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Duff McKagan
Slash
Mike McCready
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Christopher Duddy
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Christopher Duddy
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XLrator Media
Rating MPAA
Not Available
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This authorized music documentary chronicles the incredible life of Duff McKagan – founding member and bass player for Guns N’ Roses, Velvet Revolver and other bands. While Guns N’ Roses became the ultimate icons of Sex, Drugs and Rock and Roll, causing pandemonium in their wake, the lifestyle caught up with Duff, leavin

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Mickey Keating
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Mickey Keating
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Screen Media Films
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Darling follows a lonely young woman who moves into an old, mysterious Manhattan mansion. Hired as caretaker, it's not long before she discovers the estate's haunted reputation and troubling past—stories that


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Leo is smitten with the new hire in his company, but the new hire, April, only follows the "love" advice from her psychic, Madam Lazora. Faced with this problem, Leo bribes the Madam Lazora... See eo is smitten with the new hire in his company, but the new hire, April, only follows the "love" advice from her psychic, Madam Lazora. Faced with this problem, Leo bribes the Madam Lazora to tell April that he's "the one." April "sees" Leo (the double lion) in a new light, and they get to know each other. Except she's into him too much to the point where she's driving him crazy. Written by Anonymous
Parents Guide: Add content advisory for parents »
Edit
Details
Official Sites: Official site
Country: USA
Language: English
Release Date: 17 March 2011 (USA) See more »
Box Office
Budget: $10,000 (estimated)
See more »
Company Credits
Production Co: Castleland Productions, Power Point Films See more »
Show detailed c
Director: Jeff Bonilla
Writers: Jeff Bonilla, Ray Mond
Stars: Cole Carson, Gilda Graham, Magi Loucks | See full cast & crew »


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erminus is a 2015 Australian science fiction / drama film. Jai Koutrae is the lead and Todd Lasance, Bren Foster, Kendra Appleton also star. The film is directed by Marc Furmie. Terminus tells the story of David, a small town American who has a near fatal accident after coming in contact with a meteorite. The mysterious object has
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Kendra Appleton
Todd Lasance
Bren Foster
Music by Brian Cachia
Cinematography Kieran Fowler
Edited by Gabriel Dowrick
Production
company
Storm Vision Entertainment
Distributed by Vertical Entertainment
Release dates
22 January 2016
Running time
94 minutes
Country Australia
Language English


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A man (Jai Koutrae) embarks on a quest to save mankind after discovering an extraterrestrial organism. more
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Friday, January 22, 2016 Limited Release
On DVD
Tuesday, March 8, 2016
On Demand (VOD) Cable, Amazon Instant, Google Play, iTunes
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Jai Koutre
David Chamberlain
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Terminus 2016 Marc Furmie
Terminus 2016 COMPANies
Terminus 2016 Vertical Entertainment
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for violence and language including a sexual reference
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London, 1997: the British music industry is on a winning streak. Britpop bands Blur, Oasis, and Radiohead rule the airwaves, and Cool Britannia is in full swing. 27-year-old hit-chasing A&R man Steven... more
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Owen Harris
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Owen Harris
Production Companies
Altitude Film Entertainment
Rating MPAA
Not Available
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London, 1997: the British music industry is on a winning streak. Britpop bands Blur, Oasis, and Radiohead rule the airwaves, and Cool Britannia is in full swing. 27-year-old hit-chasing A&R man Steven Stelfox is slashing and burning his way through the music business, a world where careers are made and br


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Friday, April 1, 2016 Limited Release
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Nicholas Hoult
Craig Roberts
James Corden
Tom Riley
Ed Skrein
DIRECTOR
Owen Harris
Screenwriter
Owen Harris
Production Companies
Altitude Film Entertainment
Rating MPAA
Not Available
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London, 1997: the British music industry is on a winning streak. Britpop bands Blur, Oasis, and Radiohead rule the airwaves, and Cool Britannia is in full swing. 27-year-old hit-chasing A&R man Steven Stelfox is slashing and burning his way through the music business, a world where careers are made and broken by chance and the fickle tastes of the general public. Fueled by greed, ambition and inhuman quantities of drugs, Stelfox searches for his next hit record amid a relentless orgy of self-gratification. Created by an industry that demands success at any price, Stelfox takes the concept of "killer tunes" to a murderous new level in a desperate attempt to salvage his career. Balanced against the backdrop of the music business and its characters


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Hyunwoo Thomas Kim
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Te3n is an upcoming Indian thriller film directed by Ribhu Dasgupta. The film stars Amitabh Bachchan, Nawazuddin Siddiqui & Vidya Balan in lead roles. The movie is set to release on 20 May


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Directed by Ashwini Iyer Tiwari
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Nil Battey Sannata is an upcoming Hindi film directed by Ashwini Iyer Tiwari[1] with Swara Bhaskar[2] in the lead along with Ratna Pathak, Pankaj Tripathi and Ria.[3] The film is produced by Anand L. Rai and Ajay Rai - Alan McAlex under Colour Yellow and JAR Pictures.The film has been backed by amitabh bacchan and aamir khan. The film is expected to release on 22 April 2016 along with its Tamil remake
JAR Pictures
Colour Yellow
Distributed by Eros International
Release dates
April 22, 2016
Running time
96 minutes
Country India
Language Hindi

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Screenplay by Suresh Nair
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Starring Amitabh Bachchan
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Vidya Balan
Music by Clinton Cerejo
Cinematography Tushar Kanti Ray
Edited by Gairik Sarkar
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May 20, 2016
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A featured film, movie, motion picture or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. The process of filmmaking is both an art and an industry. A film is created by photographing actual scenes with a motion picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of CGI and computer animation; or by a combination of some or all of these techniques and other visual effects.

The word "cinema", short for cinematography, is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.[1]

Films were originally recorded onto plastic film through a photochemical process, and then shown through a movie projector onto a large screen. The adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the entire process of production, distribution, and exhibition from start to finish. Films recorded in a photochemical form traditionally included an analogous optical soundtrack, which is a graphic recording of the spoken words, music and other sounds that accompany the images. It runs along a portion of the film exclusively reserved for it and is not projected.

Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer. Some have criticized the film industry's glorification of violence[2] and its potentially negative treatment of women.[3][4]

The individual images that make up a film are called frames. During projection of traditional films, a rotating shutter causes intervals of darkness as each frame in turn is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The perception of motion is due to a psychological effect called phi phenomenon.

The name "film" originates from the fact that photographic film (also called film stock) has historically been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photoplay and flick. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field in general include the big screen, the silver screen, the movies and cinema; the latter is commonly used in scholarly texts and critical essays, especially by European writers. In early years, the word sheet was sometimes used instead of screen.

Contents

    1 History
        1.1 Preceding technologies
        1.2 First motion pictures
        1.3 Early evolution
        1.4 Sound
        1.5 Colour
        1.6 1950s developments
        1.7 1960s and later
    2 Film theory
        2.1 Language
        2.2 Montage
        2.3 Criticism
    3 Industry
    4 Associated fields
    5 Terminology used
        5.1 Preview
        5.2 Trailer and teaser
    6 Education and propaganda
    7 Production
        7.1 Crew
        7.2 Technology
        7.3 Independent
        7.4 Open content film
        7.5 Fan film
    8 Distribution
    9 Animation
    10 Trends and influences
    11 See also
    12 Notes
    13 References
    14 Further reading
    15 External links

History
Main article: History of film
Muybridge race horse animated still photographs
Sometimes Sallie Gardner at a Gallop from 1878 is cited as the earliest film.
A screenshot of Roundhay Garden Scene by the French Louis Le Prince, the world's first film
A frame from Roundhay Garden Scene, the world's earliest surviving film produced using a motion picture camera, by Louis Le Prince, 1888.
Berlin Wintergarten theatre, vaudeville stage at the Berlin Conservatory from the 1940s
The Berlin Wintergarten theatre was the site of the first cinema ever, with a short film presented by the Skladanowsky brothers on 1 November 1895. The image depicts a July 1940 variety show.
Preceding technologies

Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scène (roughly, the entire visual picture at any one time). Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film.

The magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides. Typically, two glass slides, one with the stationary part of the picture and the other with the part that was to move, would be placed one on top of the other and projected together, then the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc.[5]

In the mid-19th century, inventions such as the phenakistoscope and zoetrope demonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate. These devices relied on the phenomenon of persistence of vision to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed. Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen.

The use of sequences of photographs in such devices was initially limited to a few experiments with subjects photographed in a series of poses, because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were actually moving. The sensitivity was gradually improved and in the late 1870s Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each in turn capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wide variety of animal and human subjects. Hand-painted images based on the photographs were projected as moving images by means of his zoopraxiscope.[6]
Georges Méliès Le Voyage dans la Lune, showing a projectile in the man in the moon's eye from 1902
A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.
First motion pictures

By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph an indefinitely long rapid sequence of images using only one lens, allowed several minutes of action to be captured and stored on a single compact reel of film. Some early films were made to be viewed by one person at a time through a "peep show" device such as the Kinetoscope. Others were intended for a projector, mechanically similar to the camera and sometimes actually the same machine, which was used to shine an intense light through the processed and printed film and into a projection lens so that these "moving pictures" could be shown tremendously enlarged on a screen for viewing by an entire audience.

