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The assembly plans organizes generating a sense of unity. The classic film opts for a montage "invisible" in the viewer's gaze is directed to generate a space-time continuum or a dramatic continuity. In contrast, there are three other assembly uses that are not invisible, that are parallel assembly, assembly and accelerated montage of attractions. By creating a parallel editing, Griffith shows actions that take place in different venues during the same time unit. The assembly consists of the rapid multiplication of plans to create the illusion of acceleration. The Eisenstein's montage of attractions is the dialectic of plans, which do not necessarily belong to the same event, creating a metaphorical sense, abstract.

At the age of silent films, assembly followed the logic of the look of the director. The assembly of the talkies retains the basic characteristics of silent film, the description and the accompanying dramatic discontinuous. As Bazin said "... now, finally, we can say that the director writes directly on film.", Ie, use and experience the cinematic language to express and represent the real.
   The new order digital cinema: How the Internet and digital media have transformed the way movies are produced, distributed and consumed.

By Jonathan Kerr de Oliveira
1. Introduction

Unless you have spent the last 10 or 15 years on a deserted island, you should know the importance of the Internet and digital media have played in contemporary society. Our lives have changed dramatically and also how we communicate with e-mails, instant messaging, cell phones, text messaging, online magazines and a revolution casual writing that incorporates the breakneck speed of new media for short and naked, accessible to the layman without boring the initiated.

We have new ways to communicate, new habits, new ways of thinking. An obvious consequence of the presence of these digital media is the restructuring of other similar spaces they occupied in society, to run for the same space or to incorporate these features. As a recent example we have the curious comment made by a representative of the Rede Globo in the fifth edition of the International Forum on Digital TV, which "regrets the behavior change communication market with the spread of internet and mobile." This only shows that those who are not prepared for this new generation of digital media has only to lose and in the movies, the situation is no different.

Commenting on the accessibility to the tools of production has increased significantly and as the distribution of content and the reception by the public has changed over the last few years, this article intends to give an overview of how the Internet and digital media have influenced and shaken the traditional structures of cinema around the world.
2. The production

Free software, broadband and piracy ... Apparently these three terms are unconnected with the film. However, they are deeply related to the revolution that is occurring in audiovisual production thanks to the growing accessibility of production software the average user. Today, many teenagers have spent most of his days sitting on the computers surfing the internet ... "they should probably spend all day on Orkut," thought you, dear reader ... And probably right! However, there is a small group of children and adolescents who already spend their time producing audiovisual material, using modeling software and 3D animation, audio editing, etc.. It is a revolution, because with the Internet access of any content area becomes accessible to those interested not only in schools and colleges, but in the bedroom of a bored teenager or an elderly person in the room, vying for the attention This is intended to Palmirinha Onofre (Rede Gazeta) and television programs geared towards senior citizens.
2.1. Free to produce

"Knowledge should be free." This is one of the greatest defenses of the group that follows the philosophy of free software. Maybe about free software does not bring anything to the memory of some readers, but names such as Linux, Blender, or Firefox might mean something. If you do not mean nothing to the readers, must come to mean as of today, and, of course, mean a lot to the major producers of digital content from Hollywood, including Disney / Pixar, DreamWorks Animation, Sony, ILM and others, using Linux operating system. Not only is Linux, as well as other software mentioned above, are examples of free software, a simplified concept that refers to the users' freedom to run, copy, distribute, study, change and improve the software (because they have open sourced are open-source). As part of the philosophy of this group we can see examples of collaborative knowledge, which is already a reality on the internet, wikis and forums in which anyone can contribute to the creation of content that is available to everyone free of charge and open. However, even though the philosophy of open knowledge, something important for the formation of a great many self-taught all over the globe, the point at which I intend to focus on is the fact that free software be freely distributed. The cost factor has always limited the use of tools and a professional tool for the segment evolves zero cost of production. To exemplify how the fact that free software can modify the production, see the following example: A user who wants to learn a software for 3D modeling and animation at home could buy the software "Autodesk 3DS Max 2009," priced at the time approximate of writing out the actual 6000 operating system, for Windows Vista (between $ 200 and $ 500.00), plus a computer that supports working with this software (from R $ 1,500.00). Obviously an approximate figure of 8000 is outside the actual investment pattern of much of the population and, depending on the purchase of software, we would have few or no animal products three-dimensionally on Brazilian television or cinema. On the other hand, software like Blender can be downloaded from the internet for free with an approximate size of 10Mb, which allows the download to be done even with a dial-up, although a significant portion of Internet access in our country . Currently in Brazil there is a community of thousands of Blender users, almost all self-taught, that communicate over the Internet. With the philosophy of free software, many alternative programs can be found for free on the Internet, shared with friends and even modified if needed, allowing more and more increase the number of home users of products that were once exclusively meant for the professional market. Without a doubt, the free software movement has democratized access to professional software, but even before there are free software specific to the audiovisual sector, another phenomenon also allowed software professionals came to the public amateur: piracy.
2.2. Pirates surfing, but are not the Caribbean.

Although it is a controversial term (and often questioned within the Open Source community) piracy is a form of democratization of the means of production of digital content because it allows a very expensive software (such as those mentioned above) can come for free or low-cost end-user who does not pay the company that created the software any money for his use and enjoy this anyway, regardless of their legal, moral or ethical. Piracy has always been a cultural phenomenon existing in the communities of computer users, but this took on new dimensions with the advent of the Internet, and especially with the emergence of software peer-to-peer (P2P), which allow users to connect directly to other machines to download files. Thus, it is by offering free or software piracy, many users can have access to very powerful tools of production, in many cases the same ones that are being used in expensive Hollywood movie.

