The Evolution of Cinema

Challenge:

        At the prestigious École Polytechnique Fédérale de Lausanne (EPFL), nestled in the serene Swiss city of Lausanne, five students shared an unlikely passion: cinema. Although they were studying engineering and science, Lucas, Myriam, Najmeddine, Elyes, and Yassine found solace in their ADA course, led by the eccentric Professor Greenwood, a woman known for her unorthodox teaching methods. One late afternoon, as sunlight streamed through the large glass windows of the Rolex Learning Center, Professor Greenwood gave her class an extraordinary challenge: “Your final project is to explore the evolution of cinema from 1915 to 2015. But don’t just present it make it extraordinary. Surprise me.”

Brainstorming:

        It was Myriam, a passionate cinephile, who proposed an audacious idea during their brainstorming session.

- “What if,” she said, her voice brimming with excitement, “we didn’t just study the history of cinema… but lived it?”

The others exchanged skeptical glances, except for Elyes, the group’s tech guru and inventor. His eyes narrowed as he leaned forward.

- “Actually…” he began, “that might not be as crazy as it sounds.”

Elyes explained that he had been working in secret on a groundbreaking project in one of the university’s lesser known labs. His invention, called the ChronoPorteur, was an experimental device capable of manipulating spacetime. Initially intended for simulating historical scientific phenomena, he believed it could be modified to allow actual travel through time.

- Najmeddine, the skeptic of the group, raised an eyebrow. “Wait, you’re saying we could actually go back in time?”

-“Theoretically, yes,” Elyes replied. “But there’s a catch. If we interfere with historical events, we could alter the timeline in ways we can’t predict.”

- Yassine, the group’s blockbuster enthusiast and eternal optimist, grinned. “So? Imagine standing on set with Chaplin, or watching Godard debate Truffaut, or even visiting Spielberg during Jaws! This could be legendary.”

- Lucas, the cautious and pragmatic one, folded his arms. “And if something goes wrong? What if we can’t come back?”

- Elyes hesitated for a moment but then said, “I’ve run the simulations. As long as we follow the rules observe but don’t interfere we’ll be fine. Besides, it’s not like we’re rewriting history, just gathering data.”

- Lucas didn’t look convinced. “Gathering data? Are you sure we can even extract meaningful insights from this? Cinema isn’t just about what’s on the screen. Success depends on too many variables audience tastes, marketing, global trends. You really think we’ll make sense of it all?”

- Elyes leaned forward, his voice confident. “That’s the beauty of it. We’ll see the patterns in real time what genres resonated, how technology shaped storytelling, how filmmakers adapted to cultural shifts. Experiencing it firsthand will bring it to life.”

- Najmeddine crossed his arms. “But technology doesn’t make a great movie. What about emotion? Storytelling? Can your ‘patterns’ explain why Citizen Kane is a masterpiece or why Pulp Fiction became a cultural icon?”

- Myriam chimed in, her voice steady. “That’s why we’re doing this to see how creativity and innovation intersect. Yes, cinema is emotional, but trends and choices also shape its trajectory. This project isn’t about reducing cinema to numbers; it’s about understanding how those numbers reflect the world around them.”

- Lucas raised another question, still unconvinced. “And localization? What about international markets? Are we saying success is only measured by Hollywood standards? What about films that thrived because they stayed culturally authentic?”

- “Exactly!” Yassine interjected. “We’re not just sticking to Hollywood. We’ll explore how other markets evolved Bollywood, Japanese cinema, Italian Neorealism. Localization and globalization both matter, we will surely discover how they influenced success.”

- After a moment of silence, Lucas finally sighed, a reluctant smile on his face. “Alright, fine. If this works, it’ll be incredible. But I’m holding you responsible if we end up stuck in 1915.”

- Elyes grinned mischievously. “Don’t worry, Lucas. If you get stuck in 1915, we’ll send you a telegram with instructions on how to invent the Internet and become the richest man alive. Just make sure you avoid eating anything suspiciously old timey, like canned meat from a trench ration.”

- The group burst out laughing, and even Lucas couldn’t help but crack a smile. “Great, now I’m picturing myself in a bowler hat trying to explain Wi-Fi to Edison.”

- Elyes winked. “Hey, at least you’d be a trendsetter. The first guy to binge watch Netflix in an era where movies didn’t even have sound!”

- The group laughed, and Myriam leaned in. “If we don’t take risks, we’ll never create something groundbreaking. Isn’t that what cinema teaches us to dream big?”

After days of debate, the group made their decision. They would use Elyes’ ChronoPorteur to travel to five pivotal moments in the history of cinema. They spent a week fine tuning the machine, adjusting its parameters to minimize risks.”

As they finalized their plans, Lucas had another idea : “What if,” he suggested, “instead of traveling together, we each explore one of the five eras? It would save time and allow us to focus deeply on each period.”

- Myriam immediately claimed Silent Era (1915–1930) , eager to witness the birth of cinema
- Yassine jumped at the chance to explore The Golden Age (1930–1950) , excited to see the rise of Hollywood’s grandeur
- Najmeddine, intrigued by creative rebellion, chose Auteur Rise (1950–1970)
- Elyes, fascinated by technological leaps, wanted to dive into Blockbusters (1970–2000)
- Lucas, ever practical, took Diversity (2000–2015) , curious to analyze the data driven transformations of modern filmmaking

- “Alright,” Elyes said, a mix of excitement and nerves in his voice. “Five eras, five explorers. We’ll regroup once we’ve gathered enough data to tell the story of cinema’s evolution. Let’s make history ”

- Yassine, always the enthusiastic partner in Elyes’ wildest ideas, grinned and added, “History is made by those who dare to live it. So, let’s go live it.”

With a final review of their plan, the group stepped up to the ChronoPorteur, ready to leap into their individual journeys through time.

The Homecoming:

Later, the ChronoPorteur hummed as the group returned to the lab, each carrying data from their era. Myriam smiled, holding her notes on the Silent Era.

- “We’ve got everything : genres, runtimes, audience insights.”

- Yassine nodded. “From blockbusters to auteurs, it’s all here.”

- Elyes looked at the piles of data and grinned. “Now, let’s analyze it and tell the story of cinema’s evolution.”

         The group sat around a bright, modern table at the Rolex Learning Center, its open, airy design buzzing quietly with the energy of collaboration and curiosity. The ChronoPorteur rested in the center of the table, humming softly, a testament to Elyes’ daring ingenuity. Myriam, the first to return from her journey, looked radiant with excitement.

- Elyes, happy with his invention, asked, "How was it?"

Myriam smiled. “It was magical. Silent films ruled, telling stories through visuals and music. Chaplin made us laugh, Metropolis made us think, and filmmakers everywhere were innovating. However, everything changed in 1927 with The Jazz Singer, the first major ‘talkie.’ It completely transformed the industry...”

- Lucas : “Wait, you’re saying that one film changed everything? Was it really that sudden?”

Myriam gestured toward the plot on the screen, her voice filled with excitement. “Look at this,” she said, pointing to the sharp rise of silent films through the 1910s and 1920s. “For most of this period, silent films completely ruled the industry, telling stories through visuals and music. But everything changed in 1927 with The Jazz Singer. You can see here,” she said, tracing the sudden drop, “how the introduction of sound transformed cinema. By 1928, Hollywood had fully converted to sound, and silent films practically disappeared overnight. It was the end of an era, but also the beginning of a new one that redefined storytelling forever.”

- Najmeddine : “Okay, but what about filmmakers outside Hollywood? Were they affected in the same way, or was this a uniquely American shift?”

Myriam paused, letting the significance of the plot sink in before continuing. “But it wasn’t just Hollywood adapting to this monumental shift,” she said, her tone thoughtful. “Around the world, filmmakers were pushing boundaries in ways that redefined cinema as an art form. The World Cinema genre thrived during this period, not just because of the rise of talkies, but because of groundbreaking innovations and bold storytelling. Unique cinematic styles emerged, that challenged conventions and transformed how stories were told on screen.”

- Yassine : “Wait, wait, hold on. Are you saying these international films were actually better than Hollywood’s? Can the data back that up?”

Myriam smiled and pointed to the second plot now displayed on the screen. “And here’s something fascinating,” she said, gesturing to the bar chart. “Among the top 10 genres of this era, World Cinema stands out with the highest average ratings. It wasn’t just about technical innovations it was about storytelling that resonated deeply with audiences. Films like The Cabinet of Dr. Caligari or Metropolis pushed creative boundaries, delivering bold, innovative narratives that captured the imagination of viewers around the globe. This genre was a testament to how cinema was evolving into a universal language, even as sound began to reshape the industry.”

She paused, then added, “However, the late 1920s marked the beginning of something new. The rise of talkies didn’t just transform Hollywood it also sparked the emergence of unique cinematic movements around the world, like German Expressionism. Each country began to develop its own film identity, producing movies in their native languages. But during this time, globalization was minimal there were hardly any translations, and films largely stayed within their own borders.”

She leaned back, considering the data. “Because silent films dominated most of this era, language isn’t really an interesting feature to study it’s mostly irrelevant before talkies. And even after their emergence, language essentially mirrors country of origin, since each nation produced films in its own language with little international exchange.”

