After the release of blockbuster animations like Who Framed Roger Rabbit in the 1980s, Disney, Fox, Warner Bros. and every other major animation studio began staffing themselves with artists and designers every corner of the globe. European artists swarmed into Los Angeles, studios were plucking kids out of college some even before graduation. Big production houses began to explode by increasing staff numbers, buying property and paying magnificent salaries. These artists quickly became a hot commodity. Things began to feel formulaic and studios fell into that trap. the big studio system lost sight of the story element and concentrated too much on the slickness of the production. When big budgets are involved, nobody wants to take a chance with the creative process. The very first indie production houses like Pixar benefited greatly from this fact. Where in the story are they now? When did this epoch affect the wave of independent production companies and satellite studios that are now cropping up in all parts of the world? Independent artists are setting up studios in their homes and animators who used to work for big production houses are appearing as production heads of their own studios. …show more content…
At the same time, Films like Toy Story reached box office blockbuster statuses and the larger studios learned that collaborating with some of these new, slick CGