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Technology changes and problems in the film industry
The evolution of filmmaking
Technology changes and problems in the film industry
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Filmmaker Martin Scorsese believes that cinema as he knows it is gone or dying, and that the latest generations don’t understand or appreciate the cinema like he does. While the current movie-going experience has certainly changed as time has gone by, I believe Scorsese is over exaggerating the plight of cinema. The movies have been a prominent part of our culture for around a decade, and while the way in which we indulge in this form of entertainment may not be exactly the same as it was years ago, it is certainly not a dead art form. The 1920’s saw the rise of movie-going and the pursuit of lavish and immersive entertainment. Movie palaces were being built in every major city. These palaces were not only built in order for the public to view the latest movie, they were also being built to be a place where the public could be transported into a completely different time or place. In general, going to the movies at this time in one of these palaces was a full-packaged experience that cannot be replicated in today’s world. Even after this extravagant age of movies was overturned by the depression, the spectacle of the movies stayed alive throughout the mid to late 1900s. The end of the 1900s marked a time of movies as a cultural phenomenon. Going to the movies became a weekly ritual for the public. In order for people to …show more content…
There is still an aura of excitement and creativity surrounding the film industry—the entertainment value is still alive and well. It is clear, the way in which we consume this entertainment has changed vastly over the years. However, for every technological change the world has thrown at us, the movies have been able to adjust and adapt to their new surroundings. Just because something is different, does not mean that it is bad. And times, like how we watch movies, are always changing, Scorsese just needs to learn to “adapt or die,” as
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 ...
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.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In 1929, America experienced a stock market crash that led the country into what is historically known as the Great Depression. Many industries across America experienced alterations in order to fit the social and economic changes that America was undergoing as a nation. Specific industries included Hollywood and the film industry. In the late 1920s and early 1930s, the movies that Americans enjoyed viewing were considered immoral at the time. This was f...
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
...netti, Louis, and Scott Eyman. “The Talkie Era.” Flashback: A Brief History of Film. Ed. Leah Jewell. 4th ed. New Jersey: Prentice Hall, 2001. 140-145. Print.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
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.
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.