the first digital cinema projection in Europe, with the DLP CINEMA technology developed by Texas Instruments, in Paris.{{Cite book|url=https://books.google.com/books?id=n_wTAgAAQBAJ&dq=creton+kitsopanidou+binant&pg=PT77|title=Les salles de cinéma: Enjeux, défis et perspectives|first1=Laurent|last1=Creton|first2=Kira|last2=Kitsopanidou|date=20 November 2013|publisher=Armand Colin| isbn=978-2-200-29011-5 |via=Google Books}}{{dead link|date=May 2024}} Paris also boasts the Cité du cinéma, a major studio north of the city, and Disney Studio, a theme park devoted to the cinema and the third theme park near the city behind Disneyland and Parc Asterix.{{cite web|language=en|title=Paris cinema|url=https://www.parisdigest.com/paris/cinema.htm|access-date=1 September 2018}}

In 2015, France saw a record-breaking 300 feature-length films produced.{{cite web|url=http://www.cnc.fr/web/fr/flux/-/journal_content/56_INSTANCE_k0Tr/18/8963838?refererPlid=64476|title=CNC – flux|website=www.cnc.fr|url-status=live|archive-url=https://web.archive.org/web/20170109021759/http://www.cnc.fr/web/fr/flux/-/journal_content/56_INSTANCE_k0Tr/18/8963838?refererPlid=64476|archive-date=9 January 2017}} US and UK films only represented 44.9% of total admissions in 2014. This is largely due to the commercial strength of domestic productions, which accounted for 44,5% of admissions in 2014 (35.5% in 2015; and 35.3% in 2016).{{cite web|url=http://www.cnc.fr/web/fr/frequentation-cinematographique|title=CNC – fréquentation cinématographique|website=www.cnc.fr|archive-url=https://web.archive.org/web/20151115211548/http://www.cnc.fr/web/fr/frequentation-cinematographique|archive-date=15 November 2015|url-status=dead|access-date=23 March 2019}} In the mid-2000s, the French film industry was described as being "closer to being entirely self-sufficient than any other country in Europe, recovering around 80–90% of their budget in revenues generated from the domestic market".{{cite web |url=http://www.skillset.org/film/knowledge/article_5076_1.asp |archive-url=https://web.archive.org/web/20061001074804/http://www.skillset.org/film/knowledge/article_5076_1.asp |url-status=dead |archive-date=1 October 2006 |title=The French System and Managing Co-productions |publisher=Skillset |date=20 April 2008 |access-date=19 April 2012 }} In 2018, French films had an international box office of €237m with 40 million admissions (down 52% from 2017), with Italy being the top foreign market.{{Cite web|url=https://www.screendaily.com/news/international-box-office-for-french-films-fell-50-in-2018/5135911.article|title=International box office for French films fell 50% in 2018|last=Goodfellow|first=Melanie|date=17 January 2019|website=Screen|language=en|access-date=29 February 2020}}

{{Main|Cinema of Japan}}

Japan has one of the oldest and largest film industries in the world; as of 2010, it was the fourth largest by number of feature films produced.{{cite web|title=Top 50 countries ranked by number of feature films produced, 2005–2010 |url=http://screenaustralia.gov.au/research/statistics/acompfilms.asp |work=Screen Australia |access-date=14 July 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121027152501/http://screenaustralia.gov.au/research/statistics/acompfilms.asp |archive-date=27 October 2012 }} Movies have been produced in Japan since 1897, when the first foreign cameramen arrived.{{Citation needed|date=February 2020}}

In a Sight & Sound list of the best films produced in Asia, Japanese works made up eight of the top 12, with Tokyo Story (1953) ranked number one.{{Citation needed|date=February 2020}} Tokyo Story also topped the 2012 Sight & Sound directors' poll of The Top 50 Greatest Films of All Time, dethroning Citizen Kane,{{cite web |url=http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten |archive-url=https://web.archive.org/web/20120803032035/http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten |url-status=dead |archive-date=3 August 2012 |title=Directors' 10 Greatest Films of All Time |work=Sight & Sound |publisher=British Film Institute |date=4 December 2014}}{{cite web |url=http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/directors |archive-url=https://web.archive.org/web/20160209010504/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/directors |url-status=dead |archive-date=9 February 2016 |title=Directors' Top 100 |year=2012 |work=Sight & Sound |publisher=British Film Institute}} while Akira Kurosawa's Seven Samurai (1954) was voted the greatest foreign-language film of all time in BBC's 2018 poll of 209 critics in 43 countries.{{Cite web|url=http://www.bbc.com/culture/story/20181029-the-100-greatest-foreign-language-films|title=The 100 greatest foreign-language films|website=BBC Culture|date=29 October 2018|language=en|access-date=1 November 2018}} Japan has won the Academy Award for the Best Foreign Language Film four times (Rashomon, Gate of Hell, Samurai I: Musashi Miyamoto, and Departures), more than any other Asian country.{{When|date=February 2020}}.

