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Movie industry brief history
Movie industry brief history
Modern film industry
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For the past century, Hollywood has influenced the world through its films and innovations it has brought to the industry. From the golden age classics to the modern blockbusters, every era Hollywood experiences bring revolutionary changes to the global film landscape. The inspiration and competition from Hollywood push the global film industry forward to evolve and advance to a higher level, and bring quality feature films to the worldwide audiences. Many have studied the development of Hollywood not only to understand the cinematic history, but also to find inspirations for other countries as many major film industries other than Hollywood were influenced directly or indirectly by its advancement. The European cinema is an early example of film industry being affected by Hollywood. During the early 1900’s, especially starting from the late 1920’s when Hollywood entered the golden age, European cinema was greatly impacted by Hollywood production. The competition from Hollywood made it extremely hard for domestic productions to stand in the market. This competition is not only limited to content and production quality, but also the establishment of systems as well. Britain, for example, suffered from the fact that their block booking system was controlled by US majors. This means that if they wanted to launch domestic productions, they would have to compromise to the agreements set by the Hollywood companies (Bird, n.d.). To meet this challenge, various solutions were implemented by Europe. The Cinematograph Act of 1927 and the co-operative idea “Film Europe” were introduced to limit the market for Hollywood films (Bird, n.d.), although both of which eventually lost power. Despite the competition and threat from Hollywood, many... ... middle of paper ... ...ifferences. Through the comparison, many important players and entities in the game that had less exposure to the public were revealed, which gives us a more in depth analysis of identifying the key points of change. Similar to Hollywood, China has its own time slots for blockbusters. The study on this subject in particular can give us many inspirations on understanding and predicting the China film industry. Distribution and marketing in Hollywood is also a very important topic to study. McDonald and Wasko also talked about this area in their works. Other than an overview of distribution and marketing in Hollywood, they also presented us, in details, the practices of movie marketing (McDonald & Wasko, 2010). They also briefly talked about the accounting of Hollywood, which is a less relevant topic if we put in the fact that China is also a subject of comparison.
Movies today are extremely expensive to make and are typically financed through either film studio contracts or from investors willing to take a risk. In order to be successful, movies need to be marketed and distributed either under contract by the film studios or by companies that specialize in such services. The aspects of financing, marketing and distribution of films have changed between the studio and independent systems over the years as the evolution of the film industry took place.
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
A new edition to the course lineup, this week's film classic, Sunset Boulevard. This film will focus on the culture and environment of the Hollywood studio system that produces the kind of motion pictures that the whole world recognizes as "Hollywood movies." There have been many movies from the silent era to the present that either glamorize or vilify the culture of Hollywood, typically focusing on the celebrities (both in front of and behind the camera) who populate the "dream factories" of Hollywood. But we cannot completely understand the culture of Hollywood unless we recognize that motion pictures are big business as well as entertainment, and that Hollywood necessarily includes both creative and commercial
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
Paramount, one of the big five Hollywood studio corporations, controlled the most amount of theatres in the United States during the 1930s and 40s. This meant they had an advantage when the economy in the US turned around after the great depression. This being said, many more factors come into play when defining to what extent the studio is a typical representation of a major Hollywood studio corporation in the 1930s and 40s. In this essay I will be going in depth into what extent Paramount is a representation of other key studios in Hollywood in the 1930s and 40s. I will be discussing how Paramount’s methods as a corporation such as exhibition, distribution, star system and genre to see how it is a typical representative of a Hollywood studio corporation. I will be using material such as Richard B. Jewel’s The Golden Age of Cinema, Hollywood 1929 – 1945 to go into detail in explaining my points.
Film and its success during the period of 1910-1945 was heavily determined by the audience’s reception of the work. During this time, there was an influx of films being produced and stars rising within the system. Although the stars were seen as the role models and are portrayed larger than life, it is ultimately the audience that determines the fate of the success of the stars. Audiences would go see a film if a certain actor was in it; or an actor, and the name of the star alone can determine that a film will be somewhat successful. Within the film, however, it is the authenticity of the celebrity that the audience were looking for in the stars; the directors of film would need to cast people who were representative of their characters. Because
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Films were blossoming during the “Roaring twenties.” At the beginning of the decade, films were created mostly in Hollywood and West Coast, but as well as in Arizona and New Jersey. Most people do not know that the greatest output of films was between 1920 and 1930 and was 800 films per year. Nowadays, people consider big output of 500 films per year. The film business was a huge one because the capital investments were over $2 billion. At the end of the decade there were 20 studios in Hollywood and the interest in films was greater then ever.
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
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
Over the years, Bollywood has emerged as its own distinct identity in the global film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. (Pillania 1) However, Hollywood is still the leader in revenue generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets.