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Cinema of the United States

From Wikipedia, the free encyclopedia

 

North American cinema

Cinema of Canada Cinema of Quebec Cinema of the United States

Culture of the United States

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The cinema of the United States has had a profound effect on cinema across the world since the early 20th century. Its history is sometimes separated into four main periods: the silent film era, classical Hollywood cinema, New Hollywood, and the contemporary period (after 1980). Since the 1920s, the American film industry has grossed more money every year than that of any other country.

In 1878, Eadweard Muybridge demonstrated the power of photography to capture motion. In 1894, the world's first commercial motion picture exhibition was given in New York City, using Thomas Edison's Kinetoscope. The United States was in the forefront of sound film's development in the following decades. Since the early twentieth century, the U.S. film industry has largely been based in and around Hollywood, Los Angeles, California. Picture City, FL was also a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City was returned back to the original name of Hobe Sound. Director D. W. Griffith was central to the development of film grammar and Orson Welles's Citizen Kane (1941) is frequently cited in critics' polls as the greatest film of all time.^[1] American screen actors like John Wayne and Marilyn Monroe have become iconic figures, while producer/entrepreneur Walt Disney was a leader in both animated film and movie merchandising. The major film studios of Hollywood are the primary source of the most commercially successful movies in the world, such as Gone with the Wind (1939), Star Wars (1977), Titanic (1997), and Avatar (2009). Today, American film studios collectively generate several hundred movies every year, making the United States the third most prolific producer of films in the world — the first being India and the second being Nigeria.^[2]

History

Origins

The second recorded instance of photographs capturing and reproducing motion was Eadweard Muybridge's series of photographs of a running horse, which he captured in Palo Alto, California, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices that would capture such motion. In the United States, Thomas Alva Edison was among the first to produce such a device, the kinetoscope, whose heavy-handed patent enforcement caused early filmmakers to look for alternatives.

In the earliest days of the American film industry, New York was the epicenter of film-making. The Kaufman Astoria Studios in Queens, built during the silent film era, was used by the Marx Brothers and W.C. Fields. Chelsea, Manhattan was also frequently used. Mary Pickford, an Academy Award winning actress, shot some of her early films in this area. Other major centers of film production included Chicago, Florida, California and Cuba.

The film patents wars of the early 20th century led to the spread of film companies across the U.S. Many worked with equipment for which they did not own the rights, and thus filming in New York could be dangerous; it was close to Edison's Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities because of the location's proximity to Mexico, though the region's optimal year-round weather is generally cited as the primary reason.^[3]

Rise of Hollywood

[show]Cinema of the United States
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In early 1910, director D.W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore, and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 1800s, when it belonged to Mexico. Biograph stayed there for months and made several films before returning to New York. After hearing about Biograph's success in Hollywood, in 1913 many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process. In Los Angeles, California, the studios and Hollywood grew. Before World War I, movies were made in several U.S. cities, but filmmakers gravitated to southern California as the industry developed. They were attracted by the mild climate and reliable sunlight, which made it possible to film movies outdoors year-round, and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.

In the early 1900s, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years, Alice Guy-Blaché.) They also set the stage for the industry's internationalism; the industry is often accused of Amero-centric provincialism.

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang, and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week [1].

Sound also became widely used in Hollywood in the late 1920s [2]. After The Jazz Singer, the first film with synchronized voices, was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound — which Warner Bros. owned until 1928 - in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution [3]. A side effect of the "talkies" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Pictures Distributors Association of America (MPDAA) [4]. The organization became the Motion Picture Association of America after Hays retired in 1945.

In the early times of talkies, American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews. Also, foreign unemployed actors, playwrights and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:

• The lower budgets were apparent.
• Many theater actors had no previous experience in cinema.
• The original movies were often second-rate themselves, since studios expected that the top productions would sell by themselves.
• The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.
• Some markets lacked sound-equipped theaters.

In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.

Golden Age of Hollywood

Golden Age of Hollywood

During the so-called Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the late 1950s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films. Most Hollywood pictures adhered closely to a formula - Western, slapstick comedy, musical, animated cartoon, biopic (biographical picture) - and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.

At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; MGM, for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this — a trait that does not exist today. Yet each movie was a little different, and, unlike the craftsmen who made cars, many of the people who made movies were artists. For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899–1957) and Lauren Bacall (1924–) but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899–1961), the author of the novel on which the script was nominally based, and William Faulkner (1897–1962), who worked on the screen adaptation.

After The Jazz Singer was released in 1927, Warner Bros. gained huge success and was able to acquire their own string of movie theaters, after purchasing Stanley Theaters and First National Productions in 1928. MGM had also owned the Loews string of theaters since forming in 1924, and the Fox Film Corporation owned the Fox Theatre strings as well. Also, RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America^[4]) responded to the Western Electric/ERPI monopoly over sound in films , and developed their own method, known as Photophone, to put sound in films [5]. Paramount, who already acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in Detroit, Michigan.^[5] By the 1930s, all of America's theaters were owned by the Big Five studios - MGM, Paramount Pictures, RKO, Warner Bros., and 20th Century Fox. [6].

Movie-making was still a business however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary — actors, producers, directors, writers, stunt men, craftspersons, and technicians. They owned or leased Movie Ranches in rural Southern California for location shooting of westerns and other large scale genre films. And they owned hundreds of theaters in cities and towns across the nation, theaters that showed their films and that were always in need of fresh material.

In 1930, MPDAA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930 [7]. However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency - appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn't go into effect [8]. Those films that didn't obtain a seal of approval from the Production Code Administration had to pay a $25,000.00 fine and could not profit in the theaters, as the MPDDA owned every theater in the country through the Big Five studios [9].

Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether [10]. Some MGM stars included "King of Hollywood" Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly [11]. Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs [12]. Also in 1939, MGM would create what is still, when adjusted for inflation, the most successful film of all time, Gone with the Wind [13].

Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980) and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka, and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, City Lights, Red River and Top Hat.

Decline of the studio system

The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:

• a federal antitrust action that separated the production of films from their exhibition; and
• the advent of television.

In 1938, Walt Disney's Snow White and the Seven Dwarfs was released during a run of lackluster films from the major studios, and quickly became the highest-grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.^[6] This stoked already widespread frustration at the practice of block-booking, in which studios would only sell an entire year's schedule of films at a time to theaters and use the lock-in to cover for releases of mediocre quality. Assistant Attorney General Thurman Arnold—a noted "trust buster" of the Roosevelt administration — took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the Sherman Anti-Trust Act.^[7][8] The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:

• Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.
• Eliminate the block-booking of any more than five features in their theaters.
• No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in US would see films every two weeks before showing movies in theaters.
• Set up an administration board in each theater district to enforce these requirements.^[7]

The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree.^[7][8] A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters — as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner Bing Crosby, Alan Ladd, and longtime actor for studio Gary Cooper too- by 1942. The Big Five studios didn't meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood anti-trust case, as did the Little Three studios [14]. The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the Sherman Antitrust Act. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.

The decision resulted in the gradual loss of the characteristics which made MGM, Paramount, Universal, Columbia, RKO, and Fox films immediately identifiable. Certain movie people, such as Cecil B. DeMille, either remained contract artists till the end of their careers or used the same creative teams on their films, so that a DeMille film still looked like one whether it was made in 1932 or 1956. Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.

Television was also instrumental in the decline of Hollywood's Golden Age as it broke the movie industry's hegemony in American entertainment. Despite this, the film industry was also able to gain some leverage for future films as longtime government censorship faded in the 1950s. After the Paramount anti-trust case ended, Hollywood movie studios no longer owned theaters, and thus made it so foreign films could be released in American theaters without censorship. This was complemented with the 1952 Miracle Decision in the Joseph Burstyn Inc. v Wilson case, in which the Supreme Court of the United States reversed its earlier position, from 1915's Mutual Film Corporation v. Industrial Commission of Ohio case, and stated that motion pictures were a form of art and were entitled to the protection of the First amendment; US laws could no longer censor films. By 1968, the Motion Picture Association of America (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.

New Hollywood and post-classical cinema

Post-classical cinema is a term used to describe the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "twist endings", and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock's storyline-shattering Psycho.

'New Hollywood' is a term used to describe the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s; The 1967 film Bonnie and Clyde marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well [15]. Filmmakers like Francis Ford Coppola, George Lucas, Martin Scorsese, Roman Polanski, and William Friedkin came to produce fare that paid homage to the history of film, and developed upon existing genres and techniques. In the early 1970s, their films were often both critically acclaimed and commercially successful. While the early New Hollywood films like Bonnie and Clyde and Easy Rider had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin, Spielberg, and Lucas with The Exorcist, Jaws, and Star Wars, respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.

The increasing indulgence of these young directors did not help^{[citation needed]}. Often^[when?], they’d go overschedule, and overbudget, thus bankrupting themselves or the studio^{[citation needed]}. The three most famous examples of this are Francis Coppola’s Apocalypse Now and One From The Heart and particularly Michael Cimino’s Heaven’s Gate, which single-handedly bankrupted United Artists. However, Coppola’s Apocalypse Now eventually made its money back and gained widespread recognition as a masterpiece.^[9]

 Rise of the home video market

The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as The Secret of NIMH and The Shawshank Redemption, which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as Quentin Tarantino and P.T. Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.

Modern cinema

Some of Hollywood's blockbuster action heroes from the 1980s and 1990s

Film Festival with an inflatable movie screen

The drive to produce a spectacle on the movie screen has largely shaped American cinema ever since. Spectacular epics which took advantage of new widescreen processes had been increasingly popular from the 1950s onwards. Since then, American films have become increasingly divided into two categories: Blockbusters and independent films. Studios have focused on relying on a handful of extremely expensive releases every year in order to remain profitable. Such blockbusters emphasize spectacle, star power, and high production value, all of which entail an enormous budget. Blockbusters typically rely upon star power and massive advertising to attract a huge audience. A successful blockbuster will attract an audience large enough to offset production costs and reap considerable profits. Such productions carry a substantial risk of failure, and most studios release blockbusters that both over- and underperform in a year.

Film industry (1995–2010)^[10]
All values in billions

Year	Tickets	Revenue
1995	1.22	$5.29
1996	1.26	$5.59
1997	1.42	$6.51
1998	1.44	$6.77
1999	1.44	$7.30
2000	1.39	$7.48
2001	1.44	$8.13
2002	1.58	$9.19
2003	1.55	$9.35
2004	1.49	$9.27
2005	1.40	$8.95
2006	1.41	$9.25
2007	1.40	$9.63
2008	1.39	$9.95
2009	1.42	$10.65
2010[N 1]	1.37	$10.89

Studios supplement these movies with independent productions, made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation. These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budgets, a successful independent film can have a high profit-to-cost ratio, while a failure will incur minimal losses, allowing for studios to sponsor dozens of such productions in addition to their high-stakes releases.

American independent cinema was revitalized in the late 1980s and early 1990s when another new generation of moviemakers, including Spike Lee, Steven Soderbergh, Kevin Smith, and Quentin Tarantino made movies like, respectively: Do the Right Thing; Sex, Lies, and Videotape; Clerks; and Reservoir Dogs. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example Fox Searchlight Pictures.

To a lesser degree in the 2000s, film types that were previously considered to have only a minor presence in the mainstream movie market began to arise as more potent American box office draws. These include foreign-language films such as Crouching Tiger, Hidden Dragon and Hero and documentary films such as Super Size Me, March of the Penguins, and Michael Moore's Bowling for Columbine and Fahrenheit 9/11.

Hollywood and politics

In the 1930s the Democrats and the Republicans saw money in Hollywood. President Franklin Roosevelt saw a huge partnership with Hollywood. He used the first real potential of Hollywood’s stars in a national campaign. Melvyn Douglas toured Washington in 1939 and met the key New Dealers. Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, John F. Kennedy was a new, young face for Washington, and his strong friendship with Frank Sinatra exemplified this new era of glamor. The last moguls of Hollywood were gone and younger, newer executives and producers began generating more liberal ideas.