{{Main|Cinema of Iran}}

The cinema of Iran (Persian: سینمای ایران) or cinema of Persia refers to the cinema and film industries in Iran which produce a variety of commercial films annually. Iranian art films have garnered international fame and now enjoy a global following.{{Cite web|url=http://www.internews.org/visavis/BTVPagesInews/Iranian_Cinema.html|archiveurl=https://archive.today/20120802041712/http://www.internews.org/visavis/BTVPagesInews/Iranian_Cinema.html|url-status=dead|title=The Iranian Cinema|archivedate=2 August 2012}}

Along with China, Iran has been lauded as one of the best exporters of cinema in the 1990s.{{cite web|url=https://web.stanford.edu/group/psa/events/1999-00/kiarostami/articles.utf8.html|title=Abbas Kiarostami: Articles & Interviews|website=web.stanford.edu|access-date=6 March 2019|archive-date=20 August 2014|archive-url=https://web.archive.org/web/20140820050936/https://web.stanford.edu/group/psa/events/1999-00/kiarostami/articles.utf8.html|url-status=dead}} Some critics now{{When|date=September 2018}} rank Iran as the world's most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades. German filmmaker Werner Herzog has praised Iranian cinema as one of the world's most important artistic cinemas."The Iranian Cinema: A Dream With No Awakening" {{Cite web |url=http://incolor.inebraska.com/theater/spring2000/the_iranian_cinema.html |title=The Iranian Cinema: A Dream with No Awakening -- Mary Riepma Ross Film Theater |access-date=5 November 2016 |archive-date=21 October 2006 |archive-url=https://web.archive.org/web/20061021003434/http://incolor.inebraska.com/theater/spring2000/the_iranian_cinema.html |url-status=dead }}

It is notable, that Iran has won 2 Academy Awards and has been nominated 3 times, which is ranked 11th in the world cinema, second in Asia after Japan, and first in the Middle East.{{citation needed|date=February 2025}}

{{Main|Cinema of Turkey}}

The Turkish film market stands out in the pan-European landscape as the only market where national films regularly outperform US films.{{Cite web|title = Recherche – Observatoire européen de l'audiovisuel|url = http://www.obs.coe.int/search;jsessionid=D05A94F1FCE1B2DA4668DD2F803CC449?p_p_id=coesearch_WAR_coesearchportlet&p_p_lifecycle=0&p_p_state=normal&p_p_mode=view&p_p_col_id=column-1&p_p_col_count=1&_coesearch_WAR_coesearchportlet_mvcPath=%252Fhtml%252Fsearch%252Fview_content.jsp&_coesearch_WAR_coesearchportlet_displayGroupId=205595&_coesearch_WAR_coesearchportlet_displayArticleId=8094731&_coesearch_WAR_coesearchportlet_displayLanguageId=en_GB&_coesearch_WAR_coesearchportlet_displayUrl=http%253A%252F%252Fwww.obs.coe.int%252Fc%252Fjournal%252Fview_article_content%253FgroupId%253D205595%2526articleId%253D8094731%2526locale%253Den_GB&_coesearch_WAR_coesearchportlet_redirect=http%253A%252F%252Fwww.obs.coe.int%252Fsearch%253Bjsessionid%253DD05A94F1FCE1B2DA4668DD2F803CC449%253Fp_auth%253Di0ZpXIfm%2526p_p_id%253Dcoesearch_WAR_coesearchportlet%2526p_p_lifecycle%253D1%2526p_p_state%253Dnormal%2526p_p_mode%253Dview%2526p_p_col_id%253Dcolumn-1%2526p_p_col_count%253D1%2526_coesearch_WAR_coesearchportlet_keywords%253Dno%252Bof%252Badmissions%2526_coesearch_WAR_coesearchportlet_javax.portlet.action%253Dsearch|archive-url = https://web.archive.org/web/20151208131614/http://www.obs.coe.int/search;jsessionid=D05A94F1FCE1B2DA4668DD2F803CC449?p_p_id=coesearch_WAR_coesearchportlet&p_p_lifecycle=0&p_p_state=normal&p_p_mode=view&p_p_col_id=column-1&p_p_col_count=1&_coesearch_WAR_coesearchportlet_mvcPath=%252Fhtml%252Fsearch%252Fview_content.jsp&_coesearch_WAR_coesearchportlet_displayGroupId=205595&_coesearch_WAR_coesearchportlet_displayArticleId=8094731&_coesearch_WAR_coesearchportlet_displayLanguageId=en_GB&_coesearch_WAR_coesearchportlet_displayUrl=http%253A%252F%252Fwww.obs.coe.int%252Fc%252Fjournal%252Fview_article_content%253FgroupId%253D205595%2526articleId%253D8094731%2526locale%253Den_GB&_coesearch_WAR_coesearchportlet_redirect=http%253A%252F%252Fwww.obs.coe.int%252Fsearch%253Bjsessionid%253DD05A94F1FCE1B2DA4668DD2F803CC449%253Fp_auth%253Di0ZpXIfm%2526p_p_id%253Dcoesearch_WAR_coesearchportlet%2526p_p_lifecycle%253D1%2526p_p_state%253Dnormal%2526p_p_mode%253Dview%2526p_p_col_id%253Dcolumn-1%2526p_p_col_count%253D1%2526_coesearch_WAR_coesearchportlet_keywords%253Dno%252Bof%252Badmissions%2526_coesearch_WAR_coesearchportlet_javax.portlet.action%253Dsearch|url-status = dead|archive-date = 8 December 2015|website = www.obs.coe.int|access-date = 4 December 2015}} In 2013, it had 1.2 million number of admissions and 87 feature films were released.{{Cite book|title = The Turkish Film Industry|last = Kanzler|first = Martin|publisher = European Audiovisual Observatory|year = 2014|pages = 59}} Between 2004 and 2014, the estimated 12.9 million admissions generated on non-national European markets only accounted for 7% of total admissions to Turkish films in Europe (including Turkey). This was the third lowest share among the 30 European markets for which such data are available and clearly illustrates the strong dependence of Turkish films on the domestic market, a feature which is shared by Polish and Russian films.{{Cite book|title = The Turkish Film Industry|last = Kanzler|first = Martin|publisher = European Audiovisual Observatory|year = 2014|pages = 61}}

In 2014, Kış Uykusu (Winter's Sleep) won the Cannes Film Festival Award for Best Film.{{Cite book|title = The Turkish Film Industry|last = Kanzler |first = Martin|publisher = European Audiovisual Observatory|year = 2014|pages = 67}} In 2013, Turkey still ranked behind the Netherlands in terms of the box office with just over EUR 200 million as Europe's eight largest box office market ahead of Sweden and Switzerland with a clear gap to the top 6 markets all of which registered GBO between EUR 504 million (Spain) up to over EUR 1 billion in France, the UK, Germany and the Russian Federation.{{Cite book|title = The Turkish Film Industry|last = Kanzler|first = Martin|publisher = European Audiovisual Observatory|year = 2014|pages = 71}} Cinema going is comparatively cheap in Turkey. In 2013 a cinema ticket cost an average of EUR 4.0 in Turkey, and this was estimated to be the lowest average ticket price – measured in Euro – in Europe, marginally cheaper than in several Central and Eastern Europe markets like Croatia, Romania, Lithuania or Bulgaria (subject to exchange rates).{{Cite book|title = The Turkish Film Industry|last = Kanzler|first = Martin|publisher = European Audiovisual Observatory|year = 2014|pages = 72}}

{{Main|Cinema of Egypt}}

A limited number of silent films were made in Egypt beginning in 1896; 1927's Laila was notable as the first full-length feature. Cairo's film industry became a regional force with the coming of sound. Between 1930 and 1936, various small studios produced at least 44 feature films. In 1936, Studio Misr, financed by industrialist Talaat Harb, emerged as the leading Egyptian equivalent to Hollywood's major studios, a role the company retained for three decades.{{Cite book |last=Darwish |first=Mustafa |url=https://books.google.com/books?id=GwBlAAAAMAAJ |title=Dream Makers on the Nile: A Portrait of Egyptian Cinema |date=1998 |publisher=American University in Cairo Press |isbn=978-977-424-429-2 |language=en}} Of the more than 4,000 short and feature-length films made in MENA region since 1908, more than three-quarters were Egyptian films. Egyptian films are typically spoken in the Egyptian Arabic dialect.{{Cite book |last=Shafik |first=Viola |url=https://books.google.com/books?id=QusdDAAAQBAJ&q=egyptian+cinema |title=Popular Egyptian Cinema: Gender, Class, and Nation |date=2007 |publisher=Oxford University Press |isbn=978-977-416-053-0 |language=en}}{{Cite web |last=Houissa |first=Ali |title=LibGuides: Middle Eastern & North African Cinema & Film: Egyptian Cinema & Film |url=https://guides.library.cornell.edu/MidEastCinema/Egypt |access-date=2023-11-06 |website=guides.library.cornell.edu |language=en}}

Since 1976, Cairo has held the annual Cairo International Film Festival (CIFF), which is accredited by the International Federation of Film Producers Association. In 1996, the Egyptian Media Production City (EMPC) was inaugurated in 6th of October City south of Cairo, although by 2001, only one of the 29 planned studios was operational.{{Cite news|url=https://www.arabmediasociety.com/the-media-free-zone-an-egyptian-media-production-city-finesse/|title=The Media Free Zone: An Egyptian Media Production City Finesse – Arab Media & Society|last=Kandil|first=Heba|date=1 June 2001|work=Arab Media & Society|access-date=20 September 2018|language=en-US}} Censorship, formerly an obstacle to freedom of expression, has decreased remarkably by 2012, when the Egyptian cinema had begun to tackle boldly issues ranging from sexual issues{{cite web|last=Krajeski|first=Jenna|title=Acclaimed Movie "678" Shows the Ubiquity of Sexual Harassment in Egypt|date=21 March 2011|url=http://www.slate.com/blogs/xx_factor/2011/03/21/sexual_harassment_in_egypt_678_shows_how_pervasive_a_problem_it_is.html|publisher=Slate.com|access-date=29 November 2012}} to heavy government criticism.{{cite web|last=El Deeb|first=Sarah|title=Egypt court sentences 8 to death over prophet film|url=https://www.google.com/hostednews/ap/article/ALeqM5gMzWdRJfXai5r2qFA_p0ca1jRD3Q?docId=65ef5fb853054f0caa56ca36f963feba|archive-url=https://web.archive.org/web/20121129141950/http://www.google.com/hostednews/ap/article/ALeqM5gMzWdRJfXai5r2qFA_p0ca1jRD3Q?docId=65ef5fb853054f0caa56ca36f963feba|url-status=dead|archive-date=29 November 2012|publisher=Associated Press|access-date=29 November 2012}}

The 1940s, 1950s, and 1960s are generally considered the golden age of Egyptian cinema. As in the West, films responded to the popular imagination, with most falling into predictable genres (happy endings being the norm), and many actors making careers out of playing strongly typed parts. In the words of one critic, "If an Egyptian film intended for popular audiences lacked any of these prerequisites, it constituted a betrayal of the unwritten contract with the spectator, the results of which would manifest themselves in the box office."Farid, Samir, [http://weekly.ahram.org.eg/1999/462/cinema.htm "Lights, camera...retrospection"] {{webarchive |url=https://web.archive.org/web/20130511112523/http://weekly.ahram.org.eg/1999/462/cinema.htm |date=11 May 2013 }}, Al-Ahram Weekly, 30 December 1999 Since the 1990s, Egypt's cinema has gone in separate directions. Smaller art films attract some international attention but sparse attendance at home. Popular films, often broad comedies such as What A Lie!, and the extremely profitable works of comedian Mohamed Saad, battle to hold audiences either drawn to Western films or, increasingly, wary of the perceived immorality of film.Farid, Samir, [http://weekly.ahram.org.eg/2006/821/cu4.htm "An Egyptian Story"] {{webarchive |url=https://web.archive.org/web/20130514210715/http://weekly.ahram.org.eg/2006/821/cu4.htm |date=14 May 2013 }}, Al-Ahram Weekly, 23–29 November 2006

{{Main|Cinema of Korea}}

{{Further|Cinema of South Korea|Cinema of North Korea}}

The term cinema of Korea (or Korean cinema) encompasses the motion picture industries of North and South Korea. As with all aspects of Korean life during the past century, the film industry has often been at the mercy of political events, from the late Joseon dynasty to the Korean War to domestic governmental interference. While both countries have relatively robust film industries today{{When|date=February 2020}}{{Citation needed|date=February 2020}}, only South Korean films have achieved wide international acclaim. North Korean films tend to portray their communist or revolutionary themes.

South Korean films enjoyed a "Golden age" during the late 1950s and 1960s. By 2005 South Korea had become one of few nations to watch more domestic than imported films in theaters{{cite web |title=Future Korean Filmmakers Visit UCLA |url=http://www.asiaarts.ucla.edu/article.asp?parentid=7747 |access-date=18 November 2007 |url-status=dead |archive-url=https://web.archive.org/web/20071224021642/http://www.asiaarts.ucla.edu/article.asp?parentid=7747 |archive-date=24 December 2007 }} due largely to laws placing limits on the number of foreign films able to be shown per theater per year.{{cite news |title= U.S. Films Troubled by New Sabotage in South Korea Theater |url=https://www.latimes.com/archives/la-xpm-1989-06-19-ca-1754-story.html | work=Los Angeles Times | first=Sam |last=Jameson |date=19 June 1989}} In the theaters, Korean films must be played for 73 days per year since 2006. On cable TV 25% domestic film quota will be reduced to 20% after KOR-US FTA.[http://imnews.imbc.com/replay/nwdesk/article/2973213_5780.html 한미FTA 체결, 영화산업 타격은?] {{webarchive|url=https://web.archive.org/web/20130923214944/http://imnews.imbc.com/replay/nwdesk/article/2973213_5780.html |date=23 September 2013 }}, MBC (Korean)

The cinema of South Korea had a total box office gross in the country in 2015 of ₩{{Format price|884000000000}} and had 113,000,000 admissions, 52% of the total admissions. {{Citation needed|date=February 2020}}

{{Main|Cinema of Poland}}

{{Further|Polish Film School|HollyŁódź}}

File:Seweryn, Olbrychski, Pszoniak 3.jpg in Kraków, 2012, with Andrzej Seweryn, Daniel Olbrychski, and Wojciech Pszoniak on stage.]]

The history of Cinema of Poland is almost as long as the history of cinematography, and it has universally recognized achievements, even though Polish films tend to be less commercially available than films from several other European nations.

After World War II, the communist government built an auteur-based national cinema, trained hundreds of new directors, and empowered them to make films. Filmmakers like Roman Polański, Krzysztof Kieślowski, Agnieszka Holland, Andrzej Wajda, Andrzej Żuławski, Andrzej Munk, and Jerzy Skolimowski impacted the development of Polish film-making. In more recent years, the industry has been producer-led with finance being the key to a film being made, and with many independent filmmakers of all genres, Polish productions tend to be more inspired by American film.

The Polish Film School was under the heavy influence of Italian neorealists. It took advantage of the liberal changes in Poland after 1956 Polish October to portray the complexity of Polish history during World War II and German occupation. Among the most important topics were the generation of former Home Army soldiers and their role in post-war Poland and the national tragedies like the German concentration camps and the Warsaw Uprising. The political changes allowed the group to speak more openly about the recent history of Poland. However, the rule of censorship was still strong when it came to history after 1945 and there were very few films on contemporary events. This marked the major difference between the members of the Polish Film School and Italian neorealists.

The Polish Film School was the first to underline the national character of Poles and one of the first artistic movements in Central Europe to openly oppose the official guidelines of Socialist realism. The members of the movement tend to underline the role of the individual as opposed to collectivity. There were two trends within the movement: young directors such as Andrzej Wajda generally studied the idea of heroism, while another group (the most notable being Andrzej Munk) analyzed the Polish character via irony, humor, and dissection of national myths.

{{Main|Cinema of Indonesia}}

The biggest film studio in Southeast Asia was soft opened on 5 November 2011 on 10 hectares of land in Nongsa, Batam Island, Indonesia. Infinite Frameworks (IFW) is a Singapore-based company (close to Batam Island) which is owned by a consortium, 90 percent of which is held by Indonesian businessman and film producer Mike Wiluan.{{cite web |url=http://www.thejakartaglobe.com/home/indonesia-now-home-to-southeast-asias-biggest-movie-studios/478340 |title=Indonesia Now Home to Southeast Asia's Biggest Movie Studios

|date=14 November 2011}} In 2010–2011, due to the substantial increase in value-added tax applied to foreign films, cinemas no longer had access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the West and other major film producers of the world. This caused a massive ripple effect on the country's economy. It is assumed that this increased the purchase of unlicensed DVDs. However, even copyright-violating DVDs took longer to obtain. The minimum cost to view a foreign film not screened locally was 1 million Rupiah. This was equivalent to US$100, as it includes a plane ticket to Singapore.{{cite web|url=http://www.thejakartaglobe.com/indonesia/new-import-policy-will-kill-indonesian-film-industry-noorca/423632 |title=New Import Policy Will Kill Indonesian Film Industry: Noorca |access-date=31 October 2016 |url-status=dead |archive-url=https://web.archive.org/web/20120923200931/http://www.thejakartaglobe.com/indonesia/new-import-policy-will-kill-indonesian-film-industry-noorca/423632 |archive-date=23 September 2012 }}

{{Main|Cinema of Pakistan}}

{{Further|Lollywood}}

The cinema of Pakistan, or simply Pakistani cinema ({{langx|ur|{{Nastaliq|پاکستانی سنیما}}}}), refers to Pakistan's film industry. Most of the feature films shot in Pakistan are in Urdu, the national language, but may also include films in English, the official language, and regional languages such as Punjabi, Pashto, Balochi, and Sindhi. Lahore has been described as the epicenter of Pakistani cinema, giving rise to the term "Lollywood" as a portmanteau of Lahore and Hollywood.

