Top Film Schools – How to Turn Out to Be an Expert in the Film Industry

Top film schools are able to provide you the top certification or degree in Cinematography and film production and pave the way to a career as a cinematographer, producer, director, scriptwriter or film critic. Attending the program of Cinematography and Film Production at one of the top film schools will make you become able to obtain a professional certificate or degree at the associate, baccalaureate or master’ s level in media history, camera use, ethics, digital film-making, film editing or other areas related to film media and motion pictures.

Blending vision with technological expertise, courses in this domain can be offered at community colleges, vocational schools or four-year colleges and universities with top film schools. Choosing the most suitable school is complicated, but collecting as much information as possible regarding the top film schools may help you in your decision and make your selection easier.

The University of Southern California in Los Angeles is constituted by (USC) USC School of Cinematic Arts, the United States first film school and a top film school in the nation, which was founded in 1929. Its departments involve production for film and television, criticism, animation, screenwriting, producing and interactive media. All these departments of study provide undergraduate degree programs, that can lead to a Bachelor of Arts (BA) or Bachelor in Fine Arts (BFA). This is not relevant to producing.

Production programs are integrated in the graduate possibilities and can lead you to a Master of Fine Arts (MFA); at the same time, students that opt for the Critical Studies program are able to obtain a Master of Arts or PHD. US News and World Report ranked University of South California in 2010 as the 26th top university in US, and the section of Cinematic Arts is one of the top film schools in US, with a great number of students nominated for the Academy Award. One of the highest rated film schools in US is Tisch School of Arts, part of the New York University (NYU), and its Maurice Kanbar Institute of Film and Television offer best film programs.

The classes for undergraduate students involve film history, production, animation, directing, acting, audio production, editing, scriptwriting and film criticism. A graduate student can earn a degree at the Master of Fine Arts (MFA) in Film-making or a dual MFA and Master of Business Administration (MBA) in Producing. While in this program MFA students must make at least five movies and also work as crew-members and camera operators on their classmates’ activities In 2010 as well, US News and World Report rated NYU as the 32nd best university in the state.

Part of the top film schools in US is the University of Chicago’ s Committee on Cinema and Media Studies in Chicago, IL, source of best-rated degrees in Film and Cinematography at the Bachelor of Arts level in Cinema and Media Studies to undergraduates and a PHD in Media Studies to graduate students. US News and World Report ranked it in the function of one among the top film schools in US, hosting the Film Studies Center, with a series of over 10,000 films, discs and videos. Its courses are configured for video production, history, theory, criticism, Film and various other sections. Another best-ranked academic institution in US is the University of Chicago, a private four-year training, whose full student enlistment is over 14,000, with a 2,000 units built for college and college students.

Piracy and the Future of the Film Industry

I recently came across this tweet from Duncan Jones, the director of the little film that could, ‘Moon’:

“Dear BitTorrenters… so pleased Moon is popular with u; 40,000 active seeds cant be wrong! One thing. Will you please buy the DVD as well?”

Film piracy is no longer a hot topic; it has been around long enough to cool down a little. That has not, however, prevented it from continuing to cause a lot of problems for the film industry. Dodgy DVDs and increasingly, illegal downloads, cost the film industry massive amounts of revenue every year. A report in 2005 for the Motion Picture Association (all the big studios) estimated that the studios lost $6.1 billion a year and that the industry as a whole (theatres, cable tv etc included) lost $18.2 billion. At the time it was estimated that of that $18.2 billion, $7.1 was due to internet piracy. There are few people, I feel, who would disagree with the suggestion that that figure has risen. This loss of revenue will obviously cause serious financial problems for the studios and is certainly contributing to their current downfall.

The movie industry is not without clout however and it is responding to this threat with both with hard legal measures and also by raising awareness of the consequences of piracy. Recently the founders of the hugely popular illegal download website Pirate Bay were found guilty of copyright infringement and are looking forward to a year in goal. In Australia the film industry has accused one of the country’s largest internet service providers of encouraging pirates, its largest users, to upgrade their packages and turning a blind eye to their download content.

On the other, friendlier, side of the equation, the Trust for Internet Piracy Awareness in the UK has changed its campaign from the aggressive and accusatory ‘Piracy is Theft’ adverts to a kindlier thank you note for supporting the British film industry by not turning to illegal downloading.

