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Film industry

The film industry or motion picture industry comprises the technological and commercial institutions of filmmaking, i.e., film production companies, film studios, cinematography, animation, film production, screenwriting, pre-production, post-production, film festivals, distribution, and actors. Though the expense involved in making films almost immediately led film production to concentrate under the auspices of standing production companies, advances in affordable filmmaking equipment, as well as an expansion of opportunities to acquire investment capital from outside the film industry itself, have allowed independent film production to evolve.

In 2019, the global box office was worth US$42.2 billion. When including box office and home entertainment revenue, the global film industry was worth US$136 billion in 2018. Hollywood is the world's oldest national film industry, and largest in terms of box-office gross revenue. Indian cinema is the largest national film industry in terms of the number of films produced, with 2,446 feature films produced annually.

Modern film industry
The worldwide theatrical market had a box office of US$42.2 billion in 2019. The top three continents/regions by box-office gross were Asia-Pacific with US$17.8 billion, the U.S. and Canada with US$11.4 billion, and Europe, the Middle East and North Africa with US$10.3 billion. , the largest markets by box office were, in decreasing order, the United States, China, Japan, South Korea, the United Kingdom, France, and India. , the countries with the largest number of film productions were India, and the United States. In Europe, significant centers of movie production are France, Germany, Spain, Italy, and the United Kingdom.

China

The cinema of China is one of three distinct historical threads of Chinese-language cinema together with the cinema of Hong Kong and the cinema of Taiwan. Cinema was introduced in China in 1896 and the first Chinese film, Dingjun Mountain, was made in 1905, with the film industry being centered on Shanghai in the first decades. China is the home of one of the largest film studios in the world, the Hengdian World Studios, and in 2010 it had the third largest film industry by number of feature films produced annually. For the next decade the production companies were mainly foreign-owned, and the domestic film industry was centered on Shanghai, a thriving entrepot and the largest city in the Far East. In 1913, the first independent Chinese screenplay, The Difficult Couple, was filmed in Shanghai by Zheng Zhengqiu and Zhang Shichuan.

As the Sixth Generation gained international exposure, many subsequent films were joint ventures and projects with international backers, but remained quite resolutely low-key and low budget. Jia's Platform (2000) was funded in part by Takeshi Kitano's production house, while his Still Life was shot on HD video. Still Life was a surprise addition and Golden Lion winner of the 2006 Venice International Film Festival. Still Life, which concerns provincial workers around the Three Gorges region, sharply contrasts with the works of Fifth Generation Chinese directors like Zhang Yimou and Chen Kaige who were at the time producing House of Flying Daggers (2004) and The Promise (2005). It featured no star of international renown and was acted mostly by non-professionals. In 2012 the country became the second-largest market in the world by box office receipts. In 2014, the gross box office in China was ¥29.6 billion (US$4.82 billion), with domestic films having a share of 55%. China has also become a major hub of business for Hollywood studios.

In 2018, China's gross box office was US$8.9 Billion In 2013, China's gross box office was ¥21.8 billion (US$3.6 billion), the second-largest film market in the world by box office receipts It increased to $4.8 Billion in 2014 box office grosser in film industry. Due to the COVID-19 pandemic, in 2020 China overtook North America as world's biggest box office, being the first country to achieve this status. China retained this status in 2021. However, in 2022, North America once again overtook China as the global box office's biggest market.

United States

The cinema of the United States, often generally referred to as Hollywood, has had a profound effect on cinema across the world since the early 20th century. The United States cinema (Hollywood) is the oldest film industry in the world and also the largest film industry in terms of revenue. Hollywood is the primary nexus of the U.S. film industry with established film study facilities such as the American Film Institute, LA Film School and NYFA being established in the area. However, four of the six major film studios are owned by East Coast companies. The major film studios of Hollywood including Metro-Goldwyn-Mayer, 20th Century Fox, and Paramount Pictures are the primary source of the most commercially successful movies in the world, including movies such as The Sound of Music (1965), Star Wars (1977), Titanic (1997), and Avatar (2009).

American film studios today collectively generate several hundred films every year, making the United States one of the most prolific producers of films in the world. Only The Walt Disney Company — which owns the Walt Disney Studios — is fully based in Southern California. And while Sony Pictures Entertainment is headquartered in Culver City, California, its parent company, the Sony Corporation, is headquartered in Tokyo, Japan. Most shooting now takes place in California, New York, Louisiana, Georgia and North Carolina. New Mexico, especially in the Albuquerque and Santa Fe areas, had been an increasingly popular state for filming; the television showBreaking Bad was set there, and movies such as No Country for Old Men and Rust were shot there. Between 2009 and 2015, Hollywood consistently grossed $10 billion (or more) annually. Hollywood's award ceremony, the Academy Awards, officially known as The Oscars, is held by the Academy of Motion Picture Arts and Sciences (AMPAS) every year and as of 2019, more than 3,000 Oscars have been awarded. On 27 October 1911, Nestor Film Company established Hollywood's first permanent film studio. The California weather allowed for year-round filming. In 1912, Universal Studios was formed, merging Nestor and several other motion picture companies, including Independent Moving Pictures (IMP).

India
India is the largest producer of films in the world and second-oldest film industry in the world. The country is home to some of the most important cities in the global film industry: Mumbai (previously Bombay) and Chennai (Madras). In 2009, India produced a total of 2,961 films on celluloid; this figure includes 1,288 feature films. Besides being the largest producer of films in the world, India also has the largest number of admissions. Indian film industry is multi-lingual and the largest in the world in terms of ticket sales but 3rd-largest in terms of revenue, mainly due to having among the lowest ticket prices in the world. The industry is viewed mainly by a vast film-going Indian public. Indian film industry is also the dominant source of films and entertainment in its neighboring countries of South Asia. The three largest film industries in India are Hindi cinema, Telugu cinema and Tamil cinema. The Hindi film industry mostly concentrated in Mumbai (Bombay), and it is commonly referred to as Bollywood, a portmanteau of Bombay and Hollywood. Telugu cinema is primarily concentrated in Hyderabad and is commonly referred to as Tollywood. The Tamil film industry i.e. Kollywood is mostly concentrated in Chennai.

Besides the mainstream commercial movies, India also offers a different approach to cinema: the parallel cinema. The parallel cinema movement originated in West Bengal around the 1950s. The movement was initially led by Bengali cinema. It later gained prominence in other film industries of India. Parallel cinema is a blanket term designated to a certain type of films that stray away from the conventions of popular mainstream cinema.Parallel cinema has assumed various forms throughout the years. Filmmakers associated with parallel cinema are Satyajit Ray, Mrinal Sen, Ritwik Ghatak. Parallel films are characterized by their rejection of popular forms like the songs and fight sequences, their affinity for rural settings, use of method actors and toned down colour palettes. The best examples of parallel cinema are the most famous films of Ray – Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959) – which formed The Apu Trilogy. Some other examples of such movies are Raincoat, Dhobi Ghat, Mithya.

Indian films have garnered popularity not only in the domestic market but also in the international markets, with Dangal having an overseas gross revenue of $260 million, Secret Superstar and Bajrangi Bhaijaan making a gross revenue of $80.4 million, and Baahubali: The Beginning and Baahubali 2: The Conclusion (a blockbuster duology from Telugu cinema) grossing over $370 million globally. In India, they have over 400 production houses with 32 corporate houses; also supporting the livelihood of more than 6 million people.

The other largest film industries are Malayalam cinema, Kannada cinema, Bengali cinema (cinema of West Bengal) and Marathi cinema, primarily located in Kochi, Bengaluru, Kolkata, and Mumbai, respectively. The remaining majority portion is spread across northern, western, eastern and southern India (with Gujarati, Punjabi, Odia, Bhojpuri, Assamese Cinema). However, there are several smaller centers of Indian film industries in regional languages centered in the states where those languages are spoken. Indian cinema encloses a number of several artforms like Indian classical music, folk music of different regions throughout the country, Indian classical dance, folk dance and much more. Bollywood, Kollywood and Tollywood forms the largest portion of the Indian film industry and is viewed all over the Indian Subcontinent, and is increasingly popular in UK, United States, Australia, New Zealand, Southeast Asia, Africa, the Gulf countries, European countries, East Asia and China. The largest film studio complex in the world is Ramoji Film City located at Hyderabad, India, which opened in 1996 and measures 674 ha (1,666 acres). Comprising 47 sound stages, it has permanent sets ranging from railway stations to temples.

By 1986, India's annual film output had increased from 741 films produced annually to 833 films annually, making India the world's largest film producer. , Bollywood represents 45% of Indian net box office revenue, while Tamil and Telugu cinemas together represent 36%, and the rest of the regional film industries constitute 21% of Indian cinema. By 2021, Telugu cinema (Tollywood) has overtaken both Hindi cinema (Bollywood) and Tamil cinema (Kollywood), emerged as the largest film industry in India in terms of box-office. In 2023, Bollywood again emerged as the largest film industry in India.

Russian Federation
The cinema of Russia, popularity known as Mollywood, refers to the film industry in Russia, engaged in production of motion pictures in Russian language. The popular term Mollywood is a portmanteau of "Moscow" and "Hollywood".

It began in the Russian Empire, widely developed in the Soviet Union and in the years following its dissolution. The Russian film industry would remain internationally recognized. In the 21st century, Russian cinema has become known internationally with films such as Hardcore Henry (2015), Leviathan (2014), Night Watch (2004) and Brother (1997). The Moscow International Film Festival began in Moscow in 1935. The Nika Award is the main annual national film award in Russia.