Before the separation of Bangladesh, Pakistan had three main film production centers: Lahore, Karachi and Dhaka. The regime of Muhammad Zia-ul-Haq, VCRs, film piracy, the introduction of entertainment taxes, strict laws based upon ultra-conservative jurisprudence, was an obstacle to the industry's growth.{{cite web|url=http://www.dawn.com/news/1045365|title=New-wave of Pakistani cinema: Zinda and kicking|first=Nadeem F.|last=Paracha|date=26 September 2013|website=Dawn}} Once thriving, the cinema in Pakistan had a sudden collapse in the 1980s and by the 2000s "an industry that once produced an average of 80 films annually was now struggling to even churn out few movies." However, the boom in the Television Industry in Karachi which gave rise to bigger privately owned media houses led to a revival of the Pakistan Film Industry in the early 2010s. Karachi, now the biggest production center of the Film Industry in Pakistan produces Urdu, English, and Sindhi language Pakistani movies. Lahore is the second big film producer now (mostly Punjabi movies) followed by Peshawar where mostly Pashto films are produced. Films are also being produced on a very small scale from Islamabad (Urdu and English movies) and Quetta (Balochi movies). Pakistani films are gaining market in the local circuit and international markets like Gulf countries, UK-Europe, US-North America, and Far-East. Many Pakistani movies made their ways to Oscars' foreign language film category i.e. The Day Shall Dawn (1959), The Veil (Ghoonghat) (1963), Zinda Bhaag (2013), Dukhtar (2014), Moor (2015), Mah-e-Mir (2016), Saawan (2017), Cake (2018), Lal Kabootar (2019). Two Pakistani documentary films won the Oscars' for the best documentary film, these are, Saving Face (2012) and A Girl in the River (2016).

Pakistani movies especially Urdu movies revolve around family drama, romance, love stories, comedy, thriller, social matters, and political issues. In the contemporary era some Pakistani films have gained international acclaim, these include, Khuda Kay Liye (In the name of God), Bol, Verna, Zinda Bhaag, Load-Wedding, Wrong No., Cake, Teefa in Trouble, Lal Kabootar, Mah-e-Meer, Moor, The Legend of Maula Jatt.

Punjabi cinema is mostly themed on romance, family drama, and action while Pashto cinema revolves around action and tribal feuds.

Major Film Awards include Lux Style Awards, ARY Film Awards, Nigar Awards and National Film Awards.

Cinema of the Philippines began with the introduction of the first moving pictures to the country on August 31, 1897, at the Salón de Pertierra in Manila. The following year, local scenes were shot on film for the first time by a Spaniard, Antonio Ramos, using the Lumiere Cinematograph.{{cite web|url=http://sdfilipinocinema.org/philippine-cinema-history/|title=History of Philippine Cinema|website=sdfilipinocinema.org/|access-date=August 9, 2020}} While most early filmmakers and producers in the country were mostly wealthy enterprising foreigners and expatriates, on September 12, 1919, Dalagang Bukid (Country Maiden), a movie based on a popular musical play, was the first movie made and shown by Filipino filmmaker José Nepomuceno.[http://su.diva-portal.org/smash/record.jsf?pid=diva2:200615 "The Role of José Nepomuceno in the Philippine Society: What language did his silent film speaks?"] {{Webarchive|url=https://web.archive.org/web/20221122100343/http://su.diva-portal.org/smash/record.jsf?pid=diva2:200615 |date=22 November 2022 }}. Stockholm University Publications. Retrieved on January 6, 2011. Dubbed the "Father of Philippine Cinema", his work marked the start of cinema as an art form in the Philippines.{{cite book|last=Armes|first=Roy|title=Third World Film Making and the West|url=https://books.google.com/books?id=qFDnqIwdr8EC|year=1987|publisher=University of California Press|isbn=978-0-520-90801-7|page=152}}

{{Main|Cinema of Israel}}

Films have been made in Israel since before independence in 1948.[http://www.haaretz.com/weekend/week-s-end/editing-out-a-frame-of-history-1.349973 Editing out a frame of history], Haaretz The industry is relatively small economically but Israeli films have been nominated for more Academy Awards for Best Foreign Language Film than any other country in the Middle East. The government is attempting to attract foreign companies to film in Israel by offering subsidies for production costs.{{cite web|url=https://www.jns.org/israel-to-grant-up-to-45-million-shekels-to-bring-foreign-filmmakers-to-the-country/|access-date=2023-07-30|title=Israel to grant up to 45 million shekels to bring foreign filmmakers to the country|first=Maayan|last=Hoffman|date=2022-08-14|publisher=Jewish News Syndicate}}