Piracy, in particular, internet piracy can be assumed to be growing. Even if it is not, it is a significantly large enough problem at the moment for something to need to be done about it. Piracy needs to stop, or at least be controlled to prevent it from completely undermining the film industry (something that some people may be all for but that the studios (i.e. those with the money and power to effect change) most emphatically do not). The question is, why has internet film piracy become so popular?

Obviously the prospect of getting a product for free is plenty enough enticement for some. Others see it as the beginning of the end of capitalist materialism and a shining new future for the arts. These reasons do not account, I think, for the huge numbers of otherwise ‘respectable’ people who engage in this practice. The anonymity of sitting behind a computer and large number of other people doing it are certainly factors that encourage piracy. More significantly I think is the increase in technology that has allowed it to become so simple. Obviously hugely increased internet speeds facilitate film piracy but so too does the freely available and easy to use peer2peer software such as BitTorrent.

Behind all this, I feel is an increasing disengagement with the cinema as more entertainment is to be found in front of the computer (YouTube games, networking sites etc). Fewer people need to leave their computer to be entertained or to do the shopping or pay bills, why should they leave their computer to see a new film? Disgruntlement with Hollywood; poor films and the ever-increasing cost of seeing them, both at the cinema (up to £15, when it was £5 in my youth) and on DVD (and the yet more expensive BluRay) may also encourage people to illegally download films. Dominic Wells argues that people are using downloaded films as a test of brand value; i.e. that people will go to the cinema to see another film by same director or will a DVD of a film they have downloaded. This is certainly a much more economically efficient way for the consumer to find the film they want to own or pay to experience in the cinema. A look at the summer’s hit films show that it was not the star driven heavily marketed films that did well and created a buzz, it was smaller films such as ‘The Hangover’ and ‘District 9’. Some studies on the music industry (which has also been massively affected by online piracy) argue that pirated tracks encourage people to buy the song legally. However, some will see this as mere wishful thinking, arguing that people will never go back to paying when they don’t need to.

One final major factor that encourages piracy everywhere except in America is the delayed release dates that the rest of the world experience both in cinemas and for DVDs. Films are often available online before they are released in America but once they show in a cinema they are definitely online. A lot of internet buzz surrounding a film released in the US that will not reach Britain for another two months will encourage people to download it and be able to take part in that discussion. Most experts, such as Julien McArdle, who directed a documentary on the issue of piracy, agree that this is one of the most significant changes that could happen. McArdle made his film on a budget of about C$700 and is distributing it for free on the internet. Slyck.com has done an excellent interview with him.

With so many reasons to pirate films (the first and foremost of which will always be that it is free) it is no wonder that so many people are doing it. The internet is become such a powerful tool and platform and because it is open and free everyone the pirating community has been able to steal a lead on the film industry. The studios and distribution companies are, however, developing new models to allow them entry into this marketplace. So far companies like Apple have lead the way, selling downloadable films through their existing iTunes store. Other companies are providing similar services and being embraced by the studios; Universal Pictures UK chairman Eddie Cunningham when UK website Wippit started offering permanent downloads in 2006 said “I think what you’re seeing here is the beginning of a revolution in terms of how we can distribute digitally and I would expect you’ll see a lot more news of this type over the next few months.” The internet has also been embraced as a distribution tool by the independent filmmaking community. Downloading a film is cheap and simple and obviates the need for DVD burning and postage. It allows easy access to a global audience makes marketing and interaction with audiences a very fluid networked affair that can be very effective for the independent film.

There is general agreement however, that not enough has yet been done for the model of legitimate film downloading. Many different people have as many different ideas about it’s future. The basic split between them is whether you try and provide movies for free or not. Some promote the Spotify model of where you can stream but not download songs for free and accept adverts every five songs or so. Quite how this would translate into films is not yet known – it works for short films on sites where the advert is played before the film but one advert might not generate enough revenue for a feature and no-one wants their film interrupted. Dominic Wells argues that internet streamed but legally bought films will revolutionise the industry. The hypothetical case study he gives is that of the Bollywood gem trying to find an audience in the states. There are very few places he argues, where the audience population (primarily Indian) is dense enough for it to make financial sense for a cinema to show the film. Spread out across the country, however, are enough audience members to generate a significant profit. By being able to search a database of online films and find this Bollywood gem and then download it to their house for a small fee, this niche audience finds the film it is looking for and the film finds it US audience.