Celebrities and money attracted politicians into the high-class, glittering Hollywood life-style. As Ronald Brownstein wrote in his book “The Power and the Glitter”, television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like Jane Fonda against the Vietnam War.^[11] This era saw former actor Ronald Reagan became Governor of California and subsequently become President of the United States. It continued with Arnold Schwarzenegger as California’s Governor in 2003. Today Washington’s interest is in Hollywood donations. On February 20, 2007, for example, Barack Obama had a $2300-a-plate Hollywood gala, being hosted by David Geffen, Jeffrey Katzenberg and Steven Spielberg at the Beverly Hilton.^[12] Hollywood is a huge donator for presidential campaigns and this money attracts politicians. Not only is Hollywood influencing Washington with its glamour and money but Washington also influences Hollywood. See Jean-Michel Valantin's analysis in “Hollywood, le Pentagone et Washington” ^[13]

See also

• Pre-Code Hollywood
• Cinema of the world
• American Film Institute
• Movie ranches
• National Film Registry
• Runaway production
• List of films in the public domain in the United States

Footnotes

1. ^ Ticket sales and revenue for 2010 are annualized based on existing data for the year as of June 2010.

 Notes

1. ^ Village Voice: 100 Best Films of the 20th century (2001). Filmsite.org; Sight and Sound Top Ten Poll 2002. BFI. Retrieved on June 19, 2007.
2. ^ "Nigeria's Nollywood eclipsing Hollywood in Africa". The Independent. 2010-05-15. http://www.independent.co.uk/arts-entertainment/films/nigerias-nollywood-eclipsing-hollywood-in-africa-1974087.html. Retrieved 2010-11-24. 
3. ^ Jacobs, Lewis; Rise of the American film, The; Harcourt Brace, New York, 1930; p. 85
4. ^ Thumbnail History of RKO Radio Pictures
5. ^ The Paramount Theater Monoply
6. ^ Aberdeen, J A (2005-09-06). "Part 1: The Hollywood Slump of 1938". Hollywood Renegades Archive. http://www.cobbles.com/simpp_archive/paramountcase_1slump1938.htm. Retrieved 2008-05-06 
7. ^ ^{a b c} Consent Decree. Time Magazine. 1940-11-11. http://www.time.com/time/printout/0,8816,849344,00.html. Retrieved 2008-05-06 
8. ^ ^{a b} Aberdeen, J A (2005-09-06). "Part 3: The Consent Decree of 1940". Hollywood Renegades Archive. http://cobbles.com/simpp_archive/paramountcase_3consent1940.htm. Retrieved 2008-05-06 
9. ^ Sight & Sound. Modern Times Sight & Sound British Film Institute, Dec. 2002. Web. 16 Oct. 2010
10. ^ "US Movie Market Summary 1995 to 2010". The Numbers. http://www.the-numbers.com/market/. Retrieved 2010-07-15. 
11. ^ Brownstein, Ronald (1990). The power and the glitter : the Hollywood-Washington connection . Pantheon Books. ISBN 0394569385
12. ^ Halbfinger, David M. (2007-02-06). "Politicians Are Doing Hollywood Star Turns". nytimes.com. http://www.nytimes.com/2007/02/06/movies/awardsseason/06holly.html. Retrieved 2008-02-05. 
13. ^ Valantin, Jean-Michel (2003). Hollywood, le Pentagone et Washington : les trois acteurs d'une stratégie globale. Autrement. ISBN 2746703793

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World Wide Web

The World Wide Web, abbreviated as WWW and commonly known as The Web, is a system of interlinked hypertext documents contained on the Internet. With a web browser, one can view web pages that may contain text, images, videos, and other multimedia and navigate between them by using hyperlinks. Using concepts from earlier hypertext systems, English engineer and computer scientist Sir Tim Berners Lee, now the Director of the World Wide Web Consortium, wrote a proposal in March 1989 for what would eventually become the World Wide Web.^[1] He was later joined by Belgian computer scientist Robert Cailliau while both were working at CERN in Geneva, Switzerland. In 1990, they proposed using "HyperText [...] to link and access information of various kinds as a web of nodes in which the user can browse at will",^[2] and released that web in December.^[3]

"The World-Wide Web (W3) was developed to be a pool of human knowledge, which would allow collaborators in remote sites to share their ideas and all aspects of a common project." ^[4] If two projects are independently created, rather than have a central figure make the changes, the two bodies of information could form into one cohesive piece of work.

History

Main article: History of the World Wide Web

In March 1989, Sir Tim Berners-Lee wrote a proposal^[5] that referenced ENQUIRE, a database and software project he had built in 1980, and described a more elaborate information management system.

With help from Robert Cailliau, he published a more formal proposal (on November 12, 1990) to build a "Hypertext project" called "WorldWideWeb" (one word, also "W3") as a "web" of "hypertext documents" to be viewed by "browsers", using a client-server architecture.^[2] This proposal estimated that a read-only web would be developed within three months and that it would take six months to achieve, "the creation of new links and new material by readers, [so that] authorship becomes universal" as well as "the automatic notification of a reader when new material of interest to him/her has become available". See Web 2.0 and RSS/Atom, which have taken a little longer to mature.

The proposal had been modeled after the Dynatext SGML reader, by Electronic Book Technology, a spin-off from the Institute for Research in Information and Scholarship at Brown University. The Dynatext system, licensed by CERN, was technically advanced and was a key player in the extension of SGML ISO 8879:1986 to Hypermedia within HyTime, but it was considered too expensive and had an inappropriate licensing policy for use in the general high energy physics community, namely a fee for each document and each document alteration.

A NeXT Computer was used by Berners-Lee as the world's first web server and also to write the first web browser, WorldWideWeb, in 1990. By Christmas 1990, Berners-Lee had built all the tools necessary for a working Web:^[6] the first web browser (which was a web editor as well), the first web server, and the first web pages^[7] which described the project itself. On August 6, 1991, he posted a short summary of the World Wide Web project on the alt.hypertext newsgroup.^[8] This date also marked the debut of the Web as a publicly available service on the Internet. The first server outside Europe was set up at SLAC to host the SPIRES-HEP database. Accounts differ substantially as to the date of this event. The World Wide Web Consortium says December 1992^[9], whereas SLAC itself claims 1991^[10].

The crucial underlying concept of hypertext originated with older projects from the 1960s, such as the Hypertext Editing System (HES) at Brown University — among others Ted Nelson and Andries van Dam — Ted Nelson's Project Xanadu and Douglas Engelbart's oN-Line System (NLS). Both Nelson and Engelbart were in turn inspired by Vannevar Bush's microfilm-based "memex," which was described in the 1945 essay "As We May Think".^{[citation needed]}

Berners-Lee's breakthrough was to marry hypertext to the Internet. In his book Weaving The Web, he explains that he had repeatedly suggested that a marriage between the two technologies was possible to members of both technical communities, but when no one took up his invitation, he finally tackled the project himself. In the process, he developed a system of globally unique identifiers for resources on the Web and elsewhere: the Universal Document Identifier (UDI) later known as Uniform Resource Locator (URL) and Uniform Resource Identifier (URI); and the publishing language HyperText Markup Language (HTML); and the Hypertext Transfer Protocol (HTTP).^[11]

The World Wide Web had a number of differences from other hypertext systems that were then available. The Web required only unidirectional links rather than bidirectional ones. This made it possible for someone to link to another resource without action by the owner of that resource. It also significantly reduced the difficulty of implementing web servers and browsers (in comparison to earlier systems), but in turn presented the chronic problem of link rot. Unlike predecessors such as HyperCard, the World Wide Web was non-proprietary, making it possible to develop servers and clients independently and to add extensions without licensing restrictions. On April 30, 1993, CERN announced^[12] that the World Wide Web would be free to anyone, with no fees due. Coming two months after the announcement that the Gopher protocol was no longer free to use, this produced a rapid shift away from Gopher and towards the Web. An early popular web browser was ViolaWWW, which was based upon HyperCard.

Scholars generally agree that a turning point for the World Wide Web began with the introduction^[13] of the Mosaic web browser^[14] in 1993, a graphical browser developed by a team at the National Center for Supercomputing Applications at the University of Illinois at Urbana-Champaign (NCSA-UIUC), led by Marc Andreessen. Funding for Mosaic came from the U.S. High-Performance Computing and Communications Initiative, a funding program initiated by the High Performance Computing and Communication Act of 1991, one of several computing developments initiated by U.S. Senator Al Gore.^[15] Prior to the release of Mosaic, graphics were not commonly mixed with text in web pages, and the Web's popularity was less than older protocols in use over the Internet, such as Gopher and Wide Area Information Servers (WAIS). Mosaic's graphical user interface allowed the Web to become, by far, the most popular Internet protocol.

The World Wide Web Consortium (W3C) was founded by Tim Berners-Lee after he left the European Organization for Nuclear Research (CERN) in October, 1994. It was founded at the Massachusetts Institute of Technology Laboratory for Computer Science (MIT/LCS) with support from the Defense Advanced Research Projects Agency (DARPA)—which had pioneered the Internet—and the European Commission. By the end of 1994, while the total number of websites was still minute compared to present standards, quite a number of notable websites were already active, many of whom are the precursors or inspiration for today's most popular services.

Connected by the existing Internet, other websites were created around the world, adding international standards for domain names and the HTML. Since then, Berners-Lee has played an active role in guiding the development of web standards (such as the markup languages in which web pages are composed), and in recent years has advocated his vision of a Semantic Web. The World Wide Web enabled the spread of information over the Internet through an easy-to-use and flexible format. It thus played an important role in popularizing use of the Internet.^[16] Although the two terms are sometimes conflated in popular use, World Wide Web is not synonymous with Internet.^[17] The Web is an application built on top of the Internet.

Function

The terms Internet and World Wide Web are often used in every-day speech without much distinction. However, the Internet and the World Wide Web are not one and the same. The Internet is a global system of interconnected computer networks. In contrast, the Web is one of the services that runs on the Internet. It is a collection of interconnected documents and other resources, linked by hyperlinks and URLs. In short, the Web is an application running on the Internet.^[18] Viewing a web page on the World Wide Web normally begins either by typing the URL of the page into a web browser, or by following a hyperlink to that page or resource. The web browser then initiates a series of communication messages, behind the scenes, in order to fetch and display it.

First, the server-name portion of the URL is resolved into an IP address using the global, distributed Internet database known as the domain name system, or DNS. This IP address is necessary to contact the Web server. The browser then requests the resource by sending an HTTP request to the Web server at that particular address. In the case of a typical web page, the HTML text of the page is requested first and parsed immediately by the web browser, which then makes additional requests for images and any other files that form parts of the page. Statistics measuring a website's popularity are usually based either on the number of 'page views' or associated server 'hits' (file requests) that take place.

While receiving these files from the web server, browsers may progressively render the page onto the screen as specified by its HTML, CSS, and other web languages. Any images and other resources are incorporated to produce the on-screen web page that the user sees. Most web pages will themselves contain hyperlinks to other related pages and perhaps to downloads, source documents, definitions and other web resources. Such a collection of useful, related resources, interconnected via hypertext links, is what was dubbed a "web" of information. Making it available on the Internet created what Tim Berners-Lee first called the WorldWideWeb (in its original CamelCase, which was subsequently discarded) in November 1990.^[2]

Linking

Over time, many web resources pointed to by hyperlinks disappear, relocate, or are replaced with different content. This makes hyperlinks obsolete, a phenomenon referred to in some circles as link rot and the hyperlinks affected by it are often called dead links. The ephemeral nature of the Web has prompted many efforts to archive web sites. The Internet Archive, active since 1996, is one of the best-known efforts.

[Dynamic updates of web pages

Main article: Ajax (programming)

JavaScript is a scripting language that was initially developed in 1995 by Brendan Eich, then of Netscape, for use within web pages.^[19] The standardized version is ECMAScript.^[19] To overcome some of the limitations of the page-by-page model described above, some web applications also use Ajax (asynchronous JavaScript and XML). JavaScript is delivered with the page that can make additional HTTP requests to the server, either in response to user actions such as mouse-clicks, or based on lapsed time. The server's responses are used to modify the current page rather than creating a new page with each response. Thus the server only needs to provide limited, incremental information. Since multiple Ajax requests can be handled at the same time, users can interact with a page even while data is being retrieved. Some web applications regularly poll the server to ask if new information is available.^[20]

WWW prefix

Many web addresses begin with www, because of the long-standing practice of naming Internet hosts (servers) according to the services they provide. The hostname for a web server is often www, as it is ftp for an FTP server, and news or nntp for a USENET news server. These host names appear as Domain Name System (DNS) subdomain names, as in www.example.com. The use of such subdomain names is not required by any technical or policy standard; indeed, the first ever web server was called nxoc01.cern.ch,^[21] and many web sites exist without a www subdomain prefix, or with some other prefix such as "www2", "secure", etc. These subdomain prefixes have no consequence; they are simply chosen names. Many web servers are set up such that both the domain by itself (e.g., example.com) and the www subdomain (e.g., www.example.com) refer to the same site, others require one form or the other, or they may map to different web sites.