With the right tools and good artistic sense can produce an epic film classic battles with gigantic crowds right from your room. The following example shows how one person with some readily available software can produce high quality material in no time.
2.3. Alone against an army

Gareth Edwards, the director of the feature film Attila the Hun, got an unprecedented feat. In addition to directing the film, decided to own and directly from your room all the 250 visual effects shots in high definition on existing work. Primarily using After Effects and Photoshop, Edwards has managed to produce an average of two scenes a day effect, completing the task of producing himself all the visual effects of a film within 4 months. The film aired on the BBC, Discovery Channel and History Channel, blending easily to several other films in the schedule that had the production team of visual effects hundreds or even thousands of people, with huge budgets. What was once a dream became reality today. We are witnessing a revolution. The democratization of the means of audiovisual production is going on. With high definition cameras becoming affordable (we now have good high-definition camcorders in the range of U.S. $ 700.00) and post-production tools and effects available, anyone with talent can produce a high quality material, making it difficult to to distinguish the works of these great productions. There are many examples similar to that of Gareth Edwards, as in the video "Bloody Omaha," a production of three friends who recreated a battle scene of a war video that can be found on YouTube. Obviously, for the production of a quality material, the money is still needed, but in smaller and smaller scales.

Because of this democratized tools of audiovisual production, there is a growing number of manufacturers entering the Indian market (in this context is the market for independently produced films from the studios). Increasingly, people entering this market toward fulfilling quality productions. The problem is that most of them end up failing to produce something with quality, and even movies that can actually end up failing financial response, since usually the themes do not interest large audiences. As a result, we have the following statistics by Mark Gill, the LA Film Financing Conference: "Of the 5,000 films submitted to Sundance each year - generally with a budget below $ 10 million - maybe 100 of these have achieved a release in cinemas in U.S. and only 10 of these 100 or 5 can make money, which is one-tenth of 1%. Put another way, if you want to make a movie budgeted under $ 10 million, you have a 99.9% chance of failing. " What would be the reason for such disappointment in the independent market in the U.S. and to some extent in the world? Would the quality of production?

Making movies is as much art as business. With this redesign of production systems is mandatory to define a large audience for a film to be produced targeting profit. In other words, no longer exists as a filmmaker trying to make a living "express themselves". Technology has allowed the entry of several people who never thought of being part of this market. There are more people competing to produce film and the size of the audience who have purchased these movies has remained stable or even decreased. "Decreasing? Are you crazy? "Ask you ... Much of the answer to this question is given to understanding how digital media have revolutionized the way the public consumes audiovisual content.
3. The reception in a society immersed in bits.

Perhaps to be involved with the environment of the film you have not noticed, but people have not gone to the movies more like they used to, and instead, have devoted more time to the Internet (at home, in Internet cafes, at access points public etc..), video games, computer games and other activities that are indirectly competing with the movies. In 2007, for the first time in the history of Brazil, sold more computers than televisions. The audiovisual landscape has changed, and even if people take time to watch movies, the cinema has occupied less space in your life. But to say that cinema has had less and less space in the market does not mean that the films are low. People have watched more movies, but the market has grown and may be slowing. If the population has not gone to the movies, how then has increased the consumption of movies? According to Nielsen EDI, 52% of the population not contemplate going to the movies, but the home consumption of film material is increased, either official or unofficial. Official when considering the purchase and rental of DVDs and, most recently, Blu-Ray Discs (elected and installed as replacement of DVDs) and rent or buy movies online. On the other hand, when we talk about unofficial films bought in "street vendors", copied from friends and downloaded on the Internet.

Currently the user has a complete video library with your favorite movies and many others who watched it and not even want to watch. The act of downloading movies on the Internet has become so easy that not only the poor who most want to watch. The user with low bandwidth several films, sometimes several versions of the same movie to choose which you want to watch, with what quality and preferred language. Thanks for sharing movies over the Internet, users can take advantage of big releases in high definition directly to your computer, even if the material has not been released nationally. It is a total accessibility to materials produced around the world, without which the producers receive any return on the material produced.
4. What do you do?

From the standpoint of traditional filmmakers, the film's big challenge now is able to remove the public from their homes so that they spend money on quality entertainment, but this is not the issue. The user goes out fewer home to watch movies and it will not change in a short time. The U.S. film industry is betting all his chips in stereoscopic cinema as bait to bring the final consumer of the small to the large room, but the first results are not encouraging. All the traditional structure of the film needs to be revised. Not only the structure of production need to migrate to the digital environment, but mainly the distribution structure, using new technologies and finding niche markets that users can exchange with free entertainment, which has in most cases sufficient quality for the customer, by entertainment paid for with higher quality and other advantages that do not offer free entertainment (video games, for example, found a solution to this problem: the online games that only give full service to users who are subscribers, restricting access of non-paying). Rental companies have begun to disappear, but the distribution systems online are not yet fully ready. The transition is happening and the solution is to install digital cinemas or DVDs for the exchange of media with high-definition movies - not least because many have pointed to the decreased use of physical media. The film will still exist, but the challenge is to reach the public in his own home, taking him the material he wants and not the material that producers want to be consumed.
5. Conclusion

The Internet and digital media have drastically changed the whole scenario of the audiovisual market, since production democratized and accessible to everyone, everywhere and at any cost, to the reception differentiated and customized for each user directly to your home. To accompany this revolution, we must understand what is going on and deepen the knowledge in digital media so that they do not overcome, but we used them we overcome. The revolution has begun. Are you ready?