The first public screenings of films at which admission was charged was made in 1895 by the American Woodville Latham and his sons, using films produced by their company, and by the - arguably better known - French brothers Auguste and Louis Lumière with ten of their own productions.[citation needed] Private screenings had preceded these by several months, with Latham's slightly predating the Lumière brothers'.[citation needed] Another opinion is that the first public exhibition of projected motion pictures in America was at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.[dubious – discuss]
Early evolution

The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Around the turn of the 20th century, films started stringing several scenes together to tell a story. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell a story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art, but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.
File:Charlie Chaplin, the Marriage Bond.oggPlay media
A clip from the Charlie Chaplin silent film The Bond (1918)

The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916). However, in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau and Fritz Lang, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium.
Sound

In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen.[citation needed] The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies."[citation needed] The revolution they wrought was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium."[citation needed]
Colour

Another major technological development was the introduction of "natural color," which meant color that was photographically recorded from nature rather than added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance.[citation needed] While the advent of sound films quickly made silent films and theater musicians obsolete, color replaced black-and-white much more gradually.[citation needed] The pivotal innovation was the introduction of the three-strip version of the Technicolor process, first used for animated cartoons in 1932, then also for live-action short films and isolated sequences in a few feature films, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but favorable public response in the form of increased box office receipts usually justified the added cost. The number of films made in color slowly increased year after year.
1950s developments

In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance.[citation needed] In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with rare exceptions reluctantly made only at the insistence of "star" directors such as Peter Bogdanovich and Martin Scorsese.[citation needed]
1960s and later

The decades following the decline of the studio system in the 1960s saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century.[citation needed] Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in the early 2010s.[citation needed]
Film theory
16 mm spring-wound Bolex H16 Reflex camera
This 16 mm spring-wound Bolex "H16" Reflex camera is a popular entry level camera used in film schools.
Main articles: Film theory and Philosophy of language film analysis

"Film theory" seeks to develop concise and systematic concepts that apply to the study of film as art. The concept of film as an art-form began with Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.
Language

Film is considered to have its own language. James Monaco wrote a classic text on film theory, titled "How to Read a Film," that addresses this. Director Ingmar Bergman famously said, "Andrei Tarkovsky for me is the greatest director, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation. This describes another theory of film, the 180-degree rule, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing. The "Hollywood style" includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.
Montage
Main article: Montage

Montage is the technique by which separate pieces of film are selected, edited, and then pieced together to make a new section of film. A scene could show a man going into battle, with flashbacks to his youth and to his home-life and with added special effects, placed into the film after filming is complete. As these were all filmed separately, and perhaps with different actors, the final version is called a montage.

Directors developed a theory of montage, beginning with Eisenstein and the complex juxtaposition of images in his film Battleship Potemkin.[7] Incorporation of musical and visual counterpoint, and scene development through mise en scene, editing and effects, has led to more complex techniques comparable to those used in Opera and ballet.
Criticism
Main article: Film criticism

Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.
Industry
World cinema

    African cinema
    Asian cinema

    East Asian cinema
    South Asian cinema
    Southeast Asian cinema
    West Asian cinema

    European cinema
    Latin American cinema
    North American cinema
    Oceanian cinema

Main article: Film industry
Babelsberg Studio near Berlin gate with pedestrian island
The Babelsberg Studio near Berlin was the first large-scale film studio in the world (founded 1912) and the forerunner to Hollywood. It still produces global blockbusters every year.

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898[citation needed] was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood, California. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.[8] Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
Associated fields
Further information: Film history, Film criticism, Film theory, Product placement and Propaganda

Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of a flashing soda can during a screening). These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures). Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films.
Terminology used

The terminology used for describing motion pictures varies considerably between British and American English. In British usage, the name of the medium is "film". The word "movie" is understood, but seldom used.[9][10] Additionally, "the pictures" (plural) is used semi-frequently to refer to the place where movies are exhibited, while in American English this may be called "the movies", but it is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or theatre.

By contrast, in the United States, "movie" is the predominant form. Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class and "movies" more often refers to entertainment or commercial aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Let's Go to the Movies" would be about the history of entertaining movies.

Further terminology is used to distinguish various forms and media of film industry. "Motion pictures" and "moving pictures" are frequently-used terms for film and movie productions specifically intended for theatrical exhibition, such as, for instance, Batman. "DVD" and "videotape" are video formats that can reproduce a photochemical film. A reproduction based on such is called a "transfer." After the advent of theatrical film as an industry, the television industry began using videotape as a recording medium. For many decades, tape was solely an analog medium onto which moving images could be either recorded or transferred. "Film" and "filming" refer to the photochemical medium that chemically records a visual image and the act of recording respectively. However, the act of shooting images with other visual media, such as with a digital camera, is still called "filming" and the resulting works often called "films" as interchangeable to "movies," despite not being shot on film. "Silent films" need not be utterly silent, but are films and movies without an audible dialogue, including those that have a musical accompaniment. The word, "Talkies," refers to the earliest sound films created to have audible dialogue recorded for playback along with the film, regardless of a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or it is roughly synonymous with film and theatrical exhibition, and both are capitalized when referring to a category of art. The "silver screen" refers to the projection screen used to exhibit films and, by extension, is also used as a metonym for the entire film industry.

"Widescreen" refers to a larger width to height in the frame, compared to earlier historic aspect ratios.[11] A "feature-length film", or "feature film", is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.[12] A "short" is a film that is not as long as a feature-length film, often screened with other shorts, or preceding a feature-length film. An "independent" is a film made outside of the conventional film industry.

In U.S. usage, one talks of a "screening" or "projection" of a movie or video on a screen at a public or private "theater." In British English, a "film showing" happens at a cinema (never a "theatre", which is a different medium and place altogether).[10] A cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while a theater usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheater. Theaters can still screen movies in them, though the theater would be retrofitted to do so. One might propose "going to the cinema" when referring to the activity, or sometimes "to the pictures" in British English, whereas the U.S. expression is usually "going to the movies." A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector. But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed. Due to the advent of digital film production and distribution, physical film might be absent entirely. A "double feature" is a screening of two independently-marketed, stand-alone feature films. A "viewing" is a watching of a film. "Sales" and "at the box office" refer to tickets sold at a theater, or more currently, rights sold for individual showings. A "release" is the distribution and often simultaneous screening of a film. A "preview" is a screening in advance of the main release.

Any film may also have a "sequel", which portrays events following those in the film. Bride of Frankenstein is an early example. When there are more films than one with the same characters, story arcs, or subject themes, these movies become a "series," such as the James Bond series. And, existing outside of a specific story timeline usually does not exclude a film from being part of a series. A "trilogy" is a set of three films, such as the three films of The Godfather series, a "quadrilogy" is a set of four, such as writer-director Tony Gilroy's The Bourne Identity film series, and so forth. A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a "prequel," an example being Butch and Sundance: The Early Days.

The "credits," or "end credits," is a list that gives credit to the people involved in the production of a film. Films from before the 1970s usually start a film with credits, often ending with only a title card, saying "The End" or some equivalent, often an equivalent that depends on the language of the production[citation needed]. From then onward, a film's credits usually appear at the end of most films. However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that film's acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the director's credit. The credits appearing at or near the beginning of a film are usually called "titles" or "beginning titles."

A film's "cast" refers to a collection of the actors and actresses who appear, or "star," in a film. A star is an actor or actress, often a popular one, who plays a central character in a film, but occasionally the word can also express fame of members of the crew, such as a director or other personality, such as Martin Scorsese. A "crew" is usually interpreted as the people involved in a film's physical construction outside of cast participation, and it could include directors, editors, photographers, grips, gaffers, set decorators, prop masters, and costume designers. A person can both be part of a film's cast and crew, such as Woody Allen, who directed and starred as the protagonist in Take the Money and Run.

A Post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credit scene in which Ferris tells the audience that the film is over and they should go home.

A "film goer," "movie goer," or "film buff" is a person who likes or often attends films and movies, and any of these, though more often the latter, could also see oneself as a student to films and movies or the filmic process.
Preview
Main article: Test screening

A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections (Audience response).
Trailer and teaser
Main article: Film trailer

Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema. Back in the early days of cinema, with theaters that had only 1 or 2 screens, only certain trailers were shown for the films that were going to be shown there. Later, when theaters added more screens or new theaters were built with a lot of screens, all different trailers were shown even if they weren't going to play that film in that theater. Film studios realized, that the more trailers that were shown (even if it wasn't going to be shown in that particular theater) the more patrons would go to a different theater to see the film when it came out. The term "trailer" comes from their having originally been shown at the end of a film program. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A film in a double feature program) begins.

Film trailers are now also common on DVDs and Blu-ray Discs, as well as on the Internet and mobile devices. Of some ten billion videos watched online annually, film trailers rank third, after news and user-created video.[13]

Teasers are a much shorter preview that would last only 10 to 30 seconds. Teasers were used to get patrons excited about a film coming out about 6 to 12 months away.
Education and propaganda
Main articles: Educational film and Propaganda film

Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.

Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Eisenstein. They may also be works of political protest, as in the films of Wajda, or more subtly, the films of Andrei Tarkovsky.

The same film may be considered educational by some, and propaganda by others.
Production
Main article: Filmmaking

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or even without a camera, as in Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

    Development
    Pre-production
    Production
    Post-production
    Distribution

This production cycle usually takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are not only artistic works, but for-profit business entities.
Crew
Main article: Film crew

A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.
Technology
See also: Cinematic techniques

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints. Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).[14] When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality.[citation needed] Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. The migration was gradual, and as of 2005 most major motion pictures were still shot on film.[dated info]
Independent
Main article: Independent film

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major film studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.
Auguste and Louis Lumière brothers seated looking left
The Lumière Brothers

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[15] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively inexpensive.

Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.
Open content film
Main article: Open content film

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.
Fan film
Main article: Fan film

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.
Distribution
Main articles: Film distribution and Film release

Film distribution is the process through which a film is made available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater or television for personal home viewing (including DVD-Video or Blu-ray Disc, video-on-demand, download, television programs through broadcast syndication etc.).

Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as VHS or DVD, or Internet download.
Animation
Main article: Animation

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the phi phenomenon). Generating such a film is very labor-intensive and tedious, though the development of computer animation has greatly sped up the process.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and films comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theaters to television.[16]

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Camera-less animation, made famous by film-makers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.
Trends and influences
    This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009)

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon[clarification needed] of fine arts. In the 1950s, when television became widely available, industry analysts[who?] predicted the demise of local cinemas.[citation needed] Despite competition from television's increasing technological sophistication over the 1960s and 1970s[citation needed] such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content.[citation needed] In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.[citation needed]

In the 1990s and 2000s, the development of DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction.[citation needed] These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 21st century and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.[citation needed] The cinema now faces a new challenge from home video by the likes of a new high definition (HD) format, Blu-ray, which can provide full HD 1080p video playback at near cinema quality.[citation needed] Video formats are gradually catching up with the resolutions and quality that film offers; 1080p in Blu-ray offers a pixel resolution of 1920×1080, a leap from the DVD offering of 720×480 and the 330×480 offered by the first home video standard, VHS.[citation needed] Ultra HD, a future digital video format, will offer a resolution of 7680×4320.

However, the nature and structure of film prevents an apples-to-apples comparison with regard to resolution.[17] The resolving power of film, and its ability to capture an image which can later be scanned to a digital format, will ensure that film remains a viable medium for some time to come.[citation needed] Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results.[18][19]

Despite the rise of all-new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many[who?] expected film to suffer as a result of the effects li

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Bats are mammals of the order Chiroptera (/kaɪˈrɒptərə/; from the Greek χείρ - cheir, "hand"[1] and πτερόν - pteron, "wing"[2]) whose forelimbs form webbed wings, making them the only mammals naturally capable of true and sustained flight. By contrast, other mammals said to fly, such as flying squirrels, gliding possums, and colugos, can only glide for short distances. Bats do not flap their entire forelimbs, as birds do, but instead flap their spread-out digits,[3] which are very long and covered with a thin membrane or patagium.

Bats are the second largest order of mammals (after the rodents), representing about 20% of all classified mammal species worldwide, with about 1,240 bat species divided into two suborders: the less specialized and largely fruit-eating megabats, or flying foxes, and the highly specialized and echolocating microbats.[4] About 70% of bat species are insectivores. Most of the rest are frugivores, or fruit eaters. A few species, such as the fish-eating bat, feed from animals other than insects, with the vampire bats being hematophagous, or feeding on blood.

Bats are present throughout most of the world, with the exception of extremely cold regions. They perform the vital ecological roles of pollinating flowers and dispersing fruit seeds; many tropical plant species depend entirely on bats for the distribution of their seeds. Bats are economically important, as they consume insect pests, reducing the need for pesticides. The smallest bat is the Kitti's hog-nosed bat, measuring 29–34 mm (1.14–1.34 in) in length, 15 cm (5.91 in) across the wings and 2–2.6 g (0.07–0.09 oz) in mass.[5][6] It is also arguably the smallest extant species of mammal, with the Etruscan shrew being the other contender.[7] The largest species of bat are a few species of Pteropus (fruit bats or flying foxes) and the giant golden-crowned flying fox with a weight up to 1.6 kg (4 lb) and wingspan up to 1.7 m (5 ft 7 in).[8]
Contents

    1 Etymology
    2 Classification and evolution
        2.1 Fossil bats
    3 Habitats
    4 Anatomy
        4.1 Wings
        4.2 Other
    5 Echolocation
        5.1 Other senses
    6 Behaviour
        6.1 Reproduction
        6.2 Life expectancy
        6.3 Hunting, feeding, and drinking
    7 Conservation efforts
        7.1 Artificial roosts
        7.2 Nectar-rich plants attracting moths
        7.3 Threats
    8 Bats in human culture
        8.1 Mythology
        8.2 Tongan
        8.3 Heraldry
    9 Depictions in art
        9.1 State symbols
    10 See also
    11 References
    12 Further reading
    13 External links

Etymology

In many languages, the word for "bat" is cognate with the word for "mouse": for example, chauve-souris ("bald-mouse") in French, murciélago ("blind mouse") in Spanish, saguzahar ("old mouse") in Basque, летучая мышь ("flying mouse") in Russian, slijepi miš ("blind mouse") in Bosnian, nahkhiir ("leather mouse") in Estonian, vlermuis (winged mouse) in Afrikaans, from the Dutch word vleermuis (from Middle Dutch "winged mouse").

An older English name for bats is flittermouse, which matches their name in other Germanic languages (for example German Fledermaus and Swedish fladdermus), related to fluttering of wings, as for Latin bakke, a "moth, nocturnal insect".[9]
Classification and evolution
Giant golden-crowned flying fox, Acerodon jubatus

Bats are placental mammals. Bats were formerly thought to have been most closely related to the flying lemurs, treeshrews, and primates,[10] but recent molecular cladistics research indicates that they actually belong to Laurasiatheria, a diverse group also containing Carnivora and Artiodactyla.[11][12]

The two traditionally recognized suborders of bats are:

    Megachiroptera (megabats)
    Microchiroptera (microbats/echolocating bats)

Not all megabats are larger than microbats. The major distinctions between the two suborders are:

    Microbats use echolocation; with the exception of the genus Rousettus, megabats do not.[13]
    Microbats lack the claw at the second finger of the forelimb.[14][15]
    The ears of microbats do not close to form a ring; the edges are separated from each other at the base of the ear.[15]
    Microbats lack underfur; they are either naked or have guard hairs.[citation needed]

Megabats eat fruit, nectar, or pollen. Most microbats eat insects; others may feed on fruit, nectar, pollen, fish, frogs, small mammals, or the blood of animals. Megabats have well-developed visual cortices and show good visual acuity, while microbats rely on echolocation for navigation and finding prey.

The phylogenetic relationships of the different groups of bats have been the subject of much debate. The traditional subdivision between Megachiroptera and Microchiroptera reflects the view that these groups of bats have evolved independently of each other for a long time, from a common ancestor already capable of flight. This hypothesis recognized differences between microbats and megabats and acknowledged that flight has only evolved once in mammals. Most molecular biological evidence supports the view that bats form a single or monophyletic group.[16]

Researchers have proposed alternative views of chiropteran phylogeny and classification, but more research is needed.

In the 1980s, a hypothesis based on morphological evidence was offered that stated the Megachiroptera evolved flight separately from the Microchiroptera. The so-called flying primates theory proposes that, when adaptations to flight are removed, the Megachiroptera are allied to primates by anatomical features not shared with Microchiroptera. One example is that the brains of megabats show a number of advanced characteristics that link them to primates. Although recent genetic studies strongly support the monophyly of bats,[17] debate continues as to the meaning of available genetic and morphological evidence.[18]

Genetic evidence indicates that megabats originated during the early Eocene and should be placed within the four major lines of microbats.[19]

Consequently, two new suborders based on molecular data have been proposed. The new suborder of Yinpterochiroptera includes the Pteropodidae, or megabat family, as well as the families Rhinolophidae, Hipposideridae, Craseonycteridae, Megadermatidae, and Rhinopomatidae[20] The other new suborder, Yangochiroptera, includes all of the remaining families of bats (all of which use laryngeal echolocation). These two new suborders are strongly supported by statistical tests. Teeling (2005) found 100% bootstrap support in all maximum likelihood analyses for the division of Chiroptera into these two modified suborders. This conclusion is further supported by a 15-base-pair deletion in BRCA1 and a seven-base-pair deletion in PLCB4 present in all Yangochiroptera and absent in all Yinpterochiroptera.[20] Perhaps most convincingly, a phylogenomic study by Tsagkogeorga et al (2013) showed that the two new proposed suborders were supported by analyses of thousands of genes.[19]

The chiropteran phylogeny based on molecular evidence is controversial because microbat paraphyly implies that one of two seemingly unlikely hypotheses occurred. The first suggests that laryngeal echolocation evolved twice in Chiroptera, once in Yangochiroptera and once in the rhinolophoids.[21][22] The second proposes that laryngeal echolocation had a single origin in Chiroptera, was subsequently lost in the family Pteropodidae (all megabats), and later evolved as a system of tongue-clicking in the genus Rousettus.[23]
Common pipistrelle, Pipistrellus pipistrellus

Analyses of the sequence of the "vocalization" gene, FoxP2, were inconclusive as to whether laryngeal echolocation was secondarily lost in the pteropodids or independently gained in the echolocating lineages.[24] However, analyses of the "hearing" gene, Prestin, seemed to favor the independent gain in echolocating species rather than a secondary loss in the pteropodids.[25]

In addition to Yinpterochiroptera and Yangochiroptera, the names Pteropodiformes and Vespertilioniformes have also been proposed for these suborders.[26][27] Under this new proposed nomenclature, the suborder Pteropodiformes includes all extant bat families more closely related to the genus Pteropus than the genus Vespertilio, while the suborder Vespertilioniformes includes all extant bat families more closely related to the genus Vespertilio than to the genus Pteropus.