Cinema of the Russian Empire

The first films seen in the Russian Empire were brought in by the Lumière brothers, who exhibited films in Moscow and St. Petersburg in May 1896. That same month, Lumière cameraman Camille Cerf made the first film in Russia, recording the coronation of Nicholas II at the Kremlin.

Aleksandr Drankov produced the first Russian narrative film Stenka Razin (1908), based on events told in a folk song and directed by Vladimir Romashkov. Among the notable Russian filmmakers of the era were Aleksandr Khanzhonkov and Ivan Mozzhukhin, who made Defence of Sevastopol in 1912. Yakov Protazanov made Departure of a Grand Old Man (1912), a biographical film about Lev Tolstoy.

Animation pioneer Ladislas Starevich made the first Russian animated film (and the first stop motion puppet film with a story) in 1910 – Lucanus Cervus. His other stop-motion shorts The Beautiful Leukanida (1912) and The Cameraman's Revenge (1912), produced for Aleksandr Khanzhonkov, are also among the first animated films. In the following years, Starevich made shorts based on fables such as The Grasshopper and the Ant (1913), as well as World War I propaganda films..

United Kingdom
The United Kingdom has had a significant film industry for over a century. While film production reached an all-time high in 1936, the "golden age" of British cinema is usually thought to have occurred in the 1940s, during which the directors David Lean, Michael Powell, (with Emeric Pressburger) and Carol Reed produced their most highly acclaimed work. Many British actors have achieved worldwide fame and critical success, such as Maggie Smith, Roger Moore, Michael Caine, Sean Connery, Daniel Day-Lewis, Gary Oldman, and Kate Winslet. Some of the films with the largest-ever box-office returns have been made in the United Kingdom, including the third- and fourth-highest-grossing film series (Harry Potter and James Bond).

The first moving picture was shot in Leeds by Louis Le Prince in 1888, and the first moving pictures developed on celluloid film were made in Hyde Park, London, in 1889 by British inventor William Friese Greene, who patented the process in 1890.

Two of the top eight-highest-grossing films worldwide of all time have some British historical, cultural or creative dimensions: Titanic (1997), Harry Potter and the Deathly Hallows – Part 2 (2011), The Lord of the Rings: The Return of the King (2003), and Pirates of the Caribbean: Dead Man's Chest (2005). Adding four more Harry Potter films and one more Lord of the Rings movie, plus the Tim Burton version of Alice in Wonderland (2010), and more than half of the top twenty most financially successful films had a substantial British dimension.

British influence can also be seen with the 'English Cycle' of Disney animated films, which include Alice in Wonderland (1951), Peter Pan (1953), One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), and The Jungle Book (1967). Disney first became interested in live-action films as a means of using financial reserves which had built up in Britain, and could not be repatriated owing to exchange controls, by making two films from Scottish and English sources. These were Treasure Island (1950) and The Story of Robin Hood and His Merrie Men (1952), which were both successes at the box office. The studio continued to draw on British source material for its animated films after Walt Disney's death in 1967, with the cartoon feature films Robin Hood (1973), The Many Adventures of Winnie the Pooh and The Rescuers (both 1977), one of many Disney to draw on A. A. Milne's characters.

In the 1970s and 1980s, British studios established a reputation for great special effects in films such as Superman (1978), Alien (1979), and Batman (1989). Some of this reputation was founded on the core of talent brought together for the filming of 2001: A Space Odyssey (1968) who subsequently worked together on series and feature films for Gerry Anderson. The Bristol-based Aardman Animations is known for its stop-motion animation.

In late 1998, Channel 4 launched their free-to-air film channel Film4 – a channel specifically designed to show films. It broadcasts from 11:00am BST and competes with pay television film network Sky Cinema.

The London-based visual effects company Framestore, with Tim Webber the visual effects supervisor, have worked on the films The Dark Knight (2008) and Gravity (2013), with new techniques involved in Gravity taking three years to complete.

France
France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself. Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.

French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina (Gaspar Noé and Edgardo Cozarinsky), Russia (Alexandre Alexeieff, Anatole Litvak), Austria (Michael Haneke), and Georgia (Géla Babluani, Otar Iosseliani) are prominent in the ranks of French cinema. Conversely, some French directors have had careers in other countries, such as Luc Besson, Jacques Tourneur, or Francis Veber in the United States.

Another element supporting this fact is that Paris has the highest density of cinemas in the world, measured by the number of movie theaters per inhabitant, and that in most "downtown Paris" movie theaters, foreign movies which would be secluded to "art houses" cinemas in other places are shown alongside "mainstream" works. Philippe Binant realized, on 2 February 2000, the first digital cinema projection in Europe, with the DLP CINEMA technology developed by Texas Instruments, in Paris. Paris also boasts the Cité du cinéma, a major studio north of the city, and Disney Studio, a theme park devoted to the cinema and the third theme park near the city behind Disneyland and Parc Asterix.

In 2015, France saw a record-breaking 300 feature-length films produced. US and UK films only represented 44.9% of total admissions in 2014. This is largely due to the commercial strength of domestic productions, which accounted for 44,5% of admissions in 2014 (35.5% in 2015; 35.3% in 2016). In the mid-2000s, the French film industry was described as being "closer to being entirely self-sufficient than any other country in Europe, recovering around 80–90% of their budget in revenues generated from the domestic market". In 2018, French films had an international box office of €237m with 40 million admissions (down 52% from 2017), with Italy being the top foreign market.

Iran
The cinema of Iran (Persian: سینمای ایران) or cinema of Persia refers to the cinema and film industries in Iran which produce a variety of commercial films annually. Iranian art films have garnered international fame and now enjoy a global following.

Along with China, Iran has been lauded as one of the best exporters of cinema in the 1990s. Some critics now rank Iran as the world's most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades. German filmmaker Werner Herzog has praised Iranian cinema as one of the world's most important artistic cinemas. It is notable, Iran has won 2 Academy Awards and has been nominated 3 times, which is ranked 11th in the world cinema, second in Asia after Japan, and first in the Middle East .:

Turkey
The Turkish film market stands out in the pan-European landscape as the only market where national films regularly outperform US films. In 2013, it had 1.2 million number of admissions and 87 feature films were released. Between 2004 and 2014, the estimated 12.9 million admissions generated on non-national European markets only accounted for 7% of total admissions to Turkish films in Europe (including Turkey). This was the third lowest share among the 30 European markets for which such data are available and clearly illustrates the strong dependence of Turkish films on the domestic market, a feature which is shared by Polish and Russian films.

In 2014, Kış Uykusu (Winter's Sleep) won the Cannes Film Festival Award for Best Film. In 2013, Turkey still ranked behind the Netherlands in terms of box office with just over EUR 200 million as Europe's eight largest box office market ahead of Sweden and Switzerland with a clear gap to the top 6 markets all of which registered GBO between EUR 504 million (Spain) up to over EUR 1 billion in France, the UK, Germany and the Russian Federation. Cinema going is comparatively cheap in Turkey. In 2013 a cinema ticket cost on average EUR 4.0 in Turkey, and this was estimated to be the lowest average ticket price – measured in Euro – in Europe, marginally cheaper than in several Central and Eastern European markets like Croatia, Romania, Lithuania or Bulgaria (subject to exchange rates). .

Japan
Japan has one of the oldest and largest film industries in the world; as of 2010, it was the fourth largest by number of feature films produced. Movies have been produced in Japan since 1897, when the first foreign cameramen arrived.

In a Sight & Sound list of the best films produced in Asia, Japanese works made up eight of the top 12, with Tokyo Story (1953) ranked number one. Tokyo Story also topped the 2012 Sight & Sound directors' poll of The Top 50 Greatest Films of All Time, dethroning Citizen Kane, while Akira Kurosawa's Seven Samurai (1954) was voted the greatest foreign-language film of all time in BBC's 2018 poll of 209 critics in 43 countries. Japan has won the Academy Award for the Best Foreign Language Film four times (Rashomon, Gate of Hell, Samurai I: Musashi Miyamoto, and Departures), more than any other Asian country..

Egypt
A limited number of silent films were made in Egypt beginning in 1896; 1927's Laila was notable as the first full-length feature. Cairo's film industry became a regional force with the coming of sound. Between 1930 and 1936, various small studios produced at least 44 feature films. In 1936, Studio Misr, financed by industrialist Talaat Harb, emerged as the leading Egyptian equivalent to Hollywood's major studios, a role the company retained for three decades. Of the more than 4,000 short and feature-length films made in MENA region since 1908, more than three-quarters were Egyptian films. Egyptian films are typically spoken in the Egyptian Arabic dialect.

Since 1976, Cairo has held the annual Cairo International Film Festival (CIFF), which is accredited by the International Federation of Film Producers Association. In 1996, the Egyptian Media Production City (EMPC) was inaugurated in 6th of October City south of Cairo, although by 2001, only one of 29 planned studios was operational. Censorship, formerly an obstacle to freedom of expression, has decreased remarkably by 2012, when the Egyptian cinema had begun to tackle boldly issues ranging from sexual issues to heavy government criticism.

The 1940s, 1950s and the 1960s are generally considered the golden age of Egyptian cinema. As in the West, films responded to the popular imagination, with most falling into predictable genres (happy endings being the norm), and many actors making careers out of playing strongly typed parts. In the words of one critic, "If an Egyptian film intended for popular audiences lacked any of these prerequisites, it constituted a betrayal of the unwritten contract with the spectator, the results of which would manifest themselves in the box office." Since the 1990s, Egypt's cinema has gone in separate directions. Smaller art films attract some international attention but sparse attendance at home. Popular films, often broad comedies such as What A Lie!, and the extremely profitable works of comedian Mohamed Saad, battle to hold audiences either drawn to Western films or, increasingly, wary of the perceived immorality of film.