When a single word is typed into the address bar and the return key is pressed, some web browsers automatically try adding "www." to the beginning of it and possibly ".com", ".org" and ".net" at the end. For example, typing 'apple<enter>' may resolve to http://www.apple.com/ and 'openoffice<enter>' to http://www.openoffice.org. This feature was beginning to be included in early versions of Mozilla Firefox (when it still had the working title 'Firebird') in early 2003.^[22] It is reported that Microsoft was granted a US patent for the same idea in 2008, but only with regard to mobile devices.^[23]

The 'http://' or 'https://' part of web addresses does have meaning: These refer to Hypertext Transfer Protocol and to HTTP Secure and so define the communication protocol that will be used to request and receive the page and all its images and other resources. The HTTP network protocol is fundamental to the way the World Wide Web works, and the encryption involved in HTTPS adds an essential layer if confidential information such as passwords or bank details are to be exchanged over the public internet. Web browsers often prepend this 'scheme' part to URLs too, if it is omitted. Despite this, Berners-Lee himself has admitted that the two 'forward slashes' (//) were in fact initially unnecessary^[24]. In overview, RFC 2396 defined web URLs to have the following form: <scheme>://<authority><path>?<query>#<fragment>. Here <authority> is for example the web server (like www.example.com), and <path> identifies the web page. The web server processes the <query>, which can be data sent via a form, e.g., terms sent to a search engine, and the returned page depends on it. Finally, <fragment> is not sent to the web server. It identifies the portion of the page which the browser shows first.

In English, www is pronounced by individually pronouncing the name of characters (double-u double-u double-u). Although some technical users pronounce it dub-dub-dub this is not widespread. The English writer Douglas Adams once quipped in The Independent on Sunday (1999): "The World Wide Web is the only thing I know of whose shortened form takes three times longer to say than what it's short for," with Stephen Fry later pronouncing it in his "Podgrammes" series of podcasts as "wuh wuh wuh." In Mandarin Chinese, World Wide Web is commonly translated via a phono-semantic matching to wàn wéi wǎng (万维网), which satisfies www and literally means "myriad dimensional net",^[25] a translation that very appropriately reflects the design concept and proliferation of the World Wide Web. Tim Berners-Lee's web-space states that World Wide Web is officially spelled as three separate words, each capitalized, with no intervening hyphens.

Privacy

Computer users, who save time and money, and who gain conveniences and entertainment, may or may not have surrendered the right to privacy in exchange for using a number of technologies including the Web.^[27] Worldwide, more than a half billion people have used a social network service,^[28] and of Americans who grew up with the Web, half created an online profile^[29] and are part of a generational shift that could be changing norms.^[30][31] Facebook progressed from U.S. college students to a 70% non-U.S. audience, and in 2009 prior to launching a beta test of the "transition tools" to set privacy preferences,^[32] estimated that only 20% of its members use privacy settings.

Privacy representatives from 60 countries have resolved to ask for laws to complement industry self-regulation, for education for children and other minors who use the Web, and for default protections for users of social networks. They also believe data protection for personally identifiable information benefits business more than the sale of that information.^[34] Users can opt-in to features in browsers to clear their personal histories locally and block some cookies and advertising networksbut they are still tracked in websites' server logs, and particularly web beaconsBerners-Lee and colleagues see hope in accountability and appropriate use achieved by extending the Web's architecture to policy awareness, perhaps with audit logging, reasoners and appliances. Among services paid for by advertising, Yahoo! could collect the most data about users of commercial websites, about 2,500 bits of information per month about each typical user of its site and its affiliated advertising network sites. Yahoo! was followed by MySpace with about half that potential and then by AOL–TimeWarner, Google, Facebook, Microsoft, and eBay.

Security

The Web has become criminals' preferred pathway for spreading malware. Cybercrime carried out on the Web can include identity theft, fraud, espionage and intelligence gathering.^[39] Web-based vulnerabilities now outnumber traditional computer security concerns,^[40][41] and as measured by Google, about one in ten web pages may contain malicious code.^[42] Most Web-based attacks take place on legitimate websites, and most, as measured by Sophos, are hosted in the United States, China and Russia. The most common of all malware threats is SQL injection attacks against websites. Through HTML and URIs the Web was vulnerable to attacks like cross-site scripting (XSS) that came with the introduction of JavaScript^[45] and were exacerbated to some degree by Web 2.0 and Ajax web design that favors the use of scripts. Today by one estimate, 70% of all websites are open to XSS attacks on their users.

Proposed solutions vary to extremes. Large security vendors like McAfee already design governance and compliance suites to meet post-9/11 regulations, and some, like Finjan have recommended active real-time inspection of code and all content regardless of its source.^[39] Some have argued that for enterprise to see security as a business opportunity rather than a cost center,^[49] "ubiquitous, always-on digital rights management" enforced in the infrastructure by a handful of organizations must replace the hundreds of companies that today secure data and networks.^[50] Jonathan Zittrain has said users sharing responsibility for computing safety is far preferable to locking down the Internet.^[51]

Standards

Main article: Web standards

Many formal standards and other technical specifications define the operation of different aspects of the World Wide Web, the Internet, and computer information exchange. Many of the documents are the work of the World Wide Web Consortium (W3C), headed by Berners-Lee, but some are produced by the Internet Engineering Task Force (IETF) and other organizations.

Usually, when web standards are discussed, the following publications are seen as foundational:

• Recommendations for markup languages, especially HTML and XHTML, from the W3C. These define the structure and interpretation of hypertext documents.
• Recommendations for stylesheets, especially CSS, from the W3C.
• Standards for ECMAScript (usually in the form of JavaScript), from Ecma International.
• Recommendations for the Document Object Model, from W3C.

