FILMOGRAPHY

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The birth of film
The two second experimental film, Roundhay Garden Scene, filmed by Louis Le Prince on October 14, 1888 in Roundhay, Leeds, West Yorkshire, England is generally recognized as the earliest surviving motion picture .
In 1878, under the sponsorship of Leland Stanford, Eadweard Muybridge successfully photographed a horse named "Occident" in fast motion using a series of 12 stereoscopic cameras. The first experience successfully took place on June 11 at the Palo Alto farm in California with the press present. The cameras were arranged along a track parallel to the horse's, and each of the camera shutters was controlled by a trip wire which was triggered by the horse's hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one thousandth of a second.[1]
At the Chicago 1893 World's Columbian Exposition, Muybridge gave a series of lectures on the Science of Animal Locomotion in the Zoopraxographical Hall, built specially for that purpose in the "Midway Plaisance" arm of the exposition. He used his zoopraxiscope to show his moving pictures to a paying public, making the Hall the very first commercial movie theater.[1]
William Kennedy Laurie Dickson, chief engineer with the Edison Laboratories, is credited with the invention of a practicable form of a celluloid strip containing a sequence of images, the basis of a method of photographing and projecting moving images.[citation needed] Celluloid blocks were thinly sliced, then removed with heated pressure plates. After this, they were coated with a photosensitive gelatin emulsion.[citation needed] In 1893 at the Chicago World's Fair, Thomas Edison introduced to the public two pioneering inventions based on this innovation; the Kinetograph, the first practical moving picture camera, and the Kinetoscope. The latter was a cabinet in which a continuous loop of Dickson's celluloid film (powered by an electric motor) was back lit by an incandescent lamp and seen through a magnifying lens. The spectator viewed the image through an eye piece. Kinetoscope parlours were supplied with fifty-foot film snippets photographed by Dickson, in Edison's "Black Maria" studio. These sequences recorded mundane events (such as Fred Ott's Sneeze, 1894) as well as entertainment acts like acrobats, music hall performers and boxing demonstrations.
Kinetoscope parlors soon spread successfully to Europe. Edison, however, never attempted to patent these instruments on the other side of the Atlantic, since they relied so greatly on previous experiments and innovations from Britain and Europe. This enabled the development of imitations, such as the camera devised by British electrician and scientific instrument maker Robert W. Paul and his partner Birt Acres.
Paul had the idea of displaying moving pictures for group audiences, rather than just to individual viewers, and invented a film projector, giving his first public showing in 1895. At about the same time, in France, Auguste and Louis Lumière invented the cinematograph, a portable, three-in-one device: camera, printer, and projector. In late 1895 in Paris, father Antoine Lumière began exhibitions of projected films before the paying public, beginning the general conversion of the medium to projection (Cook, 1990). They quickly became Europe's main producers with their actualités like Workers Leaving the Lumière Factory and comic vignettes like The Sprinkler Sprinkled (both 1895). Even Edison, initially dismissive of projection, joined the trend with the Vitascope within less than six months. The first public motion-picture film presentation in Europe, though, belongs to Max and Emil Skladanowsky of Berlin, who projected with their apparatus "Bioscop", a flickerfree duplex construction, November 1 through 31, 1895.
That same year in May, in the USA, Eugene Augustin Lauste devised his Eidoloscope for the Latham family. But the first public screening of film ever is due to Jean Aimé "Acme" Le Roy, a French photographer. On February 5, 1894, his 40th birthday, he presented his "Marvellous Cinematograph" to a group of around twenty show business men in New York City.
The movies of the time were seen mostly via temporary storefront spaces and traveling exhibitors or as acts in vaudeville programs. A film could be under a minute long and would usually present a single scene, authentic or staged, of everyday life, a public event, a sporting event or slapstick. There was little to no cinematic technique: no editing and usually no camera movement, and flat, stagey compositions. But the novelty of realistically moving photographs was enough for a motion picture industry to mushroom before the end of the century, in countries around the world.
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Glavna i osnovna orijentacija ove stranice je polemika i kritika, okupljanje i druženje oko "sedme umetnosti" - FILM-a.
U tom cilju želimo svim ljubiteljima filma da uzmu učešća i pridruže se ovom projektu. Da svojim sugestijama i primerima zajedno pokušamo da analiziramo FILM kao veličanstvenu umetnost koja je za malo više od jednog veka uspela da postane sastavni deo savremenog čoveka.