This sort of model will rely on superior technology and online infrastructure to that which we have at the moment however. Sky and other cable service providers are beginning to develop the household hub computer/T.V. complete with internet, standard television channels and demandable programming, but it is not quite yet a reality. Once this is in place and download speeds have increased yet further, DVDs will become outmoded and everyone will simply download what they want to watch. Simultaneous release, both internationally and between cinema and home-viewing (i.e. DVD or legal download) is a necessity for this to start happening and, according to Matt Mason, author of ‘The Pirates Dilemma’ says that can’t happen “until DVDs/Blu Ray are well and truly dead and buried” He goes on to say that “we’ll see the studios using file sharing sites more to promote films, and content deals between the studios and torrent sites are already happening.”

This model, for my money, is the most likely to prevail. What will be interesting to see is how content is managed on the internet. Which content providers (such as iTunes) gain ascendancy and how will they select films to make available to their subscribers? Studio films will of course have no problem being found but independent films will probably remain somewhat slightly more hidden. I imagine that there will be content providers dedicated to smaller and independent films and internet word of mouth will be used to promote them. Theatrical release will be less common for independent films but people will still be willing to go and pay for the cinematic experience of the bigger, more effects driven studio productions. Film will become a much more home-based experience. Piracy will fade away because it will become simpler and easier, as well as less guilt inducing, to watch the latest releases through the legitimate system.

About The Hollywood Film Industry

The Hollywood film industry is an amalgamation of technological and commercial institutions of filmmaking. It generally consists of film production companies, film studios, cinematography, film production, screenwriting, pre-production, post production, film festivals, actors, directors, and film personnel.

Today the Hollywood film industry is positioned across the world. In this 21st century, the major business centers of filmmaking are concentrated in United States, India and China. Hollywood is a district in Los Angeles, California that is situated in west- northwest of Downtown Los Angeles. Due to its fame and cultural individuality of movie studios and movie stars, the word Hollywood is often used as a connotation for the cinema of United States which is popularly known as the Hollywood film Industry.

The history of the Hollywood Film Industry probably started in the hands of D.W. Griffith when the Biograph Company sent him and his crew. They started filming on a vacant lot in downtown Los Angeles in early 1910. Soon the company decided to explore new territories to find that the region was quite friendly and enjoyable for shooting.

Therefore, Griffith filmed the first ever movie shot in Hollywood. The title of the film was “In Old California”. The movie company then stayed there for months to shoot several of their films and returned to New York.

Starting in 1913, this wonderful place came into the limelight when moviemakers started heading to the west. The first feature film made in Hollywood was called ‘The Squaw Man” This resulted in the birth of Hollywood Film Industry.

Nestor Studio, founded in 1911 was the first movie studio in Hollywood. Fifteen other small studios also settled in Hollywood. Gradually, Hollywood came to be so powerfully associated with the film industry that this term began to be used as a synonym for the entire industry.

During the time period of the first World War, Hollywood become the movie capital of the world. Previously mentioned, Nester studio became the Hollywood Digital Laboratory. By the year 1950, music recording studios and offices began moving to Hollywood, though much of the movie industry remained there.

The world famous Hollywood Walk of Fame was constructed in the year 1958 and the first star was placed in 1960. The Walk of Fame was placed as a tribute to the artists working in the entertainment industry. It is embedded with more than 2,000 five pointed stars featuring the names of celebrities, as well as fictional characters.

Self-financing Hollywood Historic Trust maintains this Walk of Fame. The first star to receive this honor was Joanne Woodward. The artist received a star based on career and lifetime achievements in motion pictures, live theatres, radio, television, and music.

The famous Hollywood symbol, originally read Hollywoodland, was constructed in the year 1923 as an advertisement of a new housing development. The sign was left to worsen until in 1949 the Hollywood Chamber of Commerce repaired and removed the last four letters.

The sign located at Mount Lee, is now a registered trademark hence cannot be used without the permission of the Chamber of Commerce.

The Hollywood Film Industry can be called the Mecca of film industries. Though geographically it is located in Hollywood, it resides in the hearts of millions of film lovers and film related personalities. Hollywood remains and will remain a king, without a scepter.