Additional publications provide definitions of other essential technologies for the World Wide Web, including, but not limited to, the following:

• Uniform Resource Identifier (URI), which is a universal system for referencing resources on the Internet, such as hypertext documents and images. URIs, often called URLs, are defined by the IETF's RFC 3986 / STD 66: Uniform Resource Identifier (URI): Generic Syntax, as well as its predecessors and numerous URI scheme-defining RFCs;
• HyperText Transfer Protocol (HTTP), especially as defined by RFC 2616: HTTP/1.1 and RFC 2617: HTTP Authentication, which specify how the browser and server authenticate each other.

Accessibility

Access to the Web is for everyone regardless of disability including visual, auditory, physical, speech, cognitive, or neurological. Accessibility features also help others with temporary disabilities like a broken arm or the aging population as their abilities change.^[52] The Web is used for receiving information as well as providing information and interacting with society, making it essential that the Web be accessible in order to provide equal access and equal opportunity to people with disabilities.^[53] Tim Berners-Lee once noted, "The power of the Web is in its universality. Access by everyone regardless of disability is an essential aspect."^[52] Many countries regulate web accessibility as a requirement for websites.^[54] International cooperation in the W3C Web Accessibility Initiative led to simple guidelines that web content authors as well as software developers can use to make the Web accessible to persons who may or may not be using assistive technology.^[52][55]

Internationalization

The W3C Internationalization Activity assures that web technology will work in all languages, scripts, and cultures.^[56] Beginning in 2004 or 2005, Unicode gained ground and eventually in December 2007 surpassed both ASCII and Western European as the Web's most frequently used character encoding.^[57] Originally RFC 3986 allowed resources to be identified by URI in a subset of US-ASCII. RFC 3987 allows more characters—any character in the Universal Character Set—and now a resource can be identified by IRI in any language.^[58]

Statistics

According to a 2001 study, there were massively more than 550 billion documents on the Web, mostly in the invisible Web, or deep Web.^[59] A 2002 survey of 2,024 million Web pages^[60] determined that by far the most Web content was in English: 56.4%; next were pages in German (7.7%), French (5.6%), and Japanese (4.9%). A more recent studywhich used Web searches in 75 different languages to sample the Web, determined that there were over 11.5 billion Web pages in the publicly indexable Web as of the end of January 2005. As of March 2009^[update], the indexable web contains at least 25.21 billion pages.^[62] On July 25, 2008, Google software engineers Jesse Alpert and Nissan Hajaj announced that Google Search had discovered one trillion unique URLs.^[63] As of May 2009^[update], over 109.5 million websites operated. Of these 74% were commercial or other sites operating in the .com generic top-level domain.

Speed issues

Frustration over congestion issues in the Internet infrastructure and the high latency that results in slow browsing has led to an alternative, pejorative name for the World Wide Web: the World Wide Wait. Speeding up the Internet is an ongoing discussion over the use of peering and QoS technologies. Other solutions to reduce the World Wide Wait can be found at W3C.^[66] Standard guidelines for ideal Web response times are:^[67]

• 0.1 second (one tenth of a second). Ideal response time. The user doesn't sense any interruption.
• 1 second. Highest acceptable response time. Download times above 1 second interrupt the user experience.
• 10 seconds. Unacceptable response time. The user experience is interrupted and the user is likely to leave the site or system.

Caching

If a user revisits a Web page after only a short interval, the page data may not need to be re-obtained from the source Web server. Almost all web browsers cache recently obtained data, usually on the local hard drive. HTTP requests sent by a browser will usually only ask for data that has changed since the last download. If the locally cached data are still current, it will be reused. Caching helps reduce the amount of Web traffic on the Internet. The decision about expiration is made independently for each downloaded file, whether image, stylesheet, JavaScript, HTML, or whatever other content the site may provide. Thus even on sites with highly dynamic content, many of the basic resources only need to be refreshed occasionally. Web site designers find it worthwhile to collate resources such as CSS data and JavaScript into a few site-wide files so that they can be cached efficiently. This helps reduce page download times and lowers demands on the Web server.

There are other components of the Internet that can cache Web content. Corporate and academic firewalls often cache Web resources requested by one user for the benefit of all. (See also Caching proxy server.) Some search engines also store cached content from websites. Apart from the facilities built into Web servers that can determine when files have been updated and so need to be re-sent, designers of dynamically generated Web pages can control the HTTP headers sent back to requesting users, so that transient or sensitive pages are not cached. Internet banking and news sites frequently use this facility. Data requested with an HTTP 'GET' is likely to be cached if other conditions are met; data obtained in response to a 'POST' is assumed to depend on the data that was POSTed and so is not cached.

Website

A website (also spelled Web site^[1]) is a collection of related web pages, images, videos or other digital assets that are addressed relative to a common Uniform Resource Locator (URL), often consisting of only the domain name, or the IP address, and the root path ('/') in an Internet Protocol-based network. A web site is hosted on at least one web server, accessible via a network such as the Internet or a private local area network.

A web page is a document, typically written in plain text interspersed with formatting instructions of Hypertext Markup Language (HTML, XHTML). A web page may incorporate elements from other websites with suitable markup anchors.

Web pages are accessed and transported with the Hypertext Transfer Protocol (HTTP), which may optionally employ encryption (HTTP Secure, HTTPS) to provide security and privacy for the user of the web page content. The user's application, often a web browser, renders the page content according to its HTML markup instructions onto a display terminal.

All publicly accessible websites collectively constitute the World Wide Web.

The pages of a website can usually be accessed from a simple Uniform Resource Locator (URL) called the homepage. The URLs of the pages organize them into a hierarchy, although hyperlinking between them conveys the reader's perceived site structure and guides the reader's navigation of the site.

Some websites require a subscription to access some or all of their content. Examples of subscription sites include many business sites, parts of many news sites, academic journal sites, gaming sites, message boards, web-based e-mail, services, social networking websites, and sites providing real-time stock market data.