Little fossil evidence is available to help map the evolution of bats, since their small, delicate skeletons do not fossilize very well. However, a Late Cretaceous tooth from South America resembles that of an early microchiropteran bat. Most of the oldest known, definitely identified bat fossils were already very similar to modern microbats. These fossils, Icaronycteris, Archaeonycteris, Palaeochiropteryx and Hassianycteris, are from the early Eocene period, 52.5 million years ago.[16] Archaeopteropus, formerly classified as the earliest known megachiropteran, is now classified as a microchiropteran.

Bats were formerly grouped in the superorder Archonta, along with the treeshrews (Scandentia), colugos (Dermoptera), and the primates, because of the apparent similarities between Megachiroptera and such mammals. Genetic studies have now placed bats in the superorder Laurasiatheria, along with carnivorans, pangolins, odd-toed ungulates, even-toed ungulates, and cetaceans.[28] A recent study by Zhang et al. places Chiroptera as a sister taxon to the clade Perissodactyla (which includes horses and other odd-toed ungulates).[29] However, the first phylogenomic analysis of bats shows that they are not sisters to Perissodactyla, instead they are sisters to a larger group that includes ungulates and carnivores.[19]


   Laurasiatheria      

  

 Eulipotyphla

   Scrotifera      

  

 Chiroptera

   Fereuungulata      
   Ferae      

  

 Pholidota


  

 Carnivora


   Euungulata      

  

 Perissodactyla  


  

 Cetartiodactyla (also called Artiodactyla)





"Chiroptera" from Ernst Haeckel's Kunstformen der Natur, 1904

The traditional classification of bats is:

    Order Chiroptera
        Suborder Megachiroptera (megabats)
            Pteropodidae
        Suborder Microchiroptera (microbats)
            Superfamily Emballonuroidea
                Emballonuridae (Sac-winged or sheath-tailed bats)
            Superfamily Molossoidea
                Molossidae (Free-tailed bats)
            Superfamily Nataloidea
                Furipteridae (Smoky bats)
                Myzopodidae (Sucker-footed bats)
                Natalidae (Funnel-eared bats)
                Thyropteridae (Disk-winged bats)
            Superfamily Noctilionoidea
                Mormoopidae (Ghost-faced or moustached bats)
                Mystacinidae (New Zealand short-tailed bats)
                Noctilionidae (Bulldog bats or fisherman bats)
                Phyllostomidae (Leaf-nosed bats)
            Superfamily Rhinolophoidea
                Megadermatidae (False vampires)
                Nycteridae (Hollow-faced or slit-faced bats)
                Rhinolophidae (Horseshoe bats)
                Hipposideridae (Old World leaf-nosed bats)
            Superfamily Rhinopomatoidea
                Craseonycteridae (Bumblebee bat or Kitti's hog-nosed bat)
                Rhinopomatidae (Mouse-tailed bats)
            Superfamily Vespertilionoidea
                Vespertilionidae (Vesper bats or evening bats)
                Antrozoidae (Pallid bat and Van Gelder's bat)

Megabats primarily eat fruit or nectar. In New Guinea, they are likely to have evolved for some time in the absence of microbats, which has resulted in some smaller megabats of the genus Nyctimene becoming (partly) insectivorous to fill the vacant microbat ecological niche. Furthermore, some evidence indicates that the fruit bat genus Pteralopex from the Solomon Islands, and its close relative Mirimiri from Fiji, have evolved to fill some niches that were open because there are no nonvolant or nonflying mammals on those islands.
Fossil bats

Fossilized remains of bats are few, as they are terrestrial and light-boned. Only an estimated 12% of the bat fossil record is complete at the genus level.[30] Fossil remains of an Eocene bat, Icaronycteris, were found in 1960. Another Eocene bat, Onychonycteris finneyi, was found in the 52-million-year-old Green River Formation in Wyoming, United States, in 2003.[31][32] This intermediate fossil has helped to resolve a long-standing disagreement regarding whether flight or echolocation developed first in bats. The shape of the rib cage, faceted infraspious fossa of the scapula, manus morphology, robust clavicle, and keeled sternum all indicated Onychonycteris was capable of powered flight. However, the well-preserved skeleton showed that the small cochlea of the inner ear did not have the morphology necessary to echolocate. O. finneyi lacked an enlarged orbical apophysis on the malleus, and a stylohyal element with an expanded paddle-like cranial tip—both of which are characteristics linked to echolocation in other prehistoric and extant bat species.[16] Because of these absences, and the presence of characteristics necessary for flight, Onychonycteris provides strong support for the “flight first” hypothesis in the evolution of flight and echolocation in bats.

The appearance and flight movement of bats 52.5 million years ago were different from those of bats today. Onychonycteris had claws on all five of its fingers, whereas modern bats have at most two claws appearing on two digits of each hand. It also had longer hind legs and shorter forearms, similar to climbing mammals that hang under branches, such as sloths and gibbons. This palm-sized bat had short, broad wings, suggesting that it could not fly as fast or as far as later bat species. Instead of flapping its wings continuously while flying, Onychonycteris likely alternated between flaps and glides while in the air.[16] Such physical characteristics suggest that this bat did not fly as much as modern bats do, rather flying from tree to tree and spending most of its waking day climbing or hanging on the branches of trees.[33] The distinctive features noted on the Onychonycteris fossil also support the claim that mammalian flight most likely evolved in arboreal gliders, rather than terrestrial runners. This model of flight development, commonly known as the "trees-down" theory, implies that bats attained powered flight by taking advantage of height and gravity, rather than relying on running speeds fast enough for a ground-level take off.[34]

The mid-Eocene genus Necromantis is one of the earliest examples of bats specialised to hunt vertebrate prey, as well as one of the largest bats of its epoch.
Habitats

Flight has enabled bats to become one of the most widely distributed groups of mammals.[35] Apart from the Arctic, the Antarctic and a few isolated oceanic islands, bats exist all over the world.[36] Bats are found in almost every habitat available on Earth. Different species select different habitats during different seasons, ranging from seasides to mountains and even deserts, but bat habitats have two basic requirements: roosts, where they spend the day or hibernate, and places for foraging. Most temperate species additionally need a relatively warm hibernation shelter. Bat roosts can be found in hollows, crevices, foliage, and even human-made structures, and include "tents" the bats construct by biting leaves.[37]

The United States is home to an estimated 45 to 48 species of bats.[38][39] The three most common species are Myotis lucifugus (little brown bat), Eptesicus fuscus (big brown bat), and Tadarida brasiliensis (Mexican free-tailed bat). The little and the big brown bats are common throughout the northern two-thirds of the country, while the Mexican free-tailed bat is the most common species in the southwest,[40] sometimes even appearing in portions of the Southeast.
Anatomy
Skeleton of a Myotis myotis (greater mouse-eared bat)
Scapulae, spine and ribs of Eptesicus fuscus (big brown bat)
Wings
A preserved fruit bat showing how the skeleton fits inside its skin
Thermographic image of a bat using trapped air as insulation

The finger bones of bats are much more flexible than those of other mammals, owing to their flattened cross-section and to low levels of minerals, such as calcium, near their tips. In 2006, Sears et al. published a study that traces the elongation of manual bat digits, a key feature required for wing development, to the upregulation of bone morphogenetic proteins (Bmps). During embryonic development, the gene controlling Bmp signaling, Bmp2, is subjected to increased expression in bat forelimbs - resulting in the extension of the offspring's manual digits. This crucial genetic alteration helps create the specialized limbs required for volant locomotion.[41] Sears et al. (2006) also studied the relative proportion of bat forelimb digits from several extant species and compared these with a fossil of Lcaronycteris index, an early extinct species from approximately 50 million years ago. The study found no significant differences in relative digit proportion, suggesting that bat wing morphology has been conserved for over 50 million years.[41]

The wings of bats are much thinner and consist of more bones than the wings of birds, allowing bats to maneuver more accurately than the latter, and fly with more lift and less drag.[42] By folding the wings in toward their bodies on the upstroke, they save 35 percent energy during flight.[43] The membranes are also delicate, ripping easily;[44] however, the tissue of the bat's membrane is able to regrow, such that small tears can heal quickly.[44][45] The surface of their wings is equipped with touch-sensitive receptors on small bumps called Merkel cells, also found on human fingertips. These sensitive areas are different in bats, as each bump has a tiny hair in the center,[46] making it even more sensitive and allowing the bat to detect and collect information about the air flowing over its wings, and to fly more efficiently by changing the shape of its wings in response.[46] An additional kind of receptor cell is found in the wing membrane of species that use their wings to catch prey. This receptor cell is sensitive to the stretching of the membrane.[46] The cells are concentrated in areas of the membrane where insects hit the wings when the bats capture them.
Other

The teeth of microbats resemble insectivorans. They are very sharp to bite through the hardened armor of insects or the skin of fruit.

