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Overview : Az egyetemista Abby és Travis egymásba szeretnek, miután egy ideig barátok voltak. Travis nem hisz a kapcsolatokban, csak az egyéjszakás kalandokban. Amíg nem kerül a képbe Abby.

Title original : Beautiful Disaster

Status : Released

Release Date : Released

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By March 12, Cinemark, AMC and National CineMedia stocks had all fallen by over 35% since the beginning of the month.181 Cineworld, the worlds second-largest cinema chain, warned on March 12, when multiple films pushed back their releases, that extended disruption and continuing falling stock could cause the company to collapse.180182 In August 2020, California announced a new color-coded tier system that would allow restrictions to be lifted in specific counties based on health metrics, effective August 31.183184 Cinemas would be allowed to operate at limited capacity if a county is in the red Substantial tier or better. This would scale from at 25%100 patrons whichever is smaller in red counties, to 50%200 patrons in orange Moderate counties, and 50% with no hard maximum in counties under the lowest yellow Minimal tier. The majority of the state was still in the purple Widespread tier at the onset of the system, where cinemas remained closed. These health orders can still be superseded with stricter rules by local officials.185

Film theory : seeks to develop concise and systematic concepts that apply to the study of film as art. The concept of film as an art-form began in 1911 with Ricciotto Canudos The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that films artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacans psychoanalysis and Ferdinand de Saussures semiotics among other things has given rise to psychoanalytic film theory, structuralist film theory, feminist film theory, and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a films vocabulary and its link to a form of life.

The impact of a reviewer on a given films box office performance is a matter of debate. Some observers claim that movie marketing in the 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors.

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The credits, or end credits, is a list that gives credit to the people involved in the production of a film. Films from before the 1970s usually start a film with credits, often ending with only a title card, saying The End or some equivalent, often an equivalent that depends on the language of the productioncitation needed. From then onward, a films credits usually appear at the end of most films. However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that films acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the directors credit. The credits appearing at or near the beginning of a film are usually called titles or beginning titles. A post-credits scene is a scene shown after the end of the credits. Ferris Buellers Day Off has a post-credit scene in which Ferris tells the audience that the film is over and they should go home.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters essentially a reverse of the Technicolor process. Digital methods have also been used to restore films, although their continued obsolescence cycle makes them as of 2006 a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations and thereby increase revenue. Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

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