History

The World Wide Web (WWW) was created in 1989 by CERN physicist Tim Berners-Lee.^[2] On 30 April 1993, CERN announced that the World Wide Web would be free to use for anyone.^[3]

Before the introduction of HTML and HTTP, other protocols such as file transfer protocol and the gopher protocol were used to retrieve individual files from a server. These protocols offer a simple directory structure which the user navigates and chooses files to download. Documents were most often presented as plain text files without formatting or were encoded in word processor formats.

Overview

Organized by function, a website may be

• a personal website
• a commercial website
• a government website
• a non-profit organization website

It could be the work of an individual, a business or other organization, and is typically dedicated to some particular topic or purpose. Any website can contain a hyperlink to any other website, so the distinction between individual sites, as perceived by the user, may sometimes be blurred.

Websites are written in, or dynamically converted to, HTML (Hyper Text Markup Language) and are accessed using a software interface classified as a user agent. Web pages can be viewed or otherwise accessed from a range of computer-based and Internet-enabled devices of various sizes, including desktop computers, laptops, PDAs and cell phones.

A website is hosted on a computer system known as a web server, also called an HTTP server, and these terms can also refer to the software that runs on these systems and that retrieves and delivers the web pages in response to requests from the website users. Apache is the most commonly used web server software (according to Netcraft statistics) and Microsoft's Internet Information Server (IIS) is also commonly used.

Static website

Main article: static web page

A static website is one that has web pages stored on the server in the format that is sent to a client web browser. It is primarily coded in Hypertext Markup Language (HTML).

Simple forms or marketing examples of websites, such as classic website, a five-page website or a brochure website are often static websites, because they present pre-defined, static information to the user. This may include information about a company and its products and services via text, photos, animations, audio/video and interactive menus and navigation.

This type of website usually displays the same information to all visitors. Similar to handing out a printed brochure to customers or clients, a static website will generally provide consistent, standard information for an extended period of time. Although the website owner may make updates periodically, it is a manual process to edit the text, photos and other content and may require basic website design skills and software.

In summary, visitors are not able to control what information they receive via a static website, and must instead settle for whatever content the website owner has decided to offer at that time.

They are edited using four broad categories of software:

• Text editors, such as Notepad or TextEdit, where content and HTML markup are manipulated directly within the editor program
• WYSIWYG offline editors, such as Microsoft FrontPage and Adobe Dreamweaver (previously Macromedia Dreamweaver), with which the site is edited using a GUI interface and the final HTML markup is generated automatically by the editor software
• WYSIWYG online editors which create media rich online presentation like web pages, widgets, intro, blogs, and other documents.
• Template-based editors, such as Rapidweaver and iWeb, which allow users to quickly create and upload web pages to a web server without detailed HTML knowledge, as they pick a suitable template from a palette and add pictures and text to it in a desktop publishing fashion without direct manipulation of HTML code.

Dynamic website

Main article: dynamic web page

A dynamic website is one that changes or customizes itself frequently and automatically, based on certain criteria.

Dynamic websites can have two types of dynamic activity: Code and Content. Dynamic code is invisible or behind the scenes and dynamic content is visible or fully displayed.

Dynamic code

The first type is a web page with dynamic code. The code is constructed dynamically on the fly using active programming language instead of plain, static HTML.

A website with dynamic code refers to its construction or how it is built, and more specifically refers to the code used to create a single web page. A dynamic web page is generated on the fly by piecing together certain blocks of code, procedures or routines. A dynamically-generated web page would call various bits of information from a database and put them together in a pre-defined format to present the reader with a coherent page. It interacts with users in a variety of ways including by reading cookies recognizing users' previous history, session variables, server side variables etc., or by using direct interaction (form elements, mouseovers, etc.). A site can display the current state of a dialogue between users, monitor a changing situation, or provide information in some way personalized to the requirements of the individual user.

Dynamic content

The second type is a website with dynamic content displayed in plain view. Variable content is displayed dynamically on the fly based on certain criteria, usually by retrieving content stored in a database.

A website with dynamic content refers to how its messages, text, images and other information are displayed on the web page, and more specifically how its content changes at any given moment. The web page content varies based on certain criteria, either pre-defined rules or variable user input. For example, a website with a database of news articles can use a pre-defined rule which tells it to display all news articles for today's date. This type of dynamic website will automatically show the most current news articles on any given date. Another example of dynamic content is when a retail website with a database of media products allows a user to input a search request for the keyword Beatles. In response, the content of the web page will spontaneously change the way it looked before, and will then display a list of Beatles products like CD's, DVD's and books.

Purpose of dynamic websites

The main purpose of a dynamic website is automation. A dynamic website can operate more effectively, be built more efficiently and is easier to maintain, update and expand. It is much simpler to build a template and a database than to build hundreds or thousands of individual, static HTML web pages.

Software systems

There is a wide range of software systems, such as Java Server Pages (JSP), the PHP and Perl programming languages, Active Server Pages (ASP), YUMA and ColdFusion (CFML) that are available to generate dynamic web systems and dynamic sites. Sites may also include content that is retrieved from one or more databases or by using XML-based technologies such as RSS.

Static content may also be dynamically generated either periodically, or if certain conditions for regeneration occur (cached) in order to avoid the performance loss of initiating the dynamic engine on a per-user or per-connection basis.

Plug ins are available to expand the features and abilities of web browsers, which use them to show active content, such as Microsoft Silverlight, Adobe Flash, Adobe Shockwave or applets written in Java. Dynamic HTML also provides for user interactivity and realtime element updating within web pages (i.e., pages don't have to be loaded or reloaded to effect any changes), mainly using the Document Object Model (DOM) and JavaScript, support which is built-in to most modern web browsers.

Turning a website into an income source is a common practice for web developers and website owners. There are several methods for creating a website business which fall into two broad categories, as defined below.

Content-based sites

Some websites derive revenue by selling advertising space on the site (see Contextual advertising).

Product- or service-based sites

Some websites derive revenue by offering products or services for sale. In the case of e-commerce websites, the products or services may be purchased at the website itself, by entering credit card or other payment information into a payment form on the site. While most business websites serve as a shop window for existing brick and mortar businesses, it is increasingly the case that some websites are businesses in their own right; that is, the products they offer are only available for purchase on the web.

Websites occasionally derive income from a combination of these two practices. For example, a website such as an online auctions website may charge the users of its auction service to list an auction, but also display third-party advertisements on the site, from which it derives further income.