Korean Peninsula
The term cinema of Korea (or Korean cinema) encompasses the motion picture industries of North and South Korea. As with all aspects of Korean life during the past century, the film industry has often been at the mercy of political events, from the late Joseon dynasty to the Korean War to domestic governmental interference. While both countries have relatively robust film industries today, only South Korean films have achieved wide international acclaim. North Korean films tend to portray their communist or revolutionary themes.

South Korean films enjoyed a "Golden age" during the late 1950s, and 1960s. By 2005 South Korea had become one of few nations to watch more domestic than imported films in theaters due largely to laws placing limits on the number of foreign films able to be shown per theater per year. In the theaters, Korean films must be played for 73 days per year since 2006. On cable TV 25% domestic film quota will be reduced to 20% after KOR-US FTA. The cinema of South Korea had a total box office gross in the country in 2015 of ₩ and had 113,000,000 admissions, 52% of the total admissions.

Poland
The history of Cinema of Poland is almost as long as the history of cinematography, and it has universally recognized achievements, even though Polish films tend to be less commercially available than films from several other European nations.

After World War II, the communist government built an auteur-based national cinema, trained hundreds of new directors and empowered them to make films. Filmmakers like Roman Polański, Krzysztof Kieślowski, Agnieszka Holland, Andrzej Wajda, Andrzej Żuławski, Andrzej Munk, and Jerzy Skolimowski impacted the development of Polish film-making. In more recent years, the industry has been producer-led with finance being the key to a film being made, and with many independent filmmakers of all genres, Polish productions tend to be more inspired by American film.

The Polish Film School was under heavy influence of Italian neorealists. It took advantage of the liberal changes in Poland after 1956 Polish October to portray the complexity of Polish history during World War II and German occupation. Among the most important topics were the generation of former Home Army soldiers and their role in post-war Poland and the national tragedies like the German concentration camps and the Warsaw Uprising. The political changes allowed the group to speak more openly of the recent history of Poland. However, the rule of censorship was still strong when it comes to history after 1945 and there were very few films on the contemporary events. This marked the major difference between the members of the Polish Film School and Italian neorealists.

The Polish Film School was the first to underline the national character of Poles and one of the first artistic movements in Central Europe to openly oppose the official guidelines of Socialist realism. The members of the movement tend to underline the role of individual as opposed to collectivity. There were two trends within the movement: young directors such as Andrzej Wajda generally studied the idea of heroism, while another group (the most notable being Andrzej Munk) analysed the Polish character via irony, humor and a dissection of national myths.

Philippines
Cinema of the Philippines began with the introduction of the first moving pictures to the country on August 31, 1897, at the Salón de Pertierra in Manila. The following year, local scenes were shot on film for the first time by a Spaniard, Antonio Ramos, using the Lumiere Cinematograph. While most early filmmakers and producers in the country were mostly wealthy enterprising foreigners and expatriates, on September 12, 1919, Dalagang Bukid (Country Maiden), a movie based on a popular musical play, was the first movie made and shown by Filipino filmmaker José Nepomuceno. Dubbed as the "Father of Philippine Cinema," his work marked the start of cinema as an art form in the Philippines.

Bangladesh
The cinema of Bangladesh is the Bengali language film industry based in Dhaka, Bangladesh. The industry often has been a significant film industry since the early 1970s. The word "Dhollywood" is a portmanteau of the words Dhaka and Hollywood. The dominant style of Bangladeshi cinema is Melodramatic cinema, which developed from 1947 to 1990 and characterizes most films to this day. Cinema was introduced in Bangladesh in 1898 by Bradford Bioscope Company, credited to have arranged the first film release in Bangladesh. Between 1913 and 1914, the first production company named Picture House was opened. A short silent film titled Sukumari (The Good Girl) was the first produced film in the region during 1928. The first full-length film The Last Kiss, was released in 1931. From the separation of Bangladesh from Pakistan in 1971, Dhaka is the center of Bangladeshi film industry, and generated the majority share of revenue, production and audiences. The 1960s, 1970s, 1980s and the first half of the 1990s were the golden years for Bangladeshi films as the industry produced many successful films. The Face and the Mask, the first Bengali language full-length feature film was produced in 1956. Matir Moina, a 2002 film by Tarek Masud, became the first Bangladeshi film to be honored at Cannes Film Festival

Indonesia
The biggest film studios in Southeast Asia has been soft opened on 5 November 2011 on 10 hectares of land in Nongsa, Batam Island, Indonesia. Infinite Frameworks (IFW) is a Singapore-based company (closed to Batam Island) which is owned by a consortium with 90 percent of it hold by Indonesian businessman and film producer, Mike Wiluan. In 2010–2011, due to the substantial increase in value added tax applied to foreign films, cinemas no longer had access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the west, and other major film producers of the world. This caused a massive ripple effect on the country's economy. It is assumed that this increased the purchase of unlicensed DVDs. However, even copyright violating DVDs took longer to obtain. The minimum cost to view a foreign film not screened locally, was 1 million Rupiah. This was equivalent to US$100, as it includes a plane ticket to Singapore.

Pakistan
The cinema of Pakistan, or simply Pakistani cinema, refers to Pakistan's film industry. Most of the feature films shot in Pakistan are in Urdu, the national language, but may also include films in English, the official language, and regional languages such as Punjabi, Pashto, Balochi, and Sindhi. Lahore has been described as the epicentre of Pakistani cinema, giving rise to the term "Lollywood"as portmanteau of Lahore and Hollywood.

Before the separation of Bangladesh, Pakistan had three main film production centres: Lahore, Karachi and Dhaka. The regime of Muhammad Zia-ul-Haq, VCRs, film piracy, the introduction of entertainment taxes, strict laws based upon ultra-conservative jurisprudence, was an obstacle to the industry's growth. Once thriving, the cinema in Pakistan had a sudden collapse in the 1980s and by the 2000s "an industry that once produced an average of 80 films annually was now struggling to even churn out few movies." However, with the boom in the Television Industry in Karachi which gave rise to bigger privately owned media houses led to revival of Pakistan Film Industry in the early 2010s. Karachi, now is the biggest production center of Film Industry in Pakistan which produces Urdu, English and Sindhi language Pakistani movies. Lahore is the second big film producer now (mostly Punjabi movies) followed by Peshawar where mostly Pashto films are produced. Films are also being produced on a very small scale from Islamabad (Urdu and English movies) and Quetta (Balochi movies).Pakistani films are gaining its market in the local cticuit and international markets like Gulf countries, UK-Europe, US-North America and Far-East. Many Pakistani movies made their ways to Oscars' foreign language film category i.e. The Day Shall Dawn (1959), The Veil (Ghoonghat) (1963), Zinda Bhaag (2013), Dukhtar (2014), Moor (2015), Mah-e-Mir (2016), Saawan (2017), Cake (2018), Lal Kabootar (2019). Two Pakistani documentary films won the Oscars' for the best documentary film, these are, Saving Face (2012) and A Girl in the River (2016). Pakistani movies especially Urdu movies revolve around family drama, romance, love stories, comedy, thriller, social matters, political issues. In contemporary era some Pakistani films have gained international acclaim, these include, Khuda Kay Liye (In the name of God), Bol, Verna, Zinda Bhaag, Load-Wedding, Wrong No., Cake, Teefa in Trouble, Lal Kabootar, Mah-e-Meer, Moor, The Legend of Maula Jatt.

Punjabi cinema is mostly themed on romance, family drama and action while Pashto cinema revolves around action and tribal feuds.

Major Film Awards include Lux Style Awards, ARY Film Awards, Nigar Awards and National Film Awards.

Malaysia
The cinema of Malaysia consists of feature films produced in Malaysia, shot in the languages English, Tamil, Malay, Mandarin and Cantonese.

Malaysia produces about 60 feature films annually, and between 300 and 400 television dramas and serials a year apart from the in-house productions by the individual television stations. The country also holds its own annual national level film awards, known as the Malaysia Film Festival. There are about 150 cinemas and cineplexes in Malaysia, showing not only local films but also foreign films.

Israel
Films have been made in Israel since before independence in 1948. The industry is relatively small economically but Israeli films have been nominated for more Academy Awards for Best Foreign Language Film than any other country in the Middle East. The government is attempting to attract foreign companies to film in Israel by offering subsidies for production costs.

Hong Kong

Hong Kong is a filmmaking hub for the Chinese-speaking world (including the worldwide diaspora) and East Asia in general. For decades it was the third largest motion picture industry in the world (after India and US) and the second largest exporter of films. Despite an industry crisis starting in the mid-1990s and Hong Kong's return to Chinese sovereignty in July 1997 Hong Kong film has retained much of its distinctive identity and continues to play a prominent part on the world cinema stage. Unlike many film industries, Hong Kong has enjoyed little to no direct government support, through either subsidies or import quotas. It has always been a thoroughly commercial cinema, concentrating on crowd-pleasing genres, like comedy and action, and heavily reliant on formulas, sequels and remakes. Typically of commercial cinemas, its heart is a highly developed star system, which in this case also features substantial overlap with the pop music industry

The Trinidad and Tobago Film Company is the national agency that was established in 2006 to further development of the film industry. Trinidad and Tobago puts on a number of film festivals which are organized by different committees and organizations. These include the Secondary Schools Short Film Festival and Smartphone Film Festival organized by Trinidad and Tobago Film Company. There is also an annual Trinidad and Tobago Film Festival which runs for two weeks in the latter half of September.