- Yassine : “So the Silent Era wasn’t just about being silent it was about making noise without words.”

Myriam chuckled. “Exactly. Silence spoke louder than anything, and its echoes still shape cinema today.”

        The group continued their discussion, energized by Myriam’s passionate retelling of the Silent Era. Elyes turned to Yassine, curiosity in his voice.

- Elyes: "So, Yassine, what made the Golden Age so groundbreaking? Was it just about sound and color?"

Yassine pointed to the first chart, illustrating Snow White and the Seven Dwarfs' extraordinary success. "In 1937, this film already dominated with $416 million in global revenue, a record at the time. When adjusted for inflation to 2015, its gross skyrockets to $6.85 billion, making it the most financially successful film in history. This exemplifies how Hollywood’s streamlined, genre focused studio system maximized cultural and financial impact during the Golden Age."

He then turned to the second plot, showing two sharp declines between 1910–1930 and 1930–1950: the average number of genres and languages per movie. "Silent films, relying on intertitles, were easily adapted for global audiences, averaging 1.55 languages per movie. With the advent of sound, this dropped to 1.06, as spoken dialogue required expensive dubbing, subtitling, or reshooting. At the same time, silent films often blended 4.4 genres, combining drama, romance, and adventure. Between 1930 and 1950, this fell to 3.8 genres per film as major studios, like MGM and Warner Bros., specialized in single genre productions to streamline costs and meet the restrictions of the Hays Code. While these shifts reduced diversity, they enabled the rise of iconic films tailored to specific audiences, like musicals, gangster films, and war dramas".

- Lucas: "How did the Great Depression and World War II shape the kinds of stories told during this period?"

“Greatly,” Yassine replied, gesturing to a chart on the screen. “During the Depression, cinema became a vital escape. Affordable tickets and uplifting musicals, like Top Hat, gave people a break from harsh realities. When World War II began, cinema shifted gears, becoming both entertainment and propaganda. Films like Casablanca inspired patriotism while addressing themes of sacrifice and unity. Studios collaborated with governments to create warthemed content that kept audiences engaged and informed, giving people hope during turbulent times”.

- Myriam: "Was Hollywood the only key player, or did other countries make their mark?"

"Hollywood's dominance in global cinema production is unmistakable," Yassine remarked, pointing to the plot showing movie production data from 1930 to 1950. "As we can see, the United States consistently produced over 80% of all films during this period. The scale of Hollywood's output dwarfs other countries, with the United Kingdom trailing far behind, contributing just over 8%. Japan stands at around 1%, while France and Italy are closer to 2%, making up the rest of the top five. This overwhelming dominance of Hollywood shaped global film culture, but at the same time, movements like Italian Neorealism and directors like Akira Kurosawa in Japan began to break new ground. Italian Neorealism, with films like Bicycle Thieves, offered raw, emotional storytelling rooted in the struggles of post war Italy. Meanwhile, Kurosawa’s films blended cultural specificity with universal themes, setting the stage for Japan's eventual global recognition in cinema."

Yassine leaned back, his voice confident. “The Golden Age was about innovation, resilience, and storytelling that united people across the globe. It wasn’t just an era of technical progress, it was cinema’s emotional and cultural awakening”.

         The group shifted their attention to Najmeddine, eager to hear about his journey through the transformative period of 1950–1970.

As the group continued their discussion, Najmeddine paused to take a sip of tea before pointing at a new plot he had brought back. "One of the most striking findings from my time in the 1950-1970 period was the growth of international collaborations in filmmaking", he began, gesturing toward a vibrant Sankey plot projected on the screen. "This chart illustrates the partnerships between countries during that era. For instance, the United States and the United Kingdom frequently collaborated, their shared language and cultural proximity making it easier to coproduce films. Meanwhile, France and Italy, both at the heart of post war European cinema, had a strong connection too. They worked together to bring us some of the most artistically rich and critically acclaimed films of the time".

He leaned forward, pointing out the thicker lines on the chart. "These lines represent the number of coproductions between pairs of countries. You can see how nations like Japan began forming smaller, but significant, collaborations with Western countries as their cinema gained global recognition. The data revealed how films became a bridge for cultural exchange, blending styles and narratives from across the world. It was a pivotal moment when cinema truly became a global art form".

- Yassine nodded, intrigued by the analysis. "And what drove these collaborations?" he asked.

Najmeddine replied, "Several factors. The aftermath of World War II brought a wave of reconstruction, and governments saw cinema as both a cultural tool and an economic opportunity. Coproductions allowed them to share costs, access broader markets, and fuse diverse storytelling techniques. It was as much about survival as it was about creativity. It reflects the growing interconnectedness of the world itself during that era".