Mammals have one-way valves in their veins to prevent the blood from flowing backwards, but bats also have one-way valves in their arteries.

The tube-lipped nectar bat (Anoura fistulata) has the longest tongue of any mammal relative to its body size. This is beneficial to them in terms of pollination and feeding. Their long, narrow tongues can reach deep into the long cup shape of some flowers. When the tongue retracts, it coils up inside its rib cage.[47]

Bats possess highly adapted lung systems to cope with the pressures of powered-flight. Flight is an energetically taxing aerobic activity and requires large amounts of oxygen to be sustained. In bats, the relative alveolar surface area and pulmonary capillary blood volume are significantly larger than most other small quadrupedal mammals.[48]
Echolocation
Main article: Animal echolocation § Bats
Spectrogram of Pipistrellus pipistrellus (common pipistrelle) bat vocalizations — one echolocation call, followed by series of multiharmonic pulses, forming a social call (here, precisely, an advertisement call, produced by territorial male during the mating season in autumn).[49]
  
Pipistrellus Pulses
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Recording of Pipistrellus pipistrellus bat time-expanded echolocation calls and social call.
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Bat echolocation is a perceptual system where ultrasonic sounds are emitted specifically to produce echoes. By comparing the outgoing pulse with the returning echoes, the brain and auditory nervous system can produce detailed images of the bat's surroundings. This allows bats to detect, localize, and even classify their prey in complete darkness. At 130 decibels in intensity, bat calls are some of the most intense, airborne animal sounds.[50]

To clearly distinguish returning information, bats must be able to separate their calls from the echoes that they receive. Microbats use two distinct approaches.

    Low duty cycle echolocation: Bats can separate their calls and returning echoes by time. Bats that use this approach time their short calls to finish before echoes return. This is important because these bats contract their middle ear muscles when emitting a call, so they can avoid deafening themselves. The time interval between the call and echo allows them to relax these muscles, so they can clearly hear the returning echo.[51] The delay of the returning echoes provides the bat with the ability to estimate the range to their prey.
    High duty cycle echolocation: Bats emit a continuous call and separate pulse and echo in frequency. The ears of these bats are sharply tuned to a specific frequency range. They emit calls outside of this range to avoid self-deafening. They then receive echoes back at the finely tuned frequency range by taking advantage of the Doppler shift of their motion in flight. The Doppler shift of the returning echoes yields information relating to the motion and location of the bat's prey. These bats must deal with changes in the Doppler shift due to changes in their flight speed. They have adapted to change their pulse emission frequency in relation to their flight speed so echoes still return in the optimal hearing range.[52]

The new Yinpterochiroptera and Yangochiroptera classification of bats, supported by molecular evidence, suggests two possibilities for the evolution of echolocation. It may have been gained once in a common ancestor of all bats and was then subsequently lost in the Old World fruit bats, only to be regained in the horseshoe bats, or echolocation evolved independently in both the Yinpterochiroptera and Yangochiroptera lineages.[53]

Two groups of moths exploit a bat sense to echolocate: tiger moths produce ultrasonic signals to warn the bats that they (the moths) are chemically protected or aposematic, other moth species produce signals to jam bat echolocation. Many moth species have a hearing organ called a tympanum, which responds to an incoming bat signal by causing the moth's flight muscles to twitch erratically, sending the moth into random evasive maneuvers.
Plecotus auritus, the brown long-eared bat

In addition to echolocating prey, bat ears are sensitive to the fluttering of moth wings, the sounds produced by tymbalate insects, and the movement of ground-dwelling prey, such as centipedes, earwigs, etc. The complex geometry of ridges on the inner surface of bat ears helps to sharply focus not only echolocation signals, but also to passively listen for any other sound produced by the prey. These ridges can be regarded as the acoustic equivalent of a Fresnel lens, and may be seen in a large variety of unrelated animals, such as the aye-aye, lesser galago, bat-eared fox, mouse lemur, and others.[54][55][56]

By repeated scanning, bats can mentally construct an accurate image of the environment in which they are moving and of their prey item.[57]
Other senses

Although the eyes of most microbat species are small and poorly developed, leading to poor visual acuity, no species is blind.[58] Microbats use vision to navigate, especially for long distances when beyond the range of echolocation,[59] and species that are gleaners—that is, ones that attempt to swoop down from above to ambush insects, like crickets on the ground or moths up a tree,often have eyesight about as good as a rat's. Some species have been shown to be able to detect ultraviolet light and most cave-dwelling species have developed the ability to utilize very dim light. They also have high-quality senses of smell and hearing. Bats hunt at night, reducing competition with birds, minimizing contact with certain predators, and travel large distances (up to 800 km) in their search for food.[3]

Megabat species often have excellent eyesight as good as, if not better than, human vision. This eyesight is, unlike its microbat relations, adapted to both night and daylight vision and enables the bat to have some colour vision whereas the microbat sees in blurred shades of grey.
Behaviour

Most microbats are nocturnal[60] and are active at twilight. A large portion of bats migrate hundreds of kilometres to winter hibernation dens,[61] while some pass into torpor in cold weather, rousing and feeding when warm weather allows for insects to be active.[62] Others retreat to caves for winter and hibernate for six months.[62] Bats rarely fly in rain, as the rain interferes with their echolocation, and they are unable to locate their food.

The social structure of bats varies, with some leading solitary lives and others living in caves colonized by more than a million bats.[63] The fission-fusion social structure is seen among several species of bats. The term "fusion" refers to a large numbers of bats that congregate in one roosting area, and "fission" refers to breaking up and the mixing of subgroups, with individual bats switching roosts with others and often ending up in different trees and with different roostmates.

Studies also show that bats make all kinds of sounds to communicate with others. Scientists in the field have listened to bats and have been able to associate certain sounds with certain behaviours that bats make after the sounds are made.[63]

Insectivores make up 70% of bat species and locate their prey by means of echolocation. Of the remainder, most feed on fruits.[64] Only three species sustain themselves with blood.

Some species even prey on vertebrates. The leaf-nosed bats (Phyllostomidae) of Central America and South America, and the two bulldog bat (Noctilionidae) species feed on fish. At least two species of bat are known to feed on other bats: the spectral bat, also known as the American false vampire bat, and the ghost bat of Australia.[64] One species, the greater noctule bat, catches and eats small birds in the air.

Predators of bats include bat hawks, bat falcons and even spiders.[65]
Reproduction
Newborn common pipistrelle, Pipistrellus pipistrellus
Colony of mouse-eared bats, Myotis myotis

Most bats have a breeding season, which is in the spring for species living in a temperate climate. Bats may have one to three litters in a season, depending on the species and on environmental conditions, such as the availability of food and roost sites. Females generally have one offspring at a time, which could be a result of the mother's need to fly to feed while pregnant. Female bats nurse their young until they are nearly adult size, because a young bat cannot forage on its own until its wings are fully developed.

Female bats use a variety of strategies to control the timing of pregnancy and the birth of young, to make delivery coincide with maximum food ability and other ecological factors. Females of some species have delayed fertilization, in which sperm is stored in the reproductive tract for several months after mating. In many such cases, mating occurs in the fall, and fertilization does not occur until the following spring. Other species exhibit delayed implantation, in which the egg is fertilized after mating, but remains free in the reproductive tract until external conditions become favorable for giving birth and caring for the offspring.

In yet another strategy, fertilization and implantation both occur, but development of the fetus is delayed until favorable conditions prevail, during the delayed development the mother still gives the fertilized egg nutrients, and oxygenated blood to keep it alive. However, this process can go for a long period of time, because of the advanced gas exchange system.[66] All of these adaptations result in the pup being born during a time of high local production of fruit or insects.

At birth, the wings are too small to be used for flight. Young microbats become independent at the age of six to eight weeks, while megabats do not until they are four months old.
Life expectancy

A single bat can live over 20 years, but bat population growth is limited by the slow birth rate.[67] Five species have been recorded living over 30 years in the wild: the brown long-eared bat (Plecotus auritus), little brown bat (Myotis lucifugus), Brandt's bat (Myotis brandti), lesser mouse-eared bat (Myotis blythii) and greater horseshoe bat (Rhinolophus ferrumequinum).[68]
Hunting, feeding, and drinking
File:BAT.young-Tamil Nadu-202.ogvPlay media
A very young bat in Tamil Nadu

Newborn bats rely on the milk from their mothers.[69] When they are a few weeks old, bats are expected to fly and hunt on their own. It is up to them to find and catch their prey, along with satisfying their thirst.[70]
Hunting
This Philippines bat circles the sweet manzanitas fruits of the Aratiles tree (Muntingia).

