I. Hollywood California was founded in 1853. Harvey Wilcox drew up plans for the town of Hollywood and turned them in on February 1, 1887. In 1887 Hollywood was laid out like a real-estate subdivision. H.J. Whitley “Father of Hollywood,” or real-estate magnate who transformed Hollywood into the wealthy popular residential area it is today. A site on Sunset Boulevard in 1911 which was Hollywood’s first studio. Since the early 1900s and a move to Los Angeles, California, Hollywood has been a leader in the entertainment industry.
II. In the 1900s there were 500 people living in Hollywood. Metro Pictures in 1924 merged with Goldwyn Pictures, which later became Metro-Goldwyn-Mayer or MGM. During the roaring 20s MGM dominated the movie business
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In 1902 the first section of the historical Hollywood Hotel was constructed and a new trolley car system was built in 1904, the trolley shortened the travel time to Los Angeles.
IV. 60 and 80 million Americans in the depths of the Great Depression went to the movies once or more a week, they really got value for money back than.
A. Hollywood was able to thrive through the depression as the rest of the world was collapsing.
B. Bank of America helped finance many of Hollywood’s early films.
C. Also Bank of America helped Hollywood finance film productions and film studios, the films are still financed by Bank of America as it did years ago.
1. It was perceived that depression audiences went to the movies for a distraction for a limited time.
2. Attendance dropped requiring jobs and production costs to be cut. Hollywood’s financial depression ended by 1934, during this time they tested boundaries of cultural acceptability.
3. Big budget films were released in the late depression years.
4. For the first few years the studios rode out the depression comfortably until 1933.
5. Their massive depts catched up to them from financing their mass purchase of movie theaters. During the mass of unemployment cinema’s attendances fell and didn’t recover until the late
The 1930’s was dominated by the Great Depression. There was not much time of money for people to spend on entertainment, but there were a few pin pricks of light. People, especially kids, went to the movie theater. They could spend ...
The arts played a significant role in the Great Depression- not only as a means of escapism for some people, but also a psychological and ideological role that provided inspiration and optimism in a time of severe doubt and fear. For example, film provided an escape for a couple of hours, but also portrayed success during this time period. Many films focused on social realities of the time period, so that people could relate to these films. Films gave images of hope and success because they portrayed ordinary people, such as a girl winning a role in a play, or a man and a woman randomly meeting and falling in love. Andrew Bergman explains the effect of these films in his article Hollywood and the Great Depressi...
...Depression, artists and authors took inspiration from their daily lives. Creating art that focused on the despair and chaos of the depression, many representations of social issues can be seen in the different types of art. Although the thirties was a weary time for most, this did not stop it from having some fun. The popular music at the time included the ‘big band sound’. Billie Holiday, Ella Fitzgerald, Jimmy Dorsey and Benny Goodman were popular crooners, to name a few. In cinema, “King Kong” was released (one of the original horror/adventure films). It was a huge hit because of the special effects included in the movie. Filmed in colour, “The Wizard of Oz” was another popular movie at the time, and is now a classic. There were good things in the 1930’s, such as culture, music and art, but the Depression brought the social conditions plummeting down (overall).
The idea of Hollywood, before it was Hollywood as we know it seems foreign. However, it did exist and was known as "Pre-code." Pre-code Hollywood refers to the era in the American film industry between the introduction of sound in the late 1920's and the enforcement of the Hays Code censorship guidelines, which went into effect on June 13, 1934 (Association of Motion Picture Producers 1934). Durin...
Similar to businesses standardizing in making and advertising consumers goods, the practice of mass-producing culture standardized and sped up in the 1920s. Radio became a national obsession. What started out as only a few independent stations soon evolved into huge networks and sponsored programming became popular. Movies during this time became accepted by all social classes with the expansion from rowdy nickelodeons to uptown theaters. With audiences nearing 80 million people a week, the corporate giants Metro-Goldwyn-Mayer, Warner Brothers, and Columbia made the ...