- Lucas, ever curious, asked, “And Hollywood? Was it still dominant in genres like action and drama?”

Najmeddine nodded. “Yes, Hollywood’s output was still massive, but global cinema brought nuance. Look at this scatter plot.” He brought up a visualization showing genre diversity by country. “In Hollywood, action and drama dominated, but other countries explored unique blends. Japan, for instance, married samurai epics with psychological themes, thanks to Kurosawa. In France, crime films became introspective and philosophical, breaking genre conventions.”

- Elyes chimed in, “What about languages? Were films still confined to their home audiences?”

Najmeddine smiled, holding up a line graph. “This shows the rise in multilingual films from 1950 to 1970. You see that upward trend? European filmmakers began creating bilingual or trilingual productions, especially during the ‘60s. It wasn’t just commercial it reflected a world becoming more interconnected post war. Festivals like Cannes celebrated these films, giving them global exposure.”

- Yassine leaned in with the final question. “And how did all these shifts feel to you? What did the data tell you about this period overall?”

Najmeddine paused, his expression thoughtful. “The data told a story of cinematic democratization. Hollywood was still huge, but other countries began shaping the narrative. It wasn’t just about scale anymore it was about creativity. Films became mirrors of their societies, grappling with post war recovery, existential questions, and cultural identity. The rise of new movements, hybrid genres, and multilingual storytelling all of it pointed to a cinema that was more personal, more global, and more reflective of the world’s complexity.”

He gestured at his final chart a comparison of global genre experimentation. “This period marked a shift from cinema as entertainment to cinema as art. The numbers were clear, but watching films like Breathless and Seven Samurai firsthand made me realize how deeply this change resonated.”

The group nodded, captivated by Najmeddine's story. “This era wasn’t just a shift,” he concluded. “It was a revolution. Directors were no longer just making movies, they were making art, statements, and history.”

         The group turned to Elyes, who had explored the blockbuster dominated era of 1970–2000.

Elyes looks around the table and smiles. "Alright, let's talk about the 1970-2000 period, a time when cinema really evolved on a global scale. The question I spent a lot of time thinking about was: how did hybrid genres come to dominate? And did they shape the future of cinema as we know it today?"

- Myriam leans forward, intrigued. "That’s an interesting question. So, what did you find?"

Elyes nods. "Well, hybrid genres weren’t just a passing trend, they became a key strategy for Hollywood. Let’s look at a plot showing Hybrid Genre Evolution over time." He pulls up a detailed graph displaying the rise of hybrid genres, particularly through the 1980s and 1990s.

Elyes points to the network graph. "As you can see, there are strong connections between Action and Sci-Fi genres, seen in films like Terminator 2 and The Matrix, where high-intensity action met futuristic sci-fi elements. This link is an early sign of the hybrid genre trend that took off in the 1980s and 1990s."

He adds, "Similarly, the connection between Comedy and Action reflects the rise of films like Ghostbusters and Men in Black, blending humor with action. These hybrids weren't just creative; they were also smart marketing tools, attracting fans from multiple genres and ensuring broader global appeal."

- Yassine raises an eyebrow. "But did these hybrids perform better internationally? Did they cross borders in ways other genres didn’t?"

Elyes smiles at the question. "Great point. Here, I’ve got a Global Box Office Map with Genre Overlays that shows exactly how hybrid genres performed across different markets." He brings up a heatmap overlaying box office revenue by region and genre.

"As you can see, action films were huge in the U.S. and Europe, but hybrids like action-comedy or sci-fi-action had a massive impact in Asia, particularly Japan and China. Sci-fi-action, like Star Wars and The Matrix, became almost a global phenomenon. Sci-fi films, which traditionally had niche followings, took off globally because they combined spectacle with mainstream action tropes."

- Lucas, always interested in the business side, asks, "But how did hybrid genres impact box office revenue? Was this just a creative shift, or was there a real financial strategy behind it?"

Elyes, now pulling up the Genre Box Office Revenue Distribution plot, responds. "This chart answers that question. It shows the revenue distribution across different genres from the '70s to the 2000s. As you can see, action films had consistently high earnings, but hybrid genres like sci-fi-action or comedy-action often outperformed single genre films."

He zooms in on the 1990s. "Look at the massive spike in revenue for these hybrid genres. The Matrix (1999), a combination of sci-fi and action, grossed over $450 million worldwide, making it one of the highest grossing films of its time. Similarly, Men in Black earned over $580 million globally, even though its core genre was comedy. The key takeaway is that combining genres expanded the potential audience for these films, which drove up box office numbers."