Trinidad and Tobago
Trinidad and Tobago's film sector began emerging in the late 1950s to early 1960s and by the late 1970s, there were a handful of local productions, both feature film and television. The first full-length feature film to be produced in Trinidad and Tobago was The Right and the Wrong (1970) by Indian director/writer/producer, Harbance Kumar. The screenplay was written by the Trinidadian playwright, Freddie Kissoon. The rest of the 20th century saw a couple more feature films being made in the country, with Bim (1974), being singled out by Bruce Paddington as "one of the most important films to be produced in Trinidad and Tobago ... . and one of the classics of Caribbean cinema." It was one of the first films to feature an almost entirely Trinidadian cast and crew. There was a rise in Trinidadian film production in the 2000s. Films such as Ivan the Terrible (2004), SistaGod (2006), I'm Santana: The Movie (2012) and God Loves the Fighter (2013) were released both locally and internationally. SistaGod had its world premiere at the 2006 Toronto International Film Festival.

Nepal
Nepali film does not have a very long film history, but the industry has its own place in the cultural heritage of the country. It is often referred to as 'Nepali Chalchitra' (which translates to "Nepali films" in English). The terms Kollywood and Kallywood are also used, as a portmanteau of "Kathmandu" and "Hollywood"; "Kollywood" however is more frequently used to refer to Tamil cinema. Chhakka Panja has been considered the highest-grossing film of all time in Nepali film industry and Kohinoor the second highest. The Nepali films The Black Hen (2015) and Kagbeni (2006) received international acclaim. The Nepali feature film White Sun (Seto Surya) received the Best Film award at the 27th Singapore International Film Festival (SGIFF) in 2016.

History
Les frères Lumière released the first projection with the Cinematograph, in Paris on 28 December 1895. The French film industry in the late 19th century and early 20th century was the world's most important. Auguste and Louis Lumière invented the cinématographe and their L'Arrivée d'un train en gare de La Ciotat in Paris in 1895 is considered by many historians as the official birth of cinematography. The first feature film to be made was the 1906 Australian silent The Story of the Kelly Gang, an account of the notorious gang led by Ned Kelly that was directed and produced by the Melburnians Dan Barry and Charles Tait. It ran, continuously, for eighty minutes.

In the early 1910s, the film industry had fully emerged with D.W. Griffith's The Birth of a Nation. Also in the early 1900s motion picture production companies from New York and New Jersey started moving to California because of the good weather and longer days. Although electric lights existed at that time, none were powerful enough to adequately expose film; the best source of illumination for movie production was natural sunlight. Besides the moderate, dry climate, they were also drawn to the state because of its open spaces and wide variety of natural scenery.

Introduction of film industry
In 1900, Charles Pathé began film production under the Pathé-Frères brand, with Ferdinand Zecca hired to actually make the films. By 1905, Pathé was the largest film company in the world, a position it retained until World War I. Léon Gaumont began film production in 1896, supervised by Alice Guy.

Besides American Mutoscope, there were also numerous smaller producers in the United States, and some of them established a long-term presence in the new century. American Vitagraph, one of these minor producers, built studios in Brooklyn, and expanded its operations in 1905. The first successful permanent theatre showing only films was "The Nickelodeon", which was opened in Pittsburgh in 1905. By then, there were enough films several minutes long available to fill a programme running for at least half an hour, and which could be changed weekly when the local audience became bored with it. Other exhibitors in the United States quickly followed suit, and within two years, there were 8,000 of these nickelodeons in operation across the United States. The American experience led to a worldwide boom in the production and exhibition of films from 1906 onwards.

Movie theaters became popular entertainment venues and social hubs in the early 20th century, much like cabarets and other theaters. By 1907, purpose-built cinemas for motion pictures were being opened across the United States, Britain and France. The films were often shown with the accompaniment of music provided by a pianist, though there could be more musicians. There were also a very few larger cinemas in some of the biggest cities. Initially, the majority of films in the programmes were Pathé films, but this changed fairly quickly as the American companies cranked up production. The programme was made up of just a few films, and the show lasted around 30 minutes. The reel of film, of maximum length 1000 ft, which usually contained one individual film, became the standard unit of film production and exhibition in this period. The programme was changed twice or more a week, but went up to five changes of programme a week after a couple of years. In general, cinemas were set up in the established entertainment districts of the cities. In 1907, Pathé began renting their films to cinemas through film exchanges rather than selling the films outright.

The litigation over patents between all the major American film-making companies had continued, and at the end of 1908 they decided to pool their patents and form a trust to use them to control the American film business. The companies concerned were Pathé, Edison, Biograph, Vitagraph, Lubin, Selig, Essanay, Kalem, and the Kleine Optical Company, a major importer of European films. The George Eastman company, the only manufacturer of film stock in the United States, was also part of the combine, which was called the Motion Picture Patents Company (MPPC), and Eastman Kodak agreed to only supply the members with film stock. License fees for distributing and projecting films were extracted from all distributors and exhibitors. The producing companies that were part of the trust were allocated production quotas (two reels, i.e. films, a week for the biggest ones, one reel a week for the smaller), which were supposed to be enough to fill the programmes of the licensed exhibitors. But the market was bigger than that, for although 6,000 exhibitors signed with the MPPC, about 2,000 others did not. A minority of the exchanges (i.e. distributors) stayed outside the MPPC, and in 1909 these independent exchanges immediately began to fund new film producing companies. By 1911 there were enough independent and foreign films available to programme all the shows of the independent exhibitors, and in 1912 the independents had nearly half of the market. The MPPC had effectively been defeated in its plan to control the whole United States market, and the government antitrust action, which only now started against the MPPC, was not really necessary to defeat it.

In the early 20th century, before Hollywood, the United States motion picture industry was mainly based in Fort Lee, New Jersey across the Hudson River from New York City. In need of a winter headquarters, moviemakers were attracted to Jacksonville, Florida due to its warm climate, exotic locations, excellent rail access, and cheaper labor, earning the city the title of "The Winter Film Capital of the World." New York-based Kalem Studios was the first to open a permanent studio in Jacksonville in 1908. Over the course of the next decade, more than 30 silent film companies established studios in town, including Metro Pictures (later MGM), Edison Studios, Majestic Films, King-Bee Film Company, Vim Comedy Company, Norman Studios, Gaumont Studios and the Lubin Manufacturing Company. The first motion picture made in Technicolor and the first feature-length color movie produced in the United States, The Gulf Between, was also filmed on location in Jacksonville in 1917.

Jacksonville was especially important to the African American film industry. One notable individual in this regard is the European American producer Richard Norman, who created a string of films starring black actors in the vein of Oscar Micheaux and the Lincoln Motion Picture Company. In contrast to the degrading parts offered in certain white films such as The Birth of a Nation, Norman and his contemporaries sought to create positive stories featuring African Americans in what he termed "splendidly assuming different roles".

Jacksonville's mostly conservative residents, however, objected to the hallmarks of the early movie industry, such as car chases in the streets, simulated bank robberies and fire alarms in public places, and even the occasional riot. In 1917, conservative Democrat John W. Martin was elected mayor on the platform of taming the city's movie industry. By that time, southern California was emerging as the major movie production center, thanks in large part to the move of film pioneers like William Selig and D.W. Griffith to the area. These factors quickly sealed the demise of Jacksonville as a major film destination.

Another factor for the industry's move west was that up until 1913, most American film production was still carried out around New York, but due to the monopoly of Thomas A. Edison, Inc.'s film patents and its litigious attempts to preserve it, many filmmakers moved to Southern California, starting with Selig in 1909. The sunshine and scenery was important for the production of Westerns, which came to form a major American film genre with the first cowboy stars, G.M. Anderson ("Broncho Billy") and Tom Mix. Selig pioneered the use of (fairly) wild animals from a zoo for a series of exotic adventures, with the actors being menaced or saved by the animals. Kalem Company sent film crews to places in America and abroad to film stories in the actual places they were supposed to have happened. Kalem also pioneered the female action heroine from 1912, with Ruth Roland playing starring roles in their Westerns.

In France, Pathé retained its dominant position, followed still by Gaumont, and then other new companies that appeared to cater to the film boom. A film company with a different approach was Film d'Art. Film d'Art was set up at the beginning of 1908 to make films of a serious artistic nature. Their declared programme was to make films using only the best dramatists, artists and actors. The first of these was L'Assassinat du Duc de Guise (The Assassination of the Duc de Guise), a historical subject set in the court of Henri III. This film used leading actors from the Comédie-Française, and had a special accompanying score written by Camille Saint-Saëns. The other French majors followed suit, and this wave gave rise to the English-language description of films with artistic pretensions aimed at a sophisticated audience as "art films". By 1910, the French film companies were starting to make films as long as two, or even three reels, though most were still one reel long. This trend was followed in Italy, Denmark, and Sweden.

In Britain, the Cinematograph Act 1909 was the first primary legislation to specifically regulate the film industry. Film exhibitions often took place in temporary venues and the use of highly flammable cellulose nitrate for film, combined with limelight illumination, created a significant fire hazard. The Act specified a strict building code which required, amongst other things, that the projector be enclosed within a fire resisting enclosure. The Babelsberg Studio near Berlin in Germany was the first large-scale film studio in the world, founded 1912, and the forerunner to Hollywood with its several establishments of large studios in the early 20th century.

Hollywood
The first movie studio in Hollywood area, Nestor Studios, was founded in 1911 by Al Christie for David Horsley. Other East Coast studios had already moved production to Los Angeles. Over time, Hollywood came to be so strongly associated with the film industry that the word "Hollywood" is now used colloquially to refer to the entire American film industry.

In 1913 Cecil B. DeMille, in association with Jesse Lasky, leased a barn with studio facilities in Hollywood where The Squaw Man (1914) was made. It is now the location of the Hollywood Heritage Museum.