During this decade, the film industry went through massive changes that would completely change what movies were or stood for. After the Great War, more people began considering movies as a form of entertainment. This increased attention caused change in the industry, allowing the experience of the movie goer to massively change for the better. Many new genres, ideas and technologies emerged in the 1920s that would later dominate the industry. The 1920s saw massive changes happening in the movie industry that would help it to get one step closer to what it is today.
The Great Depression is where the film industry boomed with new types of movies like: gangster films and musicals. It was a hard time for people in this era to get by. Most people spent their time watching movies like: gangster films, musicals and comedies, like Modern Times and The Public Enemy and get away from the bad times of the Great Depression. Each film showed the Great Depression in different ways but both ways worked will.
American in 1929 face the stock market crash-inducing The Great Depression. The economic crisis caused Americans endure something they never witness, Americans fear the unfamiliar atmosphere that The Great Depression created. The fear of the unfamiliar triggered the creation of Monster Movies in the 30s. In 1931 Dracula open in theaters, the first horror movie to be released during The Great Depression, it excelled what the audience at the time were custom to seeing. The character of Dracula is a vampire, although the concept of him being the vampire is not the aspect that makes him “unfamiliar”, it's that the
The roaring twenties would be nothing without the roar of the MGM Lion. “If Hollywood had no other studio than Metro-Goldwyn-Mayer, the town still would have been the movie capital of the world” (Fricke para 1). MGM enchanted audiences with its high-budgeted films and glamorous list of stars (Hanson para 1). Three failing movie companies came together in 1924 in hopes to make it big in the motion picture industry, and it did (Fricke para 3). Metro-Goldwyn-Mayer created spectacles of movies after its merging which made MGM one of the most prosperous motion picture companies in the 1920’s (Hanson para 2).
middle of paper ... ... It is no wonder why movies were and still are a popular form of entertainment, as well as why during the 1920’s and even during the depression, people continued to flock to the movies. Works Cited Carringer, Robert, L. Jazz Singer. Madison, Wisconsin: University of Wisconsin Press, 1979.
During the Great Depression, everyone was looking for a distraction from the terrible times around them. One way to put their mind at ease was to go to the theater and watch movies. Even during this era of distress, 60 to 80 million people a week still managed to go to the movies. Comedies were a great way to look at the bright side of situations and to put off the stress. In contrast, gangster films showed the fear that maybe what you are doing is not enough to get by and it would be nearly impossible to survive this economic crisis. Never the less, films of the Great Depression provided people hope and reassurance in that this too shall pass.
In the beginning of The Roaring Twenties, about fifty million people went to the movies per week, amplifying to ninety million in 1929. These huge numbers are a result of the public’s obsession with the movies’ glamour, sophistication, and sex appeal. Watching movies motivated the viewers to ea...
Largely influenced by the French New Wave and other international film movements, many American filmmakers in the late 1960s to 1970s sought to revolutionize Hollywood cinema in a similar way. The New Hollywood movement, also referred to as the “American New Wave” and the “Hollywood Renaissance,” defied traditional Hollywood standards and practices in countless ways, creating a more innovative and artistic style of filmmaking. Due to the advent and popularity of television, significant decrease in movie theater attendance, rising production costs, and changing tastes of American audiences, particularly in the younger generation, Hollywood studios were in a state of financial disaster. Many studios thus hired a host of young filmmakers to revitalize the business, and let them experiment and have almost complete creative control over their films. In addition, the abandonment of the restrictive Motion Picture Production Code in 1967 and the subsequent adoption of the MPAA’s rating system in 1968 opened the door to an era of increased artistic freedom and expression.
The Studio System Key point about the studio system could be: Despite being one of the biggest industries in the United States, indeed the World, the internal workings of the 'dream factory' that is Hollywood is little understood outside the business. The Hollywood Studio System: A History is the first book to describe and analyse the complete development, classic operation, and reinvention of the global corporate entities which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place by 1930.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54