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Unlike literary fiction, which is typically based on characters, situations and events that are entirely imaginary/fictional/hypothetical, cinema always has a real referent, called the "pro-filmic", which encompasses everything existing and done in front of the camera.
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In this style of film, believable narratives and characters help convince the audience that the unfolding fiction is real. Lighting and camera movement, among other cinematic elements, have become increasingly important in these films. Great detail goes into the
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style in the early 20th century, during which films were selected to be made based on the popularity of the genre, stars, producers, and directors involved, narrative, usually in the form of the
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writing to maintain a sense of realism. Actors must deliver dialogue and action in a believable way, so as to persuade the audience that the film is real life.
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Many films are based on real occurrences, however these too fall under the category of a “narrative film” rather than a
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of narratives, as these films rarely deviate from the predetermined behaviours and lines of the classical style of
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and for the first three or four decades these commercial productions drew heavily upon the centuries-old
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Rosalind
Leveridge, “Fantastic voyages of the cinematic imagination: George Méliès’s Trip to the Moon”
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Rosalind
Leveridge, “Fantastic voyages of the cinematic imagination: George Méliès’s Trip to the Moon”
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fiction) is central to this popular definition. This key element of this invisible film making lies in
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from 1902. Most films previous to this had been merely moving images of everyday occurrences, such as
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Brown, Blain, Lighting as story telling, Cinematography: Theory & Practice, Focal Press(2002)
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Narrative cinema is usually contrasted to films that present information, such as a nature
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films, were, and continue to be introduced as a way to further categorize these films.
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Tells a fictional or fictionalized story, event or narrative
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Probably the first fictional film ever made was the
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281:Alice Guy Blaché, Lost Visionary of the Cinema
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323:Looking at Movies: An Introduction to Film
114:L'Arrivée d'un train en gare de La Ciotat
336:Women and Film: Both Sides of the Camera
321:Barsam, Richard Meran and Dave Monahan.
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283:(New York: Continuum, 2002) p. 13.
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384:Film and video terminology
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355:Film Art: An Introduction
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119:Auguste and Louis Lumière
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239:Film genre
170:nonfiction
147:Wavelength
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