The Charlie Chaplin Studios were built in 1917. The site was also used by Kling Studios, for the Superman TV series; Red Skelton, who used the sound stages for his CBS TV variety show; and CBS, which filmed the TV series Perry Mason there. It has also been owned by Herb Alpert's A&M Records and Tijuana Brass Enterprises. It is currently The Jim Henson Company, home of the Muppets. In 1969 The Los Angeles Cultural Heritage Board named it a historical cultural monument.

The noted Hollywood Sign originally read "Hollywoodland". It was erected in 1923 to advertise a new housing development in the hills above Hollywood. In 1949 the Hollywood Chamber of Commerce stepped in and removed the last four letters and repaired the others. It is a registered trademark and cannot be used without the permission of the Hollywood Chamber of Commerce.

The first Academy Awards presentation ceremony took place on 16 May 1929.

The period between the years 1927 (the effective end of the silent era) to 1948 is considered the age of the "Hollywood studio system", or the Golden Age of Hollywood. In a landmark 1948 court decision, the Supreme Court ruled that movie studios could not own theaters and play only the movies of their studio and movie stars; thus an era of Hollywood history ended.

Hindus cinema
Bollywood is the Hindi-language film industry based in Mumbai (formerly known as Bombay), Maharashtra, India. The term is often incorrectly used to refer to the whole of Indian cinema; however, it is only a part of the total Indian film industry, which includes other production centres producing films in multiple languages. Bollywood is the largest film producer in India and one of the largest centres of film production in the world.

Bollywood is formally referred to as Hindi cinema. Linguistically, Bollywood films tend to use vernacular Hindustani, mutually intelligible to self-identified speakers of both Hindi and Urdu,  while modern Bollywood films also increasingly incorporate elements of Hinglish.

The Wrestlers (1899) and The Man and His Monkeys (1899), directed and produced by Harischandra Sakharam Bhatawdekar (H. S. Bhatavdekar), were the first two films made by Indian filmmakers, which were both short films. He was also the first Indian filmmaker to direct and produce the first documentary and news related film, titled The Landing of Sir M.M. Bhownuggree.

The 1930s and 1940s were tumultuous times: India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Most Bollywood films were unabashedly escapist, but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots.

In 1937 Ardeshir Irani, of Alam Ara fame, made the first colour film in Hindi, Kisan Kanya. The next year, he made another colour film, a version of Mother India.

Following India's independence, the period from the late 1940s to the early 1960s is regarded by film historians as the "Golden Age" of Hindi cinema. Defining key figures during this time included Raj Kapoor, Guru Dutt, Mehboob Khan,  and Dilip Kumar.

The 1970s was when the name "Bollywood" was coined, and when the quintessential conventions of commercial Bollywood films were established. Key to this was the emergence of the masala film genre, which combines elements of multiple genres (action, comedy, romance, drama, melodrama, musical). The masala film was pioneered in the early 1970s by filmmaker Nasir Hussain, along with screenwriter duo Salim–Javed, pioneering the Bollywood blockbuster format.

Tollywood is the Bengali language Film Industry of India. Started by Royal Bioscope Company in 1898 by Hiralal Sen, along with Matilal Sen, Deboki Lal Sen, and Bholanath Gupta. Combining live theater performances of actors, the Bengali industry was notable for using sound as an important part of the drama in its Bioscope format whose cinematic language was extremely different from Western silent films. This was followed by Jamshedji Framji Madan of the Elphinstone Bioscope Company who also controlled Madan Theatre Company. J J Madan became managing director of Madan Theatres after the death of his father in 1923 and Madan Theatres reached a peak in late 1920s when it owned 127 theaters and controlled half of the country's box office. Madan Theatres produced a number of popular and landmark films till 1937, parallel to works of '20s Bengali stars like Dhirendra Nath Ganguly who started the Indo British Film Co. – the first Bengali-owned production company in 1918. The rise of the industry followed in 1930s to 1940s when a diversity of films were made. Many prints were destroyed by fire. The prints and records of films from 1937 to 1947 films were majorly destroyed but this period in Bengal served as the age of political films in India which was supremely influential for the struggle for Indian Independence. After 1947, The industry saw a new era of creative studio-system collaborators who made films under the name of Agradoot. This saw a renaissance of commercial films and musicals where stars like Uttam Kumar and Suchitra Sen mesmerized the audience with their captivating screen presence and subdued performances. Ritwick Ghatak, Satyajit Ray, Tapan Sinha, Mrinal Sen and Rituparno Ghosh were the other notable directors whose works influenced world cinema beyond an incomparable degree. The name of the industry was coined after the place Tollygunge, which also served as a cheeky tribute to Hollywood.

Cairo
The cinema of Egypt refers to the flourishing film industry based in Cairo which is known to be the Hollywood of the MENA region. In 1896, a limited number of silent films was made in Egypt beginning in 1896; 1927's Laila was notable as the first full-length feature. Cairo's film industry became a regional force with the coming of sound. Between 1930 and 1936, various small studios produced at least 44 feature films. In 1936, Studio Misr, financed by industrialist Talaat Harb, emerged as the leading Egyptian equivalent to Hollywood's major studios, a role the company retained for three decades.

Historians disagree in determining the beginning of cinema in Egypt. Some say in 1896, when the first film was watched in Egypt, while others date the beginning from 20 June 1907 with a short documentary film about the visit of Khedive Abbas Hilmi II to the Institute of Mursi Abul-Abbas in Alexandria. In 1917, the director Karim established a production company in Alexandria. The company produced two films: Dead Flowers and Honor the Bedouin, which were shown in the city of Alexandria in early 1918.

Since 1976, the capital has held the annual Cairo International Film Festival, which has been accredited by the International Federation of Film Producers Associations. There is also another 12 festivals. Of the more than 4,000 short and feature-length films made in MENA region since 1908, more than three-quarters were Egyptian films. Egyptian films are typically spoken in the Egyptian Arabic dialect. Since then, more than 4,000 films have been produced in Egypt, three quarters of the total Arab production. Historian Samir Kassir notes (2004) that Misr Studios in particular, "despite their ups and downs, were to make Cairo the third capital of the world's film industry, after Hollywood and Bombay but ahead of Italy's Cinecittà." Egypt is the most productive country in the Middle East in the field of film production, and the one with the most developed media system.

Nollywood
Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in The New York Times. Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject of several controversies. The origin of the term "Nollywood" remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in the New York Times, where it was used to describe Nigerian cinema. Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for the New York Times. The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words "Nigeria" and "Hollywood", the American major film hub.

Definition of which films are considered Nollywood has always been a subject of debate. Alex Eyengho defined Nollywood as "the totality of activities taking place in the Nigerian film industry, be it in English, Yoruba, Hausa, Igbo, Itsekiri, Edo, Efik, Ijaw, Urhobo or any other of the over 300 Nigerian languages". He further stated that "the historical trajectory of Nollywood started since the pre and post independent Nigeria, with the theatrical (stage) and cinematic (celluloid) efforts of the likes of Chief Hubert Ogunde, Chief Amata, Baba Sala, Ade Love, Eddie Ugbomah and a few others". The Influence of the Nigerian movie industry often referred to informally as Nollywood has influence all Africa countries.

By the end of 2013, the film industry reportedly hit a record-breaking revenue of ₦1.72 trillion (US$4.1 billion). As of 2014, the industry was worth ₦853.9 billion (US$5.1 billion) Making It The Third Most Valuable Film Industry In The World behind the United States and India. It contributed about 1.4% to Nigeria's economy; this was attributed to the increase in the number of quality films produced and more formal distribution methods.

Economics

Profitability of a film studio is crucially dependent on picking the right film projects and involving the right management and creative teams (cast, direction, visual design, score, photography, costume, set design, editing, and many additional specialties), but it also depends heavily on choosing the right scale and approach to film promotion, control over receipts through technologies such as digital rights management (DRM), sophisticated accounting practices, and management of ancillary revenue streams; in the extreme, for a major media franchise centered on film, the film might itself be only one large component of many large contributions to total franchise revenue.

The film industry is a brutally competitive winner-take-all market driven by wildly fluctuating "nonlinear processes". Box office revenue is highly concentrated in a small number of very successful films, and film industry market share is also highly concentrated in the film studios lucky enough to make such films. But the market is "extremely volatile" and it is impossible to predict in advance who will become the market winner at any given moment "or how long their domination will last". The dominant films and film studios "change places dramatically and often".

Largest industries by number of film productions
The following is a list of the top 13 countries by the number of feature films (fiction, animation and documentary) produced, according to the UNESCO Institute for Statistics, unless otherwise noted.

Largest markets by box office revenue
The following countries are the largest box office markets in terms of the gross box office revenue, according to the THEME Report 2022 by the MPA (Motion Picture Association).

Largest markets by number of box office admissions
The following countries are the largest box office markets in terms of the number of tickets sold in 2019.

Censorship
Economic censorship happens when a company, industry or country takes steps to ensure profitability, usually by self-censoring content to please the group wielding their economic influence. That group can be political in nature such as the boycott of individuals or the banning or taxing by governments of certain products. This tool tends to have broader reach beyond the borders of a government than pure political censorship. Examples include Hollywood self-censoring any negative depictions of Nazis for most of the 1930's in order to maintain access to German audiences and avoid upsetting anti-semites at home, or major studios self-censoring any negative depictions of China or its ruling party after 1997 in order to maintain access to Chinese audiences.

Covert advertising
Native advertising is information designed to persuade in more subtle ways than classic propaganda. A modern example common in the United States is copaganda, in which TV shows display unrealistically flattering portrayals of law enforcement, in part to borrow equipment and get their assistance in blocking off streets to more easily film on location. Other reputation laundering accusations have been leveled in the entertainment industry, including the burnishing the image of Mafia's Godfathers.

