Stanley J. Baran
| block booking | the practice of requiring exhibitors to rent groups of movies (often inferior) to secure a better one
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| blockbuster mentality | filmmaking characterized by reduced risk taking and more formulaic movies; business concerns are said to dominate artistic considerations
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| B-movie | the second, typically less expensive, movie in a double feature
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| calotype | early system of photography using translucent paper from which multiple prints could be made
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| cinematographe | Lumiere brothers' device that both photographed and projected action
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| concept films | movies that can be described in one line
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| daguerreotype | process of recording images on polished metal plates, usually copper, covered with a thin layer of silver iodide emulsion
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| double feature | two films on the same bill
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| factory studios | the first film production companies
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| green light process | the studio's decision whether or not to make a particular movie
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| kinetograph | William Dickson's early motion picture camera
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| kinetoscope | peep show devices for the exhibition of kinetographs
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| microcinema | filmmaking using digital video cameras and desktop digital editing machines
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| montage | tying together two separate but related shots in such a way that they take on a new, unified meaning
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| nickelodeons | the first movie houses; admission was one nickel
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| persistence of vision | images our eyes gather are retained by our brains for about 1/24 of a second, producing the appearance of constant motion
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| platform rollout | the strategy of opening a movie on a few screens and hoping that critical response, film festival success, and word-of-mouth reviews will propel it to success
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| theatrical films | movies produced primarily for initial exhibition on theater screens
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| vertical integration | studios that produced their own films, distributed them through their own outlets, and exhibited them in their own theaters
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| zoopraxiscope | early machine for projecting slides onto a distant surface
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2002 McGraw-Hill Higher Education