Spelling

The forms website and web site are the most commonly used forms, the former especially in British English. Reuters, Microsoft, academia, book publishing, The Chicago Manual of Style, and dictionaries such as Merriam-Webster use the two-word, initially capitalized spelling Web site. This is because "Web" is not a general term but a short form of World Wide Web. As with many newly created terms,^[which?] it may take some time before a common spelling is finalized.^{[original research?]} This controversy also applies to derivative terms such as web page, web master, and web cam.

The Canadian Oxford Dictionary and the Canadian Press Style book list "website" and "web page" as the preferred spellings. The Oxford English Dictionary began using "website" as its standardized form in 2004.^[4]

Bill Walsh, the copy chief of The Washington Post's national desk, and one of American English's foremost grammarians, argues for the two-word spelling with capital W in his books Lapsing into a Comma and The Elephants of Style, and on his site, the Slot.^[5]

The AP Stylebook from the Associated Press initially^[6] said "Web site" was the proper spelling, but the AP announced in April 2010 it would change to "website"^[7].

Types of websites

There are many varieties of websites, each specializing in a particular type of content or use, and they may be arbitrarily classified in any number of ways. A few such classifications might include:^{[original research?]}

• Affiliate: enabled portal that renders not only its custom CMS but also syndicated content from other content providers for an agreed fee. There are usually three relationship tiers. Affiliate Agencies (e.g., Commission Junction), Advertisers (e.g., eBay) and consumer (e.g., Yahoo!).
• Archive site: used to preserve valuable electronic content threatened with extinction. Two examples are: Internet Archive, which since 1996 has preserved billions of old (and new) web pages; and Google Groups, which in early 2005 was archiving over 845,000,000 messages posted to Usenet news/discussion groups.
• Blog (web log): sites generally used to post online diaries which may include discussion forums (e.g., blogger, Xanga).
• Brand building site: a site with the purpose of creating an experience of a brand online. These sites usually do not sell anything, but focus on building the brand. Brand building sites are most common for low-value, high-volume fast moving consumer goods (FMCG).
• City Site: A site that shows information about a certain city or town and events that takes place in that town. Usually created by the city council or other "movers and shakers".
  • the same as those of geographic entities, such as cities and countries. For example, Richmond.com is the geodomain for Richmond, Virginia.
• Community site: a site where persons with similar interests communicate with each other, usually by chat or message boards, such as MySpace or Facebook.
• Content site: sites whose business is the creation and distribution of original content (e.g., Slate, About.com).
• Corporate website: used to provide background information about a business, organization, or service.
• Electronic commerce (e-commerce) site: a site offering goods and services for online sale and enabling online transactions for such sales.
• Forum: a site where people discuss various topics.
• Gripe site: a site devoted to the critique of a person, place, corporation, government, or institution.
• Humor site: satirizes, parodies or otherwise exists solely to amuse.
• Information site: contains content that is intended to inform visitors, but not necessarily for commercial purposes, such as: RateMyProfessors.com, Free Internet Lexicon and Encyclopedia. Most government, educational and non-profit institutions have an informational site.
• Java applet site: contains software to run over the Web as a Web application.
• Mirror site: A complete reproduction of a website.
• Microblog : a short and simple form of blogging.
• News site: similar to an information site, but dedicated to dispensing news and commentary.
• Personal homepage: run by an individual or a small group (such as a family) that contains information or any content that the individual wishes to include. These are usually uploaded using a web hosting service such as Geocities.
• Phish site: a website created to fraudulently acquire sensitive information, such as passwords and credit card details, by masquerading as a trustworthy person or business (such as Social Security Administration, PayPal) in an electronic communication (see Phishing).
• Political site: A site on which people may voice political views.
• Porn site: A site that shows sexually explicit content for enjoyment and relaxation, most likely in the form of an Internet gallery, dating site, blog, social networking, or video sharing.
• Rating site: A site on which people can praise or disparage what is featured.
• Review site: A site on which people can post reviews for products or services.
• School site: a site on which teachers, students, or administrators can post information about current events at or involving their school. U.S. elementary-high school websites generally use k12 in the URL, such as kearney.k12.mo.us.
• Search engine site: a site that provides general information and is intended as a gateway or lookup for other sites. A pure example is Google, and well-known sites include Yahoo! Search and Bing (search engine).
• Shock site: includes images or other material that is intended to be offensive to most viewers (e.g. rotten.com).
• Social bookmarking site: a site where users share other content from the Internet and rate and comment on the content. StumbleUpon and Digg are examples.
• Social networking site: a site where users could communicate with one another and share media, such as pictures, videos, music, blogs, etc. with other users. These may include games and web applications.
• Video sharing: A site that enables user to upload videos, such as YouTube and Google Video.
• Warez: a site designed to host or link to copyrighted materials for the user to download illegally.
• Web portal: a site that provides a starting point or a gateway to other resources on the Internet or an intranet.
• Wiki site: a site which users collaboratively edit (such as Wikipedia and Wikihow).

Some websites may be included in one or more of these categories. For example, a business website may promote the business's products, but may also host informative documents, such as white papers. There are also numerous sub-categories to the ones listed above. For example, a porn site is a specific type of e-commerce site or business site (that is, it is trying to sell memberships for access to its site). A fan site may be a dedication from the owner to a particular celebrity.

Websites are constrained by architectural limits (e.g., the computing power dedicated to the website). Very large websites, such as Yahoo!, Microsoft, and Google employ many servers and load balancing equipment such as Cisco Content Services Switches to distribute visitor loads over multiple computers at multiple locations.

In February 2009, Netcraft, an Internet monitoring company that has tracked Web growth since 1995, reported that there were 215,675,903 websites with domain names and content on them in 2009, compared to just 18,000 websites in August 1995.

Awards

The Webby Awards are a set of awards presented to the world's best websites, a concept pioneered by Best of the Web in 1994.

Privacy Policy for website

If you require any more information or have any questions about our privacy policy, please feel free to contact us by email at Support@Vietnamonline.com.vn

At website, the privacy of our visitors is of extreme importance to us. This privacy policy document outlines the types of personal information is received and collected by website and how it is used.

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