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The canon of a work of fiction is "the body of works taking place in a particular fictional world that are widely considered to be official or authoritative; [especially] those created by the original author or developer of the world". [2] Canon is contrasted with, or used as the basis for, works of fan fiction and other derivative works. [3]
The term canon derives from the Greek κανών (kanon), meaning "rule", and thence via Latin and Old French into English. [1] The concept in English usage is very broad: in a general sense it refers to being one (adjectival) or a group (noun) of official, authentic or approved rules or laws, particularly ecclesiastical; or group of official, authentic, or approved literary or artistic works ...
The transfer of a creative work or story, fiction or nonfiction, whole or in part, to a motion picture format; i.e. the reimagining or rewriting of an originally non-film work with the specific intention of presenting it in the form of a film. aerial perspective aerial shot alternate ending ambient light. Also called available light.
Film noir (/ n w ɑːr /; French: [film nwaʁ]) is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir.
N-canon was Non-canon: "What if" stories (such as the first 20 issues of the Star Wars Tales comic anthology), crossover appearances (such as Star Wars character appearances in Soulcalibur IV), game statistics, and anything else directly contradicted by higher levels of canon.
The film went on to become the most successful martial arts film in cinematic history, popularized the martial arts film genre across the world, and cemented Bruce Lee's status as a cultural icon. Hong Kong action cinema, however, was in decline due to a wave of "Bruceploitation" films.
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Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]