Filmska umetnost je posebna vrsta umetnosti koja se služi sopstvenim jezikom, gramatikom i stilistikom, čija se suština ogleda u estetski organizovanim ritmički usklađenim redosledima različitih fotografisanih prizora u kretanju, koji pri projekciji stvaraju iluziju realnosti. Ona je sintetička umetnost koja pored sopstvenih izražajnih sredstava koristi i sredstva drugih umetnosti: književnosti, pozorišta, slikarstva i muzike. Elementi tih umetnosti transformišu se u filmu, gube samostalnost i kvalitativno se menjaju, stvarajući iluziju doživljaja na gledaoca. Izražajna sredstva filma leže u izboru planova i njihovog povezivanja.      
Ljubiteljima sedme umetnosti već je uveliko poznato da se prva javna projekcija pokretnih slika održala 28. decembra 1895. u Parizu, na pariskom Bulevaru De Kapisin u podrumu Grand Kafea u prisustvu samo 35 znatiželjnika koji su platili cenu od 1 franka. Ovaj datum se zvanično smatra rodjendanom filma kao i početkom filmske industrije. Francuska se dakle smatra kolevkom  a “ocem filma“, fotograf, proizvodjač fotoaparata i konstruktor kinematografa Lujis Limijer (1864-1948). Uz pomoć svog brata Ougusta Limijera (1862-1954),  zakoračio u jedan oblik prenošenja stvarnosti koju nazivamo fakciom pa se stoga kaže da su njihovi snimci preteča dokumentarnom filmu.
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Serbian Film Archive
Serbian Film Archives is the national film library of the Republic of Serbia, founded in 1949 as The Central Film Archives of the Yugoslav Film Library. Its status varied during the years; according to the Law on the Protection of the Monuments of Culture it is ranked today as an institution of special importance for the Republic of Serbia. It consists of four organization units: the Film Library of the Yugoslav Film Archives , the Yugoslav Film Archives Museum - the cinema , the Library and General Services. Yugoslav Film Archives is one of the founders and a permanent member of FIAF (International Federation of Film Archives). It takes part in the activities of FIAF since 1951. The heart of the institution is the Film Library of the Yugoslav Film Archives. It carries out the basic activity of the institution: collection, permanent preservation and expert treatment of films, film records and supplementary film material: photographs, posters, publicity materials, documentation, models, old items related to film; it enables access of this to researchers, students, public; it cooperates with cognate institutions in the country and abroad; it carries out the exchange of films and supplementary film material. One of the primary tasks of the Library is to complete the computer processing of enormous amount of data stored in its specialized and technical card-files.
Yugoslav Film Archives is opened for all researchers and scientists who deal with the history and theory of film. Through lectures, exhibition and book promotions it takes active part in education and broadening of film culture in our country.
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Kinoteka Republike Srbije
Kinoteka je nacionalni filmski arhiv Republike Srbije, osnovan 1949. pod nazivom Centralna jugoslovenska kinoteka. Tokom rada, više puta je menjala status, a danas je, na osnovu Zakona o zaštiti kulturnih dobara, ustanova od posebnog značaja za Republiku Srbiju. Sastoji se od četiri organizaciona dela: Arhiva jugoslovenske kinoteke , Muzeja Jugoslovenske kinoteke – bioskopa , Biblioteke i Zajedničkih službi.
Jugoslovenska kinoteka je jedan od osnivača i stalni član FIAF-a (Međunarodna federacija filmskih arhiva) u čijem radu aktivno učestvuje od 1951. godine. Srce ustanove čini Arhiv Jugoslovenske kinoteke koji obavlja osnovnu delatnost ustanove: prikuplja, trajno čuva i stručno obrađuje filmove, odnosno filmsku građu i prateći filmski materijal: fotografije, plakate, reklamne materijale, dokumentaciju, makete, stare predmete iz oblasti kinematografije; čini ih dostupnim istraživačima, studentima, građanstvu; sarađuje sa srodnim ustanovama u zemlji i inostranstvu, obavlja razmenu filmova i prateće filmske građe.
Jedan od trenutno primarnih delatnosti Arhiva je automatsko – kompjuterska obrada ogromnog broja podataka pohranjenih u njegovim stručnim i tehničkim kartotekama.
Kinoteka je otvorena za sve istraživače i naučne radnike koji se bave istorijom i teorijom filma. Putem predavanja, tribina, promocija izložbi i knjiga, aktivno učestvuje u edukaciji i širenju filmske kulture u našoj zemlji.