Most bats are nocturnal creatures. Their daylight hours are spent grooming and sleeping; they hunt during the night. The means by which bats navigate while finding and catching their prey in the dark was unknown until the 1790s, when Lazzaro Spallanzani conducted a series of experiments on a group of hooded and surgically blinded bats.[71] These bats were placed in a room in total darkness, with silk threads strung across the room. Even then, the bats were able to navigate their way through the room. Spallanzani concluded the bats were not using their eyes to fly through complete darkness, but something else.

Spallanzani decided the bats were able to catch and find their prey through the use of their ears. To prove this theory, Spallanzani plugged the ears of the bats in his experiment. To his pleasure, he found that the bats with plugged ears were not able to fly with the same amount of skill and precision as they were able to without their ears plugged. Unfortunately for Spallanzani, the twin concepts of sound waves and acoustics would not be understood for another century and he could not explain why specifically the bats were crashing into walls and the threads that he'd strung up around the room, and because of the methodology Spallanzani used, many of his test subjects died.

It was thus well known through the nineteenth century that the chiropteran ability to navigate had something to do with hearing, but how they accomplish this was not proven conclusively until the 1930s, by Donald R. Griffin, a biology student at Harvard University. Using a locally native species, the little brown bat, he discovered that bats use echolocation to locate and catch their prey. When bats fly, they produce a constant stream of high-pitched sounds. When the sound waves produced by these sounds hit an insect or other animal, the echoes bounce back to the bat, and guide them to the source.[70]
Feeding and diet

The majority of food consumed by bats includes insects, fruits and flower nectar, vertebrates and blood.[72] Almost three-fourths of the world's bats are insect eaters. Bats consume both aerial and ground-dwelling insects. Each bat is typically able to consume one-third of its body weight in insects each night, and several hundred insects in a few hours. This means that a group of a thousand bats could eat four tons of insects each year. If bats were to become extinct, it has been calculated that the insect population would reach an alarmingly high number.[73]
Vitamin C

In a test of 34 bat species from six major families of bats, including major insect- and fruit-eating bat families, all were found to have lost the ability to synthesize vitamin C, and this loss may derive from a common bat ancestor, as a single mutation.[74] However, recent results show that there are at least two species of bat, the frugivorous bat (Rousettus leschenaultii) and insectivorous bat (Hipposideros armiger), that have retained their ability to produce vitamin C.[75] In fact, the whole Chiroptera are in the process of losing the ability to synthesize Vc which most of them have already lost.[76]
Aerial insectivores

Watching a bat catch and eat an insect is difficult. The action is so fast that all one sees is a bat rapidly changing directions, and continuing on its way. Scientist Frederick A. Webster discovered how bats catch their prey. In 1960, Webster developed a high-speed camera that was able to take one thousand pictures per second. These photos revealed the fast and precise way in which bats catch insects.[70] Occasionally, a bat will catch an insect in mid-air with its mouth, and eat it in the air. However, more often than not, a bat will use its tail membrane or wings to scoop up the insect and trap it in a sort of "bug net".[69] Then, the bat will take the insect back to its roost. There, the bat will proceed to eat said insect, often using its tail membrane as a kind of napkin, to prevent its meal from falling to the ground.[72] One common insect prey is Helicoverpa zea, a moth that causes major agricultural damage.[77]
Forage gleaners

These bats typically fly down and grasp their prey off the ground with their teeth, and take it to a nearby perch to eat it. Generally, these bats do not use echolocation to locate their prey. Instead, they rely on the sounds produced by the insects. Some make unique sounds, and almost all make some noise while moving through the environment.[69]
Fruits and flower nectar
A colony of great fruit-eating bats

Fruit eating, or frugivory, is a specific habit found in two families of bats. Megachiropterans and microchiropterans both include species of bat that feed on fruits. These bats feed on the juices of sweet fruits, and fulfill the needs of some seeds to be dispersed. The fruits preferred by most fruit-eating bats are fleshy and sweet, but not particularly strong smelling or colorful.[69] To get the juice of these fruits, bats pull the fruit off the trees with their teeth, and fly back to their roosts with the fruit in their mouths. There, the bats will consume the fruit in a specific way. To do this, the bats crush open the fruit and eat the parts that satisfy their hunger. The remainder of the fruit, the seeds and pulp, are spat onto the ground. These seeds take root and begin to grow into new fruit trees.[73] Over 150 types of plants depend on bats in order to reproduce.[73]

Some bats prefer the nectar of flowers to insects or other animals. These bats have evolved specifically for this purpose. For example, these bats possess long muzzles and long, extensible tongues covered in fine bristles that aid them in feeding on particular flowers and plants.[69] When they sip the nectar from these flowers, pollen gets stuck to their fur, and is dusted off when the bats take flight, thus pollinating the plants below them.[73] The rainforest is said to be the most benefitted of all the biomes where bats live, because of the large variety of appealing plants.[78] Because of their specific eating habits, nectar-feeding bats are more prone to extinction than any other type of bat.[79] However, bats benefit from eating fruits and nectar just as much as from eating insects.[80]
Vertebrates

A small group of carnivorous bats feed on other vertebrates and are considered the top carnivores of the bat world.[69] These bats typically eat a variety of animals, but normally consume frogs, lizards, birds, and sometimes other bats.[73] For example, one vertebrate predator, Trachops cirrhosus, is particularly skilled at catching frogs. These bats locate large groups of frogs by distinguishing their mating calls from other sounds around them. They follow the sounds to the source and pluck them from the surface of the water with their sharp canine teeth.[69] Another example is the greater noctule bat, which is believed to catch birds on the wing.

Also, several species of bat feed on fish. These types of bats are found on almost all continents. They use echolocation to detect tiny ripples in the water's surface to locate fish. From there, the bats swoop down low, inches from the water, and use specially enlarged claws on their hind feet to grab the fish out of the water. The bats then take the fish to a feeding roost and consume the animal.[69]
Blood

A few species of bats exclusively consume blood as their diet. This type of diet is referred to as hematophagy, and three species of bats exhibit this behavior. These species are the common, the white-winged, and the hairy-legged vampire bats. The common vampire bat typically consumes the blood of mammals, while the hairy-legged and white-winged vampires feed on the blood of birds.[81] These species live only in Mexico, Central, and South America, with a presence also on the Island of Trinidad.
Defecation

Bat dung, or guano, is so rich in nutrients that it is mined from caves, bagged, and used by farmers to fertilize their crops. During the U.S. Civil War, guano was used to make gunpowder.[73]

To survive hibernation months, some species build up large reserves of body fat, both as fuel and as insulation.[70]
Drinking

In 1960, Frederic A. Webster discovered bats' method of drinking water using a high-speed camera and flashgun that could take 1,000 photos per second. Webster's camera captured a bat skimming the surface of a body of water, and lowering its jaw to get just one drop of water. It then skimmed again to get a second drop of water, and so on, until it has had its fill. A bat's precision and control during flight is very fine, and it almost never misses.[70] Other bats, such as the flying fox or fruit bat, gently skim the water's surface, then land nearby to lick water from chest fur.[82]
Conservation efforts
See also: List of bats by population

Through conservancy efforts of groups such as the Organization for Bat Conservation and Bat Conservation International, bats are becoming better understood and people beginning to understand the crucial role bats play in insect control and pollination.

In the United Kingdom, all bats are protected under the Wildlife and Countryside Acts, and even disturbing a bat or its roost can be punished with a heavy fine.

In Sarawak, Malaysia, bats are protected species under the Wildlife Protection Ordinance 1998 (see Malaysian Wildlife Law). The large Naked bat (see Mammals of Borneo) and Greater nectar bat are consumed by the local communities.

Bats can be a tourist attraction. The Congress Avenue Bridge in Austin, Texas is the summer home to North America's largest urban bat colony, an estimated 1,500,000 Mexican free-tailed bats, which eat an estimated 10,000 to 30,000 pounds of insects each night. An estimated 100,000 tourists per year visit the bridge at twilight to watch the bats leave the roost.
Artificial roosts
Very large bat house, Tallahassee, Florida, United States
Bat roost with Charles Augustus Rosenheimer Campbell in San Antonio, Texas in 1915

Many people put up bat houses to attract bats just as some put up birdhouses to attract birds. Reasons for this vary, but most revolve around the bats being the primary nocturnal insectivores in most, if not all, ecologies. Bat houses can be made from scratch or from kits, or bought ready made. Plans for bat houses exist on many web sites, as well as guidelines for designing a bat house.[83]

Constructed in March 1991, the University of Florida bat house is the largest occupied artificial roost in the world. The bat house has approximately 300,000 insect-eating residents. These bats can eat upwards of 2.5 billion bugs (2,500 pounds or 1,100 kilograms) per night.

