Snapshot of Georges Méliès’s movie Travel to the moon (Le Voyage dans la Lune) (1902).
The film’s creation is accompanied by a long evolutionary process, with many different devices in place to produce a live image.  The first such devices were the so-called camera obscura, which is the simplest enclosed and darkened room with a hole in one wall. The light rays coming from it reflect the image upside down on the opposite wall.  The Taikalyhdy, on the other hand, was able to reflect small pictures painted on glass sheets. It was kind of an inverse version of camera obscura.  The phantasmagoric shows, on the other hand, often respected the action films: they contained special effects and visual culminations.
The actual predecessors of the film began to develop in the 19th century. The most important feature of pre-motion motion equipment was the Phoenician Cycle presented in 1833, where a cartoon set on a cardboard box was viewed from the mirror through the reels on the disc heels. The idea of ??the phenakistoscope was also used later in zoetroop and praxinoscope. Such devices were called “philosophical playthings.”  They moved towards the movie through the crown photograph. Eadweard Muybridge and Ctienne-Jules Marey, who represented the sub-sector, studied the movements of the people through still images, and in the alternative, they used pictures of repetition of motion sequences. 
Although various 19th-century devices can be considered as the predecessor of the film, they did not disappear as soon as the film was born. The first film practices were often combinations of magic short films and film performances . Many of the first projectors were also largely ancillary equipment for the darts. 
The French Lumière brothers were key to inventing the film, and they also hosted the first regular film shows. For the first time this happened on December 28, 1895, when a simple documentary on the train arriving at the station, L’Arrivée d’un tren en Gare de la Ciotat, was premiered in Paris. Another of the greatest influences of the early days of the film was Georges Méliès, also a Frenchman who can be considered as the father of a trumpet and a fantasy film.
The films were long single-ly short films because long films were not considered economically viable, and technically they were simple and ambiguous. The change was made by American filmmaker D. W. Griffith, whose film-based experiments culminated in the birth of the nation in the spectacle film Birth of a Nation, 1915. The drama that freely edited the US Civil War has not only begun the extensive production of long films with its success, but has brought many of the technical details that have been made to date and inspired many film directors who started their time. Racism in the film caused resistance.