Product placement also has been a point of criticism, with the tobacco industry promoting smoking on screen. The Centers for Disease Control cites that 51% of teen smokers would not start smoking if films with smoking were automatically given an 'R' rating, which would save one million lives.

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Jeremiah Johnson (film)

Jeremiah Johnson is a 1972 American Western film directed by Sydney Pollack and starring Robert Redford as the title character and Will Geer as "Bear Claw" Chris Lapp. It is based partly on the life of the legendary mountain man John Jeremiah Johnson, recounted in Raymond Thorp and Robert Bunker's book Crow Killer: The Saga of Liver-Eating Johnson and Vardis Fisher's 1965 novel Mountain Man.

The script was written by John Milius and Edward Anhalt; the film was shot at various locations in Redford's adopted home state of Utah. It was entered into the 1972 Cannes Film Festival.

Plot
Mexican War veteran Jeremiah Johnson takes up the life of a mountain man, supporting himself in the Rocky Mountains as a trapper. His first winter in mountain country is difficult, and he has a run-in with Paints-His-Shirt-Red, a chief of the Crow tribe. He starts out with a .30-caliber Hawken percussion rifle, which he uses as his main rifle until he finds the frozen body of mountain man Hatchet Jack clutching a .50-caliber Hawken rifle. Jack's will gives his rifle to the man who finds his corpse. With his new rifle, Johnson inadvertently disrupts the grizzly bear hunt of the elderly and eccentric Chris Lapp, nicknamed "Bear Claw", who mentors him on living in the high country. After a brush with Crows, including Lapp's acquaintance Paints-His-Shirt-Red, and learning the skills required to survive, Johnson sets off on his own.

He comes across a cabin whose inhabitants were apparently attacked by Blackfoot warriors, leaving only a woman and her uncommunicative son alive. The woman, maddened by grief, forces Johnson to adopt her son. He and the boy, whom Johnson dubs "Caleb", come across Del Gue, a mountain man who has been robbed by the Blackfeet and buried by them up to his neck in sand. Gue persuades Johnson to help recover his stolen goods, but Johnson counsels against violence when they find the Blackfoot camp.

The men sneak into the camp at night to retrieve Gue's possessions, but Gue opens fire and the mountain men then kill the Blackfeet. Gue takes several Blackfoot horses and scalps. Johnson, disgusted with the needless killing, returns to Caleb. Soon afterward, they are surprised by Christianized Flatheads, who take them in as guests of honor. Johnson unknowingly places the chief in his debt by giving him the Blackfeet horses and scalps. According to Flathead custom, to maintain his honor the chief must now either give his guest a greater gift or kill him. The chief gives his daughter Swan to be Johnson's bride. After the wedding, Gue goes off on his own and Johnson, Caleb and Swan journey into the wilderness. Johnson finds a suitable location to build a cabin. They settle into this new home and slowly become a family.

This idyllic life is interrupted by the arrival of a U.S. Army cavalry rescue party tasked with saving a stranded wagon train of settlers. Although Johnson is reluctant, he is pressed into guiding the rescue party through the mountains, leaving his family alone at their cabin. During the journey, Lieutenant Mulvey orders the party to proceed directly through a sacred Crow burial ground against Johnson's advice. Afterward, Johnson returns home by the same route and notices that the graves are now adorned with Swan's blue trinkets; he rushes back to the cabin, where he finds both Swan and Caleb have been killed.

Johnson sets off after the warriors who killed his family and attacks them, killing all but one, a heavy-set man who sings his death song when he realizes he cannot escape. Johnson leaves him alive and the survivor spreads the tale of the mountain man's quest for revenge throughout the region, trapping Johnson in a feud with the Crow. The tribe sends its best warriors one at a time to kill Johnson, but he defeats each one. His legend grows and the Crow come to respect him. He meets Gue again and returns to the cabin of Caleb's mother, only to find that she has died and a new settler named Qualen and his family are living there. Nearby the Crow have built a monument to Johnson's bravery, periodically leaving trinkets and talismans as tribute.

Johnson and Lapp meet for a final time. It is at this poignant meeting between student and teacher that Lapp realizes the heavy toll that fighting an entire nation alone in a vast and lonesome frontier has taken on Johnson. Lapp indicates as much when he remarks that Johnson has "come far", to which Johnson replies "Feels like far." Lapp then queries "Were it worth the trouble?" Johnson later has a wordless encounter with Paints-His-Shirt-Red, presumed to be behind the attacks. While sitting astride their horses far apart, Johnson reaches for his rifle, but Paints-His-Shirt-Red raises his arm, open-palmed, in a gesture of peace that Johnson slowly returns, signaling an end to their conflict. The film ends with the song lyrics, "And some folks say, 'He's up there still.

Cast

 * Robert Redford as Jeremiah Johnson
 * Will Geer as Bear Claw Chris Lapp
 * Stefan Gierasch as Del Gue
 * Delle Bolton as Swan
 * Josh Albee as Caleb
 * Joaquín Martínez as Paints His Shirt Red
 * Allyn Ann McLerie as the Crazy Woman
 * Paul Benedict as Reverend Lindquist
 * Jack Colvin as Lieutenant Mulvey
 * Matt Clark as Qualen
 * Richard Angarola as Chief Two-Tongues Lebeaux
 * Charles Tyner as Robidoux
 * Tanya Tucker as Qualen's Daughter (uncredited).

Development
In April 1968, producer Sidney Beckerman acquired the film rights to the biographical book Crow Killer: The Saga of Liver-Eating Johnson by Raymond W. Thorp Jr. and Robert Bunker. By May 1970, the rights were acquired by Warner Bros., who assigned John Milius to write a screen adaptation. Based roughly on Crow Killer as well as Mountain Man: A Novel of Male and Female in the Early American West by Vardis Fisher, Milius first scripted what would become known as Jeremiah Johnson for $5,000 ; however, he was then hired to rewrite it several times and eventually earned $80,000. According to Milius, Edward Anhalt and David Rayfiel were brought in to work on the screenplay only for Milius to be continually rehired because no one else could do the dialogue. Milius says he got the idiom and American spirit from Carl Sandburg and was also influenced by Charles Portis's novel True Grit.

The role of Jeremiah Johnson was originally intended for Lee Marvin and then Clint Eastwood, with Sam Peckinpah to direct. However, Peckinpah and Eastwood did not get along, so Peckinpah left and Eastwood decided to make Dirty Harry instead. Warner Bros. then stepped in and set up Milius's screenplay for Robert Redford. Without a director, Redford talked Sydney Pollack into it; the two were looking for another film to collaborate on after This Property Is Condemned (1966).

Casting for the role of Swan, Jeremiah's wife, took three months. After auditioning for another role, actress Delle Bolton was spotted by the casting director, followed up by her participation in the UCLA School of Theatre Arts Hugh O'Brian Awards competition. Bolton then interviewed alongside 200 Native American women and eventually won the role, even though she herself was not Native American.

Filming
After Warner Bros. advanced Redford $200,000 to secure him for the film, Warner decided that the film had to be shot on the Studio's backlot due to cost constraints. Insisting that it must be shot on location in Utah, Redford and Pollack convinced the studio that this could be done at the same cost. To prepare for production, art director Ted Haworth drove over 26,000 miles to find locations. Ultimately, it was shot in nearly one hundred locations across Utah, including: Mount Timpanogos, Ashley National Forest, Leeds, Snow Canyon State Park, St. George, Sundance Resort, Uinta National Forest, Wasatch-Cache National Forest, and Zion National Park.

Principal photography began in January 1971, but unexpected weather threatened production. Even after Pollack mortgaged his home to supplement the limited budget, production remained constrained. "The snows of St. George in southern Utah were terrible," said Pollack, "and we were using Cinemobiles as the lifelines. There was no way I was going to let it overrun, and Bob was a superb partner in keeping us tight. In the end it was the greatest way to learn production, because I was playing with my own money." Struggling with weather and the budget, rarely were the crew able to shoot any second takes.

The film took seven and a half months to edit. "It's a picture that was made as much in the editing room as it was in the shooting," said Pollack. "It was a film where you used to watch dailies and everybody would fall asleep, except Bob and I, because all you had were these big shots of a guy walking his horse through the snow. You didn't see strong narrative line. It's a picture made out of rhythms and moods and wonderful performances."

Music
The score was composed by Tim McIntire and John Rubinstein (sung by Tim McIntire ); known primarily as actors, they were also musicians. This was their film composing debut, arising after Rubinstein met Sydney Pollack through his agent. As Pollack recalls in the DVD commentary, McIntire and Rubinstein were "kids that just auditioned with a tape."

The soundtrack L.P. was not released until 1976 by Warner Bros. Records. On October 5, 2009, a restored and extended version of the L.P. was released by Film Score Monthly.

Release
Jeremiah Johnson had its world-wide premiere on May 7 at the 1972 Cannes Film Festival, where it was screened in competition. It was the first Western film to ever be accepted in the festival. The film then held its American premiere on December 2 in Boise, Idaho, with its theatrical release in the United States beginning on December 21, 1972, in New York City.

The film earned $8,350,000 in U.S. & Canadian rentals by the end of 1973. Reissues in 1974 and 1975 saw it earn additional rentals of $10,000,000 and $4 million respectively. In the U.S. and Canada it has grossed $44,693,786 with a reported reissue gross of $25,000,000.

Home media
The film was first released onto DVD by Warner Home Video on October 28, 1997. It was later released onto Blu-ray on May 1, 2012.