{{Main|Cinema of Hong Kong}}

{{Further|Cinema of China|East Asian cinema}}

Image:LaiMan-Wai.jpg (1913) is credited as the first Hong Kong feature film]]

Hong Kong is a filmmaking hub for the Chinese-speaking world (including the worldwide diaspora) and East Asia in general. For decades it was the third-largest motion picture industry in the world (after India and the US) and the second-largest exporter of films.{{cite web|last=Gorman|first=Patrick J.|title=Hong Kong to Hollywood: A "ridiculous amount of interest" in Hong Kong cinema is redefining Tinseltown|url=http://www.moviemaker.com/directing/article/hong_kong_to_hollywood_3279/|publisher=Moviemaker.com|access-date=28 November 2012}} Despite an industry crisis starting in the mid-1990s and Hong Kong's return to Chinese sovereignty in July 1997 Hong Kong film has retained much of its distinctive identity and continues to play a prominent part on the world cinema stage. Unlike many film industries, Hong Kong has enjoyed little to no direct government support, through either subsidies or import quotas. It has always been a thoroughly commercial cinema, concentrating on crowd-pleasing genres, like comedy and action, and heavily reliant on formulas, sequels, and remakes. Typically of commercial cinemas, its heart is a highly developed star system, which in this case also features substantial overlap with the pop music industry

The Trinidad and Tobago Film Company is the national agency that was established in 2006 to further the development of the film industry. Trinidad and Tobago puts on several film festivals which are organized by different committees and organizations. These include the Secondary Schools Short Film Festival and Smartphone Film Festival organized by Trinidad and Tobago Film Company. There is also an annual Trinidad and Tobago Film Festival which runs for two weeks in the latter half of September.

{{Further|List of Trinidad and Tobago films}}

Trinidad and Tobago's film sector began emerging in the late 1950s to early 1960s and by the late 1970s, there were a handful of local productions, both feature film and television.{{cite web|title=The Film Industry|url=http://www.trinidadandtobagofilm.com/filmindustry.asp}} The first full-length feature film to be produced in Trinidad and Tobago was The Right and the Wrong (1970) by Indian director/writer/producer, Harbance Kumar. The screenplay was written by the Trinidadian playwright, Freddie Kissoon.{{cite news|last1=Kissoon|first1=Freddie|title=First Movie|url=http://www.newsday.co.tt/commentary/0,75919.html|work=Newsday|date=27 March 2008}} The rest of the 20th century saw a couple more feature films being made in the country, with Bim (1974), being singled out by Bruce Paddington as "one of the most important films to be produced in Trinidad and Tobago ...  and one of the classics of Caribbean cinema."{{cite journal|last1=Paddington|first1=Bruce|title=Bim, Bim, Sink or Swim|journal=Caribbean Beat|date=November 2004|issue=70|url=http://caribbean-beat.com/issue-70/bim-bim-sink-or-swim#axzz46HmvxUY3}} It was one of the first films to feature an almost entirely Trinidadian cast and crew.{{cite news|last1=Mendes-Franco|first1=Janine|title=Bim Fans Go Online|url=http://www.guardian.co.tt/arts/2014-02-09/bim-fans-go-online|work=Trinidad and Tobago Guardian|date=9 February 2014}} There was a rise in Trinidadian film production in the 2000s. Films such as Ivan the Terrible (2004), SistaGod (2006), I'm Santana: The Movie (2012), and God Loves the Fighter (2013) were released both locally and internationally. SistaGod had its world premiere at the 2006 Toronto International Film Festival.{{cite news|last1=Pires|first1=BC|title=SistaGod Put a Hand|url=http://www.guardian.co.tt/news/2014-01-27/sistagod-put-hand|work=Trinidad and Tobago Guardian}}

{{main|Cinema of Nepal}}

Nepali film does not have a very long film history, but the industry has its place in the cultural heritage of the country. It is often referred to as 'Nepali Chalchitra' (which translates to "Nepali films" in English). The terms Kollywood and Kallywood are also used, as a portmanteau of "Kathmandu" and "Hollywood"; "Kollywood" however is more frequently used to refer to Tamil cinema.{{Citation needed|date=November 2019}} Chhakka Panja has been considered the highest-grossing film of all time in Nepali film industry and Kohinoor the second highest. The Nepali films The Black Hen (2015) and Kagbeni (2006) received international acclaim.{{Citation needed|date=November 2019}} The Nepali feature film White Sun (Seto Surya) received the Best Film award at the 27th Singapore International Film Festival (SGIFF) in 2016.