A 1987 fire caused a colony of bats residing in Johnson Hall's attic to become homeless. This forced them to move to the James G. Pressly Stadium on the north side of campus. The odor and the guano from this newly arrived colony did not please spectators, thus furthering the movement for a new bat-ordained structure. In September 1991, thousands of bats were captured and transported to the newly built bat house. In the following evenings, these bats flew away, and found new homes. For three years the bat house remained empty. Finally, in 1995, the bats moved in permanently, and the colony continued to grow. The colony grew so much that, in 2009, part of the original bat house collapsed, and a new "Bat Barn" was constructed next to it. Along with that, the interior of the original was rebuilt.[84]

In Britain, British hardened field defences of World War II have been converted to make roosts for bats. Pillboxes that are well dug-in and thick-walled are naturally damp and provide the stable thermal environment required by bats that would otherwise hibernate in caves. With a few minor modifications, suitable pillboxes can be converted to artificial caves for bats.[85][86]

Again in the UK, purpose-built bat houses are occasionally built when existing roosts are destroyed by developments, such as new roads; one such has been built associated with bat bridges on the new (2008) A38 Dobwalls bypass.[citation needed]
Nectar-rich plants attracting moths
Further information: Biological_pest_control § Conservation

Besides mosquitoes, some species of bats also consume moths. Moths benefit from the availability of nectar-rich plants.[87]
Threats
A little brown bat with white nose syndrome

While conservation efforts are in place to protect bats, many threats still remain. Bats are known to carry diseases communicable to humans, such as rabies.
White nose syndrome
Main article: White nose syndrome

White nose syndrome is a condition associated with the deaths of millions of bats in the Eastern United States and Canada.[88] The disease is named after a white fungus, Pseudogymnoascus destructans, found growing on the muzzles, ears, and wings of afflicted bats. This fungus, which is mostly spread from bat to bat, is the sole cause of the disease.[89] The fungus was first discovered in central New York State in 2006 and spread quickly to the entire Eastern US north of Florida; mortality rates of 90–100% have been observed in most caves.[90] New England and the mid-Atlantic states have, since 2006, witnessed entire species completely extirpated and others with numbers that have gone from the hundreds of thousands, even millions, to a few hundred or less.[91] As of June 2014 this fungus is doing a large amount of damage to the populations of bats that use the caves of the Appalachian Mountains in the Southeastern United States, including the Mammoth Cave system in Kentucky, which was one of the largest hibernacula in the East as recently as 2010, able to hold over a million bats. In Canada, the provinces of Quebec, Ontario, and the Maritimes [92] have witnessed identical die offs, with the Canadian government making preparations to protect the remaining bat populations in Manitoba, Alberta, Saskatchewan, and British Columbia, since scientific evidence suggests that longer winters where the fungus has a longer period of time to infect bats is a threat to Canadian bats.[93]

Scientists in both countries are alarmed that the lack of bug-eating bats in summer could cause severe problems in the ecosystem of the Eastern forests and on farmland and beyond: nearly all of the bats Continental US and Canada are insectivores, and save the government billions in pesticides because they are natural predators of bugs that eat crops like cabbages, potatoes, pears, cherries, peaches, apples, wheat, and corn, consuming tons of them from late May-early October which coincides with the height of planting and harvest. They are also facing the possibility that once common species with robust numbers could go extinct given the rapid progress the disease has made in less than a decade. There is evidence that at least one species, the little brown bat, has started to change its roosting behavior, which scientists hope may yet save the species from extinction[94] Unfortunately, this does not negate the fact that their numbers have undergone a very steep crash. They were up until 2008 the most common bat in the East, and were often seen catching moths attracted to street lamps in New York City, Montreal, and the average small town; they were once so common in the average town that citizens often discovered them roosting in maternity colonies in late spring in their attics. As of 2014, scientists are reckoning that unless something changes soon, the subspecies myotis lucifugus lucifugus may face total population collapse since the population of survivors is dangerously low in an area nearly the size of France.[95] In July 2014 the US state of Maine recorded a population of this subspecies that is now so low that it and the northern long eared bat are candidates for the state endangered species list, after both being plentiful only seven years earlier.[96]

The most recent scholarship suggests that the pseudogymnoascus fungus is native to Europe where it is part of the naturally occurring biota found on the walls of caves, and is harmless to the myotis, bentwing, pipistrelle, and horseshoe bat species that live there. However, as a novel pathogen, it has proven to be lethal to North American bat species that utilise caves or abandoned mines. Unlike European species, most cave dwelling North American bat species form very large winter colonies that can number from a few hundred to many thousands, with bats forming tight clusters on the walls and ceilings of caves and mines. Most North American species shall even migrate many hundreds of miles in September from other states to a very specific type of cave or mine that has a constant temperature of 7.2 °C to 10 °C. They cluster together to conserve body heat and counteract the (compared to most of Europe) colder winter temperatures that may blow in from outer portions of the hibernaculum. Without the natural immunities of their European cousins, these North American bats go into hibernation in autumn a few weeks before Halloween, often forming huge swarms of males and females outside the cave or mine entrance that join up to mate before going off to sleep until spring comes in late March. Normally, they will have been eating moths, beetles, mosquitoes, potato bugs, and flies all summer long and have gained weight to prepare for winter. However, once they enter torpor, their immune system response is suppressed to conserve energy and hibernate through winter. Eventually the bat becomes infected by the fungus, the fungus desiccates the bat's wings, upsetting hydrostatic balance, and the bat, chronically thirsty, is forced to wake up more often than it must, using up its fat reserves, and eventually dying from dehydration and starvation. By then it will have infected several more of its neighbours in the cluster, over time causing hundreds or even thousands to die in a single winter. This number includes what would have been the following season’s offspring, dead with the pregnant mothers, and has a knock on effect on the populations in other states and provinces that never see the return of migratory bats in spring. Aeolus Cave in New England had a headcount numbering 300,000 in 2008. When scientists went to make their count in the spring of 2014, more than 270,000 had already perished and the floors of the caves were covered up to the ankles of researchers with the bones of thousands of bats.[97]

Species thus far that have been badly affected include the little brown bat, the endangered gray myotis, the endangered Indiana bat, the northern long-eared myotis, the eastern small-footed myotis, the tri-coloured bat, and two subspecies of Townsend's big-eared bat. More than half of all bat species that live in North America use caves at some point in their life cycle; in the East, though infected specimens have been caught, only tree dwelling bats of the Lasiurus family and Eptesicus fuscus, a relative of the serotine bat, seem to have been minimally affected: these species are far less dependent on caves for their winter survival and the last mentioned species does not cluster tightly if it is underground at all and will also accept manmade structures to hibernate in. As of 2014, the geographical spread of white nose syndrome in North American bats has worsened in the sense that infection has crossed the Mississippi River:[98] Species native to northern Mexico and the West have not yet been affected, but it remains unknown how or if white nose syndrome shall affect bat species here.[99] All North American bat species have a very slow reproductive rate: with the exception of a handful of species like the little brown bat, which occasionally gives birth to twins, most females give birth to only one pup a year. Though measures are being taken to slow the spread of the disease and a cure is being sought, the recovery of bats In North America may take decades if not centuries due to this fungus and the prognosis for the future of bats is grim.[citation needed]
Barotrauma and wind turbines

Evidence suggests that barotrauma is causing bat fatalities around wind farms.[100] The lungs of bats are typical mammalian lungs, and unlike the lungs of birds, they are thought to be more sensitive to sudden air pressure changes in their immediate vicinity, such as near wind turbines, and are more liable to rupture.[101] Bats suffer a higher death rate than birds in the neighborhood of wind turbines.[102][103][104] Since there are no signs of external trauma, the cause has been hypothesized to be a greater sensitivity to sudden pressure fluctuations in the mammalian lung than in that of birds.[105] In addition, it has been suggested that bats are attracted to these structures, perhaps seeking roosts, and thereby increasing the death rate.[101] Acoustic deterrents may prove beneficial in mitigating bat mortality at wind energy facilities.[106]
Pathogens and role in the transmission of zoonoses

Among ectoparasites, bats occasionally carry fleas, but are one of the few mammalian orders that cannot host lice (most of the others are water animals).

Bats are natural reservoirs for a large number of zoonotic pathogens,[107] including rabies,[108] severe acute respiratory syndrome (SARS),[109] Henipavirus (i.e. Nipah virus and Hendra virus)[110] and possibly ebola virus.[111][112] Their high mobility, broad distribution, and social behaviour (communal roosting and fission-fusion social structure) make bats favourable hosts and vectors of disease. Many species also appear to have a high tolerance for harbouring pathogens and often do not develop disease while infected. However, contrary to folklore, this is not true of rabies, which is as fatal to bats as it is to all other species. However, a bat may be ill with rabies for a longer time than other mammals.[citation needed]

In regions where rabies is endemic, only 0.5% of bats carry the disease. In the United States, bats typically constitute around a quarter of reported cases of rabies in wild animals. However, their bites account for the vast majority of cases of rabies in humans.[113] Of the 36 cases of domestically acquired rabies recorded in the country in 1995–2010, two were caused by dog bites and four patients were infected by receiving transplants from an organ donor who had previously died of rabies. All other cases were caused by bat bites.[114] Rabies is considered fully preventable if the patient is administered a vaccine prior to the onset of symptoms. However, unlike raccoon or skunk bites, bat bites may go ignored or unnoticed and hence untreated. Rabid bats are broadly distributed throughout the United States; in 2008–2010, cases were reported in every state except Alaska and Hawaii, and Puerto Rico.

Rabid bats may be clumsy, disoriented, and unable to fly, which makes it more likely they will come into contact with humans. One should avoid handling them or having them in one's living space, as with any wild animal. If a bat is found in living quarters near a child, mentally handicapped person, intoxicated person, sleeping person, or pet, living in an area where rabies is known to occur, the person or pet should receive immediate medical attention for rabies. Bats have very small teeth and can bite a sleeping person without being felt. There is evidence that bat rabies virus can infect victims purely through airborne transmission ("cryptic rabies"), without direct physical contact of the victim with the bat itself. This phenomenon has very rarely been reported, and has occurred among victims breathing virus-infected air in environments such as caves, after long exposures.[115][116]

If a bat is found in a house and the possibility of exposure cannot be ruled out, the bat should be sequestered and an animal control officer called immediately, so that the bat can be analysed. This also applies if the bat is found dead. If it is certain that nobody has been exposed to the bat, it should be removed from the house. The best way to do this with live bats is to close all the doors and windows to the room except one that opens to the outside. The bat should soon leave.

Due to the risk of rabies, and to health problems related to their faecal droppings in some regions, bats should be excluded from inhabited parts of houses. The Centers for Disease Control and Prevention (CDC) provide fully detailed information on all aspects of bat management in North America, including how to capture a bat, what to do in case of exposure, and how to bat-proof a house humanely.[117] In certain countries, such as the United Kingdom, it is illegal to handle bats without a license and advice should be sought from an expert organisation, such as the Bat Conservation Trust, if a trapped or injured bat is found.

Where rabies is not endemic, as throughout most of Western Europe, small bats can be considered harmless. Larger bats can give a nasty bite.
Bats in human culture
Mythology
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Common fruit bat (Rousettus aegyptiacus) flying

In European cultures, bats have long been associated with witchcraft, black magic and darkness. The Weird Sisters incorporate the fur of a bat in their brew in Shakespeare's Macbeth, written around 1603-1605.[118] Because bats are mammals, yet can fly, this gives them status as liminal beings in many cultural traditions.[119] In Western culture, the bat is often a symbol of the night and its foreboding nature. The bat is a primary animal associated with fictional characters of the night, both villains, such as Dracula, and heroes, such as Batman. The association of the fear of the night with the animal was treated as a literary challenge by Kenneth Oppel, who created a best-selling series of novels, beginning with Silverwing, which feature bats as the central heroic figures much as anthropomorphized rabbits were the central figures to the classic novel Watership Down.

Among some Native Americans, such as the Creek, Cherokee and Apache, the bat is a trickster spirit. In Tanzania, a winged bat cryptid known as Popobawa, is believed to be a shapeshifting evil spirit that assaults and sodomises its victims.[120]

Not all legends surrounding bats are negative, Chinese lore claims that the bat is a symbol of longevity and happiness, and is similarly lucky in Poland, geographical Macedonia and among the Kwakiutl and Arabs.

An old wives' tale has it that bats will entangle themselves in people's hair. One likely source of this belief is that insect-eating bats seeking prey may dive erratically toward people, who attract mosquitoes and gnats, leading the squeamish to believe the bats are trying to get in their hair.
Aztec

In Mesoamerican mythology during the Classic-Contemporary period, bats symbolized the land of the dead, which was considered to be the underworld.[121] They also symbolized destruction and decay. Bats may have symbolized in this way because they fly only at night and dwell in caves during the daytime and are associated with human skulls and bones by classic Maya ceramists. Central Mexicans sometimes depicted bats having snouts that looked like "sacrificial knives and carrying human head" in the Postclassic era.[122] Bat images were engraved onto funerary urns, and were emphasized with large claws and round ears by Zapotecs. They were commonly associated with death.[123] The depiction of bats on funeral urns and goods took on some the characteristics of the jaguar, which was, and still is, another entity of the night and the underworld. There have also been instances where bats are portrayed next to other animals portrayed negatively in Mesoamerica, including scorpions and other nocturnal animals such as owls. Pre-Columbian cultures associated animals with gods, and often displayed them in art. The Moche people depicted bats in their ceramics.[124]

A life-size, ceramic bat-man was discovered and dug up from the Templo Mayor.[125] The Templo Mayor is located in the center of the Mexica capital of Tenochtitlan. Known as a god of death, this statue has the clawed feet and hands of a bat, but the body of a man. The statue's human-like eyes bulged out from the bat-like head, making the Zapotec images very realistic and living. In the 1930s, the Kaqchikel Maya were said to have proclaimed the bat was the Devil's provider. Kaqchikel would leave the Devil's underworld home and collect blood from the animals to be used for scrumptious meals to feed the Devil. "In the myths, the beast of prey and the animal that is preyed upon play two significant roles. They represent two aspects of life—the aggressive, killing, conquering, creating aspect of life, and the one that is the matter or, you might say, the subject matter".[126] In the Devil's underworld, dead sinners would work off their sins to get to heaven, indicating that the bat, too, was a sinner and worked under the authority of the Devil.[127]
Oaxaca
Zapotec bat god

According to Oaxacan mythology, the bat's nocturnal nature can be traced back to its ancient jealousy of birds' feathers. One day, as the myth goes, the bat felt isolated and undesirable, and told God that he was cold. God, fair and just, turned to birds in the animal kingdom and asked if they would show compassion and donate a feather to the bat to help him keep warm. The birds all agreed and began to pluck one feather from their bodies to give to the bat. With all of these feathers, the bat became even more magnificent-looking than all birds, and was able to spread color to the night sky. During daylight, the bat created rainbows that reflected vibrant colors from the sun. With his new beauty and abilities, the bat soon became arrogant and conceited. The birds grew tired of the bat's self-glorification and decided to fly up to heaven and ask God to do something. When the birds told God of the bat's behaviour, He was surprised and decided to take a look Himself. When on earth, God called on the bat to show him what he was doing. The bat began to fly across the light blue sky where, one by one, each feather began to fall out, uncovering the bat's natural, ugly-looking body. When all his feathers were gone, the bat became distressed and ashamed of his appearance. He decided to hide in caves during the day and only come out during the night to search for his long-lost feathers.[127]
East Nigeria

According to a particular East Nigerian tale, the bat developed its nocturnal habits after causing the death of his partner, the bush-rat. The bat and the bush-rat would share activities, such as rummaging through the grass and trees, hunting, talking and bonding during the day. When at night, the bat and the bush-rat would alternate in cooking duties, cooking what was caught, and eat together. It appeared to be a dedicated partnership, but the bat hated the bush-rat immensely. The bush-rat always found the bat's soup more appetising, so when eating dinner one night, asked the bat why the soup tasted better than his own and also asked how it was made. The bat agreed to show him how to make it the next day, but instead was forming a malicious plan.

Next day, as the bat prepared his soup, the bush-rat came, greeting him and asking if he could be shown what was agreed yesterday. Earlier, the bat had found a pot looking exactly like the one he used usually, but it held warm water and so decided to use this instead. The bat explained to the bush-rat that to make his soup, he had to boil himself prior to serving the soup, where sweetness and flavor of the soup came from the flesh. The bat jumped in the pot seemingly excited, with the bush-rat mesmerised. After a few minutes, the bat climbed out and while the bush-rat was distracted, switched pots. The bat then served his soup out of the soup pot, both tasted it. Overanxious and eager, the bush-rat jumped into the pot of warm water. He stayed much longer in the pot, dying in the process.

When the bush-rat's wife returned that night to find her husband dead, she wept and ran to the chief of the land's house, telling him about what had happened and what she was sure the bat had done. In hearing this, the chief became angry, ordering for the immediate arrest of the bat. It just so happened that the bat was flying over the house and overheard what was just said. He quickly went into hiding high up in a tree. When the chief's men went looking for the bat, he could not be found. The search to arrest the bat carried on over several days, but he still could not be found. The bat needed to eat, so he flew out of hiding every night to hunt for food to avoid being arrested. This, according to Eastern Nigeria mythology, is why bats only fly at night.[128]
Tongan

The bat is sacred in Tonga and is often considered the physical manifestation of a separable soul.[129]
Heraldry
Main article: Bat (heraldry)
Burgee of the Royal Valencia Yacht Club

The bat is sometimes used as a heraldic symbol in Spain. The coats of arms of certain cities in eastern Spain, such as Valencia, Palma de Mallorca and Fraga, have the bat over the shield. Formerly, the Barcelona city coat of arms also had a bat crowning it, but the bat has been removed in the present-day versions. Heraldic use of the bat in Valencia, Catalonia and the Balearic Islands has its origins in a winged dragon (vibra or vibria), which featured in King James I of Aragon's helmet or cimera reial. This is the most widely accepted theory, although there is also a legend that says that, due to the intervention of a bat, King James was able to win a crucial battle against the Saracens that allowed him to win Valencia for his kingdom. The use of the bat as a heraldic symbol is prevalent in the territories of the former Crown of Aragon and it is little used elsewhere. However, it can be found in a few places, as in the coats of arms of the city of Albacete, in Spain, as well as the town of Montchauvet (Yvelines), in France.

Non heraldic organizations also use bats in their symbols. Certain Spanish football clubs including Valencia CF and Levante UD use bats in their badges. The burgee of th