Special effect in the context of Fake blood

A film is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally, since the 1930s, synchronized with sound and some times using other sensory stimulations.

Films are produced by recording actual people and objects with cameras or by creating them using animation techniques and special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Also of relevance is what causes the perception of motion; a psychological effect identified as beta movement.

Stop motion (also known as stop frame animation or object animation) is an animated filmmaking and special effects technique in which objects are physically manipulated in small increments between individually photographed frames so that they will appear to exhibit independent motion or change when the series of frames is played back. Any kind of object can thus be animated, but puppets with movable joints (puppet animation) or clay figures (claymation) are most commonly used. Puppets, models or clay figures built around an armature are used in model animation. Stop motion with live actors is often referred to as pixilation. Stop motion of flat materials such as paper, fabrics or photographs is usually called cutout animation.

In filmmaking, a practical effect is a special effect produced physically, without computer-generated imagery or other post-production techniques. In some contexts, "special effect" is used as a synonym of "practical effect", in contrast to "visual effects" which are created in post-production through photographic manipulation or computer generation.

Practical effects often use principles from magic tricks, exploiting the camera's single viewpoint to create convincing illusions that may work only from certain angles, or using specially created props designed to achieve the desired effect. These effects require an interdisciplinary skill set, combining artistic craftsmanship with technical expertise in mechanics and engineering to achieve the desired result.

Tokusatsu (特撮（とくさつ）; lit. 'special filming') is a Japanese term for live-action films or television programs that make heavy use of practical special effects. Credited to special effects director Eiji Tsuburaya, tokusatsu mainly refers to science fiction, superhero, fantasy, or horror media featuring such technology but is also occasionally dubbed a genre itself. Its contemporary use originated in the Japanese mass media around 1958 to explain special effects in an easy-to-understand manner and was popularized during the "first monster boom" (1966–1968). Prior to the monster boom, it was known in Japan as tokushu gijutsu (特殊技術; lit. 'special technology') or shortened tokugi (特技; lit. 'special technique').

Subgenres of tokusatsu include kaiju such as the Godzilla and Gamera series; superhero such as the Kamen Rider and Metal Hero series; Kyodai Hero like Ultraman and Denkou Choujin Gridman; and mecha like Giant Robo and Super Robot Red Baron. Some tokusatsu television programs combine several of these subgenres, for example, the Super Sentai series.

In his own time, William Shakespeare (1564–1616) was rated as merely one among many talented playwrights and poets, but since the late 17th century has been considered the supreme playwright and poet of the English language.

Shakespeare's plays remain enormously popular across the world stage, with the plays often being drastically adapted in performance. During the 18th and 19th centuries, to be a star on the British stage was synonymous with being a great Shakespearean actor. Then the emphasis was placed on the soliloquies as declamatory turns at the expense of pace and action, and Shakespeare's plays seemed in peril of disappearing beneath the added music, scenery, and special effects produced by thunder, lightning, and wave machines.

Science fiction (or sci-fi) is a film genre that uses speculative, science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, spacecraft, robots, cyborgs, mutants, interstellar travel, time travel, or other technologies. Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition.

The genre has existed since the early years of silent cinema, when Georges Méliès' A Trip to the Moon (1902) employed trick photography effects. The next major example (first in feature-length in the genre) was the film Metropolis (1927). From the 1930s to the 1950s, the genre consisted mainly of low-budget B movies. After Stanley Kubrick's landmark 2001: A Space Odyssey (1968), the science fiction film genre was taken more seriously. In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences after the success of Star Wars (1977) and paved the way for the blockbuster hits of subsequent decades.

Anamorphosis is a distorted projection that requires the viewer to occupy a specific vantage point, use special devices, or both to view a recognizable image. It is used in painting, photography, sculpture and installation art, toys, and film special effects. The word is derived from the Greek prefix ἀνα- (ana-), meaning "back" or "again", and the word morphe, meaning "shape" or "form". Extreme anamorphosis has been used by artists to disguise caricatures, erotic and scatological scenes, and other furtive images from a casual spectator, while revealing an undistorted image to the knowledgeable viewer.

A dust explosion is the rapid combustion of fine particles suspended in the air within an enclosed location. Dust explosions can occur where any dispersed powdered combustible material is present in high-enough concentrations in the atmosphere or other oxidizing gaseous medium, such as pure oxygen. In cases when fuel plays the role of a combustible material, the explosion is known as a fuel-air explosion.

Dust explosions are a frequent hazard in coal mines, grain elevators and silos, and other industrial environments. They are also commonly used by special effects artists, filmmakers, and pyrotechnicians, given their spectacular appearance and ability to be safely contained under certain carefully controlled conditions.

A splatter film is a subgenre of horror film that deliberately focuses on graphic portrayals of gore and graphic violence. These films, usually through the use of special effects, display a fascination with the vulnerability of the human body and the theatricality of its mutilation. The term "splatter cinema" was coined by George A. Romero to describe his film Dawn of the Dead, though Dawn of the Dead is generally considered by critics as possessing higher aspiration (such as social commentary) rather than simply being exploitative for its own sake.

The term was popularized by John McCarty's 1981 book Splatter Movies, subtitled: Breaking The Last Taboo: A Critical Survey of the Wildly Demented Sub Genre of the Horror Film that Is Changing the Face of Film Realism Forever. The first significant publication to attempt to define and analyse the 'splatter film', McCarty suggests that splatter is indicative of broader trends in film production. Though splatter is associated with fairly extreme horror films, and such works form the main focus of the book, a relatively diverse range of titles dating mainly from the 1960s to late 1970s are also included; examples include John Waters' Female Trouble, Ted Post's Magnum Force, Terry Gilliam's Jabberwocky, and Walter Hill's Western The Long Riders. This filmography implies that the influence of film-makers such as Sam Peckinpah or Andy Warhol, to name two, is as significant to the development of the form as Grand Guignol, Hammer Films or Herschell Gordon Lewis.

GoldenEye is a 1995 action spy film, the seventeenth in the James Bond series produced by Eon Productions, and the first to star Pierce Brosnan as the fictional MI6 agent James Bond. Directed by Martin Campbell, it was the first in the series not to use any story elements from the works of novelist Ian Fleming. GoldenEye was also the first James Bond film not produced by Albert R. Broccoli, following his stepping down from Eon Productions and replacement by his daughter, Barbara Broccoli (along with Michael G. Wilson, although Broccoli was still involved as a consultant producer; it was his final film project before his death in 1996). The story was conceived and written by Michael France, with later collaboration by other writers. In the film, Bond fights to prevent rogue ex-MI6 agent Alec Trevelyan (Sean Bean) from using a satellite weapon against London to cause a global financial collapse.

GoldenEye was released after a six-year hiatus in the series caused by legal disputes, during which Timothy Dalton's contract for the role of James Bond expired and he decided to leave the role, being replaced by Brosnan. M was also recast, actress Judi Dench becoming the first woman to portray the character, replacing Robert Brown. The role of Miss Moneypenny was also recast, Caroline Bliss being replaced by Samantha Bond. Desmond Llewelyn was the only actor to reprise his previous role, as Q. It was the first Bond film made after the dissolution of the Soviet Union and the end of the Cold War, which provided a background for the plot. Principal photography for GoldenEye took place from January to June 1995 in the UK, Russia, Monte Carlo, and Puerto Rico; it was the inaugural film production to be shot at Leavesden Studios. The first Bond film to use computer-generated imagery (CGI), GoldenEye was also the final film in the career of special effects supervisor Derek Meddings, and was dedicated to his memory.

Science fiction (Sci-fi) first appeared in television programming in the late 1930s, during what is called the Golden Age of Science Fiction. Special effects and other production techniques allow creators to present a living visual image of an imaginary world not limited by the constraints of reality.