{{main|Cinema of Sri Lanka}}

The Sri Lankan film industry, known as Cinema of Sri Lanka, is a relatively young industry that began in 1947 with the film "Kadawunu Poronduwa" and has seen growth and development, particularly with the establishment of the State Film Corporation in 1971.

Sri Lankan films are usually made in Sinhala and Tamil, the dominant languages of the country.

Sri Lankan Film Director Lester James Peries Often considered the "father" of Sri Lankan cinema, he directed influential films like "Rekava" (1956) and "The God King" (1974).

Vimukthi Jayasundara's Sulanga Enu Pinisa won the coveted Camera d'Or for best first film at the 2005 Cannes Film Festival.

Asoka Handagama and Prasanna Vithanage, two senior directors in Sri Lanka, are two highly talented individuals who have even won international awards.

Director Asoka Handagama's two films Asandhimitta and Alborada and Director Prasanna Vithanage's two films Gaadi and Paradise were critically acclaimed and selected for international film festivals.

In the recent years, high-budget films like Aloko Udapadi, Aba and Maharaja Gemunu based on Sinhalese epic historical stories have gained huge success. Furthermore, following the drastic impact on the film industry by the ongoing COVID-19 pandemic, Adaraneeya Prarthana has emerged as one of the highest-grossing films of 2022 &

Gajaman is the highest grossed Sri Lankan film of 2023.

Chanaka Perera's film Gajaman is the film makes the hallmark in Sri Lankan cinema industry by becoming the first ever three dimensional (3D) animation movie in Sri Lanka using motion capture technology.

Sri Lankan Film Director Ilango Ram's film Tentigo is the first Sri Lankan film to be remade into other languages including: Spanish, Italian, English, Hindi, Telugu, Malayalam whereas France and Belgium in the future.After gaining positive reviews from critics in multiple film festivals, the film won the special jury award at the Tallinn Black Nights Film Festival in 2023 and was screened at the Glasgow Film Festival and Mostra in 2024.It got selected at the 2nd Eikhoigi Imphal International Film Festival 2025 under the International Competition: Fiction section

International Recognition:

Some Sri Lankan films have gained international recognition and awards.

International Movies Shot in Sri Lanka:

Sri Lanka has also been a location for international films, such as "The Bridge on the River Kwai".

{{main|History of film}}

File:Story-of-the-kelly-gang-capture-1906.jpg from The Story of the Kelly Gang (Australia, 1906; 80 min.)]]

Les frères Lumière released the first projection with the Cinematograph, in Paris on 28 December 1895. The French film industry in the late 19th century and early 20th century was the world's most important. Auguste and Louis Lumière invented the cinématographe and their L'Arrivée d'un train en gare de La Ciotat in Paris in 1895 is considered by many historians as the official birth of cinematography.

The first feature film to be made was the 1906 Australian silent The Story of the Kelly Gang, an account of the notorious gang led by Ned Kelly that was directed and produced by the Melburnians Dan Barry and Charles Tait. It ran, continuously, for eighty minutes.{{cite web |title=The Story of the Kelly Gang |url=http://aso.gov.au/titles/features/story-kelly-gang/notes/ |publisher=Australian Screen, National Film and Sound Archive |access-date=29 November 2012}}

In the early 1910s, the film industry had fully emerged with D.W. Griffith's The Birth of a Nation. Also in the early 1900s motion picture production companies from New York and New Jersey started moving to California because of the good weather and longer days. Although electric lights existed at that time, none were powerful enough to adequately expose film; the best source of illumination for movie production was natural sunlight. Besides the moderate, dry climate, they were also drawn to the state because of its open spaces and wide variety of natural scenery.

In 1900, Charles Pathé began film production under the Pathé-Frères brand, with Ferdinand Zecca hired to make the films. By 1905, Pathé was the largest film company in the world, a position it retained until World War I. Léon Gaumont began film production in 1896, supervised by Alice Guy.Willems, Gilles "Les origines de Pathé-Natan" In Une Histoire Économique du Cinéma Français (1895–1995), Regards Croisés Franco-Américains, Pierre-Jean Benghozi and Christian Delage, eds. Paris: Harmattan, Collection Champs Visuels, 1997. English translation: [http://www.latrobe.edu.au/screeningthepast/classics/rr1199/gwrr8b.htm The origins of Pathé-Natan] {{webarchive|url=https://web.archive.org/web/20080109223643/http://www.latrobe.edu.au/screeningthepast/classics/rr1199/gwrr8b.htm|date=9 January 2008}} La Trobe University

Besides American Mutoscope, there were also numerous smaller producers in the United States, and some of them established a long-term presence in the new century. American Vitagraph, one of these minor producers, built studios in Brooklyn, and expanded its operations in 1905.

File:Adrien_Barrère13.jpg, by Adrien Barrère.