- Yassine leans back in his chair, thoughtfully. "It seems like hybrid genres were more than just a passing trend. They were part of a bigger picture Hollywood becoming a global force."

"Absolutely," Elyes concludes, nodding in agreement. "And looking at these patterns, it’s clear how Hollywood used hybrids to reach beyond the American audience and tap into international markets. It was the dawn of the global blockbuster." Elyes pauses for a moment, then adds, "Another major shift during this era was the rise of seasonal releases, particularly in the summer. The 1970s marked the beginning of the summer blockbuster phenomenon, with films like Jaws (1975) and Star Wars (1977) dominating the box office. Studios started strategically timing big budget releases for the summer months, capitalizing on the season’s higher movie going traffic. This created a cycle where summer releases would generate huge global buzz, with sequels or similar blockbuster films following suit in the coming years. This trend not only changed how movies were marketed but also solidified summer as the prime season for global cinema events."

- Myriam: "Lucas, after all the changes Elyes talked about, how did the digital era really change cinema between 2000 and 2015? Was there a significant shift in how movies were made, or was it more about distribution?"

Lucas smiles, adjusting his seat, ready to begin his tale : "Thanks, Myriam. Well, in those 15 years, we saw the digital revolution reshape everything. The rise of digital filmmaking tools made production cheaper and more accessible, leading to a wave of new filmmakers and more diverse stories. But the most significant change came in how films were distributed. The rise of streaming platforms like Netflix, Amazon Prime, and Hulu made it possible for movies to reach global audiences without going through traditional theatrical distribution. This period marked the start of the Digital Era, where films no longer needed to wait for a theater run to achieve international success. Suddenly, films from all corners of the world could be viewed globally, and the number of movies exploded"

Yassine leans forward, eager to ask his question.

- Yassine: "That's fascinating, Lucas. But what about the types of movies? Did you see any notable changes in genres or trends in this period, especially in terms of hybrid genres? How did those genres impact the global box office?"

Lucas nods, picking up his tablet to show a graph.

"Great question, Yassine. The hybrid genre explosion really took off in this period. Genres started blending in new and creative ways. Action, sci-fi, and fantasy mixed with adventure, drama, and even horror. Think about films like Avatar(2009), which mixed sci-fi with epic adventure and groundbreaking visual effects. Then there was The Hunger Games(2012), combining sci-fi, action, and drama in a way that resonated with both young and adult audiences alike. What’s remarkable is how these hybrids performed globally. The global box office map from this era shows that action and sci-fi films, in particular, performed well across international markets. It was no longer just Hollywood films doing well in the U.S.; countries like China and India became major players in the market, with films like Transformers (2007) and Avatar doing huge numbers worldwide."

Najmeddine, sitting across from Lucas, chimes in with his question.

- Najmeddine: "You’ve mentioned globalization and international films. Did this era see an increase in international coproductions? How did these films perform globally compared to their Hollywood counterparts?"

Lucas grins, excited to tackle the question : "Absolutely, Najmeddine. The early 2000s saw a dramatic increase in international coproductions, particularly between Hollywood and Asian countries like China and South Korea. Films like The Great Wall (2016), though slightly outside the timeframe, represent the trend where large Hollywood studios would partner with international studios to ensure global appeal. South Korean films, such as Oldboy (2003), gained massive international popularity and influenced Hollywood, even inspiring remakes. What’s truly exciting is the genre overlay across countries. As we saw in the Genre Box Office Revenue Distribution, action, fantasy, and even horror films from South Korea, India, and China saw a significant rise in international box office revenue. The landscape was no longer dominated by just Hollywood; the world had truly become a cinematic stage, and local films gained global recognition."

"Another one of the key changes during 2000-2015 was the rise in diversity, particularly in terms of gender and age among actors. Previously, action films were dominated by male leads in their prime years, but this era saw a shift. Female leads became more common in blockbuster films, and the inclusion of actors from diverse ethnic backgrounds grew, especially in global franchises like Fast and Furious."

Age also became less of a barrier. Older actors, like Liam Neeson in Taken, proved that action heroes could be from any age group. This shift in casting reflected a broader cultural movement toward more inclusive and representative storytelling in cinema."

Lucas finishes his story, the data on hybrid genres, globalization, international films and diversity painting a vivid picture of a transformative period.

- Yassine: "That's an incredible overview, Lucas. It’s fascinating how the digital era and globalization made cinema more diverse and accessible worldwide."

Lucas nods with a smile, his eyes reflecting a deeper understanding of the data he gathered over his journey through the 2000-2015 era.