Critical reception
The film received generally positive reviews. Review aggregator Rotten Tomatoes gave it a "Fresh" rating of 91% based on reviews from 23 critics, with an average score of 7.1/10 and the site's consensus stating: "Jeremiah Johnson's deliberate pace demands an investment from the viewer, but it's rewarded with a thoughtful drama anchored by a starring performance from Robert Redford." On Metacritic it has a score of 75% based on reviews from 7 critics.

The New York Times film critic Roger Greenspun noted in his 1972 review, "That it does not succeed entirely is perhaps less the fault of the actor or of the conception than of a screenplay that tends to be ponderous about its imponderables and that every so often sounds as if it might have been written by the authors of the Bible ... But for all its involvement with academic cinema art, Jeremiah Johnson is full of compensations. There are [moments] of great beauty and terror and deeply earned pathos." A report in Variety from Cannes stated: "The film has its own force and beauty and the only carp might lie in its not always clear exegesis of the humanistic spirit and freedom most of its characters are striving for. It is not a new-type Western, with its demystifications, dirt and underlining of the brutishness of the times, as well as its heroic aspects, but it does show a deeper insight into the Indian–white relations and benefits from superb direction, excellent lensing and sharp editing." Gene Siskel of the Chicago Tribune gave the film 3 stars out of 4 and wrote, "Oddly enough, it is the violent scenes, the ones that don't work within the story, in which Pollack excels. Jeremiah's battle with a pack of wolves, and, later, a pack of Crow Indians, are stunning examples of direction and editing." Charles Champlin of the Los Angeles Times praised the film for "a rare and tonic authenticity," elaborating that "the film does not so much reveal a way of life as thrust us inside it. Making fire with flint and steel looks the miserably frustrating job it is; hunting and fishing look as exasperating as they are; snow looks as cold as it is and hands have the numbed and purpled look it gives them." Gary Arnold of The Washington Post dismissed the film as "rather ponderous" as it "just sort of moseys along, in an academically efficient way, without ever generating enough emotion or accumulating enough personal history. It's remarkably even and remarkably uncompelling." Tom Milne of The Monthly Film Bulletin wrote, "Good as it is, with fine performances and superb camerawork by Andrew Callaghan, Jeremiah Johnson still disappoints because it aims lower than it might have and does some sleight-of-hand to conceal the fact."

Legacy
The film inspired the creation of the classic Italian comics character (and his eponymous publicación) Ken Parker. Ken Parker is a Western anti-hero, based on Redford's portrayal of Jeremiah Johnson.

Like Johnson, Parker is a trapper who had decided to escape from the first city to have appeared in the United States. The comic's stories are mainly set in Northwestern states at first, but when Parker is forced to flee Boston after he participates in some strikes (initially as a Pinkerton agent and later as a supporter of the workers making the strikes), his new adventures are set along the Canadian frontier.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Jeremiah Johnson (film)


text:
Rosario Dawson

Rosario Isabel Dawson (born May 9, 1979) is an American actress. She made her feature-film debut in the 1995 independent drama Kids. Her subsequent film roles include He Got Game (1998), Josie and the Pussycats (2001), Men in Black II (2002), The Rundown (2003), Rent (2005), Sin City (2005), Clerks II (2006), Death Proof (2007), Seven Pounds (2008), Percy Jackson & the Olympians: The Lightning Thief (2010), Unstoppable (2010), Zookeeper (2011), Trance (2013), Top Five (2014), Zombieland: Double Tap (2019), and Clerks 3 (2022). Dawson has provided voice-over work for Disney/Marvel, Warner Bros./DC Comics, and ViacomCBS's Nickelodeon unit.

Dawson had several roles in film and television adaptations of comic books. These include Gail in Sin City (2005) and Sin City: A Dame to Kill For (2014), Claire Temple in five of the Marvel Netflix series (2015–2018), and providing the voices of Diana Prince / Wonder Woman in the DC Animated Movie Universe and Space Jam: A New Legacy and Barbara Gordon / Batgirl in The Lego Batman Movie. In 2020, she portrayed Ahsoka Tano in the second season of The Mandalorian and The Book of Boba Fett, and stars in Disney+ original series Ahsoka. In 2021, she had a recurring role in the Dwayne Johnson autobiographical comedy series Young Rock and a main role in the Hulu miniseries Dopesick.

Early life
Rosario Dawson was born on May 9, 1979, in New York City. Her mother, Isabel Celeste, is of Puerto Rican, Taíno, Cuban and African ancestry. Isabel was 17 years old when Rosario was born; she never married Rosario's biological father, Patrick C. Harris. When Dawson was a year old, Isabel married Greg Dawson, a construction worker. Isabel and Greg moved into a reclaimed building on East 13th Street after being approved as members of an affordable housing plan. The family later moved to Garland, Texas.

Career
As a child, Dawson made a brief appearance on Sesame Street. At the age of 15, she was discovered on her front-porch step by photographer Larry Clark and Harmony Korine, with Korine deciding that she was perfect for a part he had written in his screenplay for the controversial 1995 film Kids. She went on to star in varied roles, including independent films and blockbusters such as He Got Game, Men in Black II and Rent.

In 1998, Dawson provided an introductory voice-over for the remixed version of Prince's single "1999". The voice-over was a commentary on the state of the world in the next to last year before the new millennium. The following year, she appeared in The Chemical Brothers' video for the song "Out of Control" from the album Surrender. She is also featured on the track "She Lives In My Lap" from the second disc of the OutKast album Speakerboxxx/The Love Below, in which she speaks the introduction and a brief interlude towards the end.

In 2001, she appeared in the film Josie and the Pussycats as band member Valerie Brown and had a role in Chelsea Walls, the directorial debut of Ethan Hawke.

Dawson starred opposite Edward Norton in the Spike Lee drama 25th Hour (2002). In the 2004 Oliver Stone film Alexander, she played Roxana, the wife of Alexander the Great. In 2005, Dawson made her stage debut as Julia in the Public Theater's "Shakespeare in the Park" revival of Two Gentlemen of Verona.

In the film adaptation of the popular musical Rent in 2005, she played the exotic dancer Mimi Marquez, replacing Daphne Rubin-Vega, who was pregnant and unable to play the part. For her role in Rent, Dawson won the Satellite Award for Best Supporting Actress – Motion Picture. She also appeared in the adaptation of the graphic novel Sin City, co-directed by Robert Rodriguez and Frank Miller, portraying Gail, a prostitute-dominatrix. Also that year, she appeared in a deleted scene in the Rob Zombie film The Devil's Rejects. The scene was included in the deleted scenes on the DVD release.

She starred as Becky in Clerks II (2006). In Back to the Well, documentary about the making of the series,  she stated that the donkey show sequence was what made her decide to take the role. In May of the same year, Dawson co-created and co-wrote the comic-book miniseries Occult Crimes Taskforce. She was at the 2007 San Diego Comic-Con to promote the comic. She co-starred with former Rent alumna Tracie Thoms in the Quentin Tarantino throwback film Death Proof in 2007, part of the Tarantino/Robert Rodriguez double feature Grindhouse. She produced and starred in Descent alongside friend Talia Lugacy, whom she met at the Lee Strasberg Academy. On July 7, 2007, Dawson presented at the American leg of Live Earth.

In 2008, Dawson starred with Will Smith in Seven Pounds and in Eagle Eye, produced by Steven Spielberg. Beginning in August, she starred in Gemini Division, an online science-fiction series. In the animated series Afterworld, she voiced Officer Delondre Baines. On January 17, 2009, Dawson hosted Saturday Night Live. Later in the year, she voiced Artemis of Bana-Mighdall in the animated film Wonder Woman.

In 2009, Dawson performed in The People Speak, a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's A People's History of the United States. In 2009, Dawson also voiced the character of Velvet Von Black in Rob Zombie's animated feature, The Haunted World of El Superbeasto. For the Kasabian album West Ryder Pauper Lunatic Asylum, she is featured singing on the track "West Ryder Silver Bullet".

In 2010, she starred in the films Percy Jackson & the Olympians: The Lightning Thief as Persephone, and Unstoppable as railway yardmaster Connie Hooper. In 2013, she appeared in the independent film Gimme Shelter. The following year, she reprised her role as Gail in Sin City: A Dame to Kill For. In 2015, she played Claire Temple in the Netflix web television series Daredevil, a role which she reprised in Jessica Jones and Luke Cage. Dawson's likeness was also used in the Jessica Jones tie-in comic as her character on both shows. Dawson has continued this role in 2017 in Iron Fist and The Defenders.

She appeared in Top Five in 2014, for which she was nominated for the Critics' Choice Movie Award for Best Actress in a Comedy, and in 2018, she played the female lead role in the film Krystal. In 2020, she was cast as the Star Wars character Ahsoka Tano in the second season of The Mandalorian on Disney+ and reprised the role in The Book of Boba Fett and the spinoff miniseries, Ahsoka. In 2022, she reprised her role as Becky for Clerks III (2022).

Politics
Dawson was arrested in 2004, while protesting against President George W. Bush.

Dawson endorsed Barack Obama for re-election in 2012, and Bernie Sanders for the Democratic nomination in the 2016 Democratic Party primaries. On April 15, 2016, Dawson was among the protesters arrested during Democracy Spring in Washington, DC.

In mid-2019, Dawson endorsed her boyfriend Cory Booker in the 2020 presidential election. Booker ended his campaign for president on January 13, 2020. Had she become First Lady of the United States, Dawson said she would have advocated for solutions to youth homelessness. On March 9, 2020, Dawson endorsed the presidential campaign of Bernie Sanders, whom she had also previously endorsed in his 2016 bid.

Philanthropy
Dawson is involved with the Lower East Side Girls Club and supports other charities such as environmental group Global Cool, One Campaign, Oxfam, Operation USA, Amnesty International, Parents, Families and Friends of Lesbians and Gays (PFLAG), the International Rescue Committee, Voto Latino, and Stay Close.org, a poster and public service advertising campaign for PFLAG, where she is featured with her uncle Frank Jump. She has participated in the Vagina Monologues and serves on the board for V-Day, a global non-profit movement that raises funds for women's anti-violence groups through benefits of this play.

In October 2008, Dawson became a spokeswoman for TripAdvisor.com's philanthropy program, More Than Footprints, Conservation International, Doctors Without Borders, National Geographic Society, The Nature Conservancy, and Save the Children. Also in October 2008, she lent her voice to the RESPECT! Campaign, a movement aimed at preventing domestic violence. She recorded a voice message for the Giverespect.org Web site, stressing the importance of respect in helping stop domestic violence. In 2012, Dawson partnered with SodaStream International in launching the first annual Unbottle the World Day, a campaign conceived in an effort to raise awareness to the impact of cans and plastic bottles on the environment.

Personal life
Dawson is a self-professed Trekkie, who mentioned both her brothers and her love of Star Trek in an interview with Conan O'Brien, and also demonstrated her knowledge of several Klingon words.

Dawson adopted a 12-year-old girl, Isabella, in 2014. In December 2023, Dawson announced that Isabella was pregnant and her first grandchild was scheduled to be born in 2024.

In March 2019, Dawson confirmed that she was in a relationship with US Senator Cory Booker. Their relationship ended in February 2022.

In 2018, Dawson made a post to Instagram that was widely perceived as her coming out as queer; when asked about this in a 2020 interview, she stated that this had not been her intention, and further specified that although "People kept saying that I [came out]... I didn't do that, ... I mean, it's not inaccurate, but I never did come out. I mean, I guess I am now ... I've never had a relationship in that space, so it's never felt like an authentic calling to me." A representative of Dawson later clarified to The Daily Beast that she meant to say she came out as an ally of the LGBTQ community.

title: Rosario Dawson


text:
JT-60

JT-60 (short for Japan Torus-60) is a large research tokamak, the flagship of the Japanese National Institute for Quantum Science and Technology's fusion energy directorate. As of 2023 the device is known as JT-60SA and is the largest operational superconducting tokamak in the world, built and operated jointly by the European Union and Japan in Naka, Ibaraki Prefecture. SA stands for super advanced tokamak, including a D-shaped plasma cross-section, superconducting coils, and active feedback control.

JT-60 holds the record for the highest value of the fusion triple product achieved: $90 m3$ = $65 s$. To date, JT-60 has the world record for the hottest ion temperature ever achieved (522 million °C); this record defeated the TFTR machine at Princeton in 1996.

Original design
JT-60 was first designed in the 1970's during a period of increased interest in nuclear fusion from major world powers. In particular, the US, UK and Japan were motivated by the excellent performance of the Soviet T-3 in 1968 to further advance the field. The Japanese Atomic Energy Research Institute (JAERI), previously dedicated to fission research since 1956, allocated efforts to fusion.

JT-60 began operations on April 8, 1985, and demonstrated performance far below predictions, much like the TFTR and JET that had begun operations shortly prior.

Over the next two decades, JET and JT-60 led the effort to regain the performance originally expected of these machines. JT-60 underwent a major modification during this time, JT-60U (for "upgrade") in March 1991. The change resulted in significant improvements in plasma performance.

JT-60U (Upgrade)
The main objective of the JT-60U upgrade was to "investigate energy confinement near the breakeven condition, [a] non-inductive current drive and burning plasma physics with deuterium plasmas." To accomplish this, the poloidal field coils and the vacuum vessel were replaced. Construction began in November 1989 and was completed in March 1991. Operations began in July.

On October 31, 1996, JT-60U successfully achieved extrapolated breakeven with a factor of Q$90 m3$$100 s$ = 1.05 at $1.77 K·s·m^{−3}$. In other words, if the homogenous deuterium fuel was theoretically replaced with a 1:1 mix of deuterium and tritium, the fusion reaction would have created an energy output 1.05 times the energy used to start the reaction. JT-60U was not equipped to utilize tritium, as it would add extensive costs and safety risks.

In February 1997, a modification to the divertor from an open-type shape to a semi-closed W-shape for greater particle and impurity control was started and later completed in May. Experiments simulating the helium exhaust in ITER were promptly performed with the modified divertor, with great success. In 1998, the modification allowed JT-60U to reach an extrapolated fusion energy gain factor of Q$1.53 keV·s·m^{−3}$$DT$ = 1.25 at $eq$.

In December 1998, a modification to the vacuum pumping system that began in 1994 was completed. In particular, twelve turbomolecular pumps with oil bearings and four oil sealed rotary vacuum pumps were replaced with magnetically suspended turbomolecular pumps and dry vacuum pumps. The modification reduced the 15-year-old system's consumption of liquid nitrogen by two thirds.

In fiscal year 2003, the plasma discharge duration of JT-60U was successfully extended from $2.8 MA$ to $DT$.

In 2005, ferritic steel (ferromagnet) tiles were installed in the vacuum vessel to correct the magnetic field structure and hence reduce the loss of fast ions. The JAEA used new parts in the JT-60, having improved its capability to hold the plasma in its powerful toroidal magnetic field.

Sometime in 2007-2008, in order to control plasma pressure at the pedestal region and to evaluate the effect of fuel on the self-organization structure of plasma, a supersonic molecular beam injection (SMBI) system was installed in JT-60U. The system's design was a collaboration between Cadarache, CEA, and JAEA.

JT-60U ended operations on August 29, 2008.

JT-60SA
JT-60SA is the successor to JT-60U, operating as a satellite to ITER as described by the Broader Approach Agreement. It is a fully superconducting tokamak with flexible components that can be adjusted to find optimized plasma configurations and address key physics issues. Assembly began in January 2013 and was completed in March 2020. After a major short circuit during integrated commissioning in March 2021 necessitating lengthy repairs, it was declared active on December 1, 2023. The overall cost of its construction is estimated to be around €560M, adjusted for inflation.

Weighing roughly 2600 ST, JT-60SA's superconducting magnet system includes 18 D-shaped niobium-titanium toroidal field coils, a niobium-tin central solenoid, and 12 equilibrium field coils.

History
The idea of an advanced tokamak, a tokamak utilizing superconducting coils, traces back to the early 1960's. The idea seemed very promising, but was not without its problems. Around January 1972, engineers at JAERI initiated an effort to further research the idea and try to solve its hurdles. This initiative progressed in parallel with the development of JT-60, and by 1983-84 it was decided that it constituted its own experimental reactor: FER (Fusion Experimental Reactor).

However, the JT-60U upgrade in 1991 demonstrated the significant flexibility of the JT-60 facilities and assembly site, so by January 1993 FER was designated as a modification to JT-60U and renamed JT-60SU (for Super Upgrade).

In January 1996, a paper detailing the superconducting properties of Nb$eq$Al composite wire and its fabrication process was published in the 16th International Cryogenic Engineering/Materials Conference journal. Engineers assessed the potential use of the aluminide in JT-60SU's 18 toroidal coils.

Designs and intentions for the modification varied over the next decade, until February 2007, when the Broader Approach Agreement was signed between Japan and the European Atomic Energy Community. In it, the Satellite Tokamak Program established a clear, defined goal for JT-60SA: act as a small-scale ITER. This way, JT-60SA could give hindsight to engineers assembling and operating the full-scale reactor in the future.

It was planned for JT-60 to be disassembled and then upgraded to JT-60SA by adding niobium-titanium superconducting coils by 2010. It was intended for the JT60SA to be able to run with the same shape plasma as ITER. The central solenoid was designed to use niobium-tin (because of the higher (9 T) field).

Assembly
Construction of the tokamak officially began on 28.1.2013 with the assembly of the cryostat base, which was shipped from Avilés, Spain over a 75-day long journey. The event was highly publicized through local and national news, and reporters from 10 media organizations were able to witness it in person.

Assembly of the vacuum vessel began in May 2014. The vacuum vessel was manufactured as ten sectors with varying arcs (20°x1, 30°x2, 40°x7) that had to be installed sequentially. On June 4, 2014 two of ten sectors were installed. In November 2014 seven sectors had been installed. In January 2015 nine sectors had been installed.

Construction was to continue until 2020 with first plasma planned in September 2020. Assembly was completed on March 30, 2020, and in March 2021 it reached its full design toroidal field successfully, with a current of 25.7kA.

Short circuit
On March 9, 2021, a coil energization test was being performed on equilibrium field coil no. 1 (EF1) when the coil current rapidly increased, then suddenly flatlined. The reactor was safely shut down over the next few minutes, during which the pressure in the cryostat increased from $2.6 MA$ to $15 s$. Investigations immediately followed.

The incident, which came to be known as the "EF1 feeder incident", was found to be caused by a major short circuit resulting from insufficient insulation of the quench detection wire conductor exit. The formed arc damaged the shells of EF1, causing a helium leak to the cryostat.

In total, 90 locations required repairs and machine sensors needed to be rewired. However, the intricate JT-60SA was designed and assembled with intense precision, meaning access to the machine was sometimes limited. Risks of further delay to plasma operations compounded the issue.

The JT-60SA team was disappointed with the incident, given how close the machine was to operation, but persevered.

Repairs were completed in May 2023 and preparations for operation began.

Present operations
JT-60SA achieved first plasma on October 23, 2023, making it the largest operational superconducting tokamak in the world as of 2024. The reactor was declared active on December 1, 2023.

Specifications
(60 stands for JT-60, 60U stands for JT-60U, 60SA stands for JT-60SA) ("60SA I" refers to the initial/integrated research phase of JT-60SA, "60SA II" refers to the extended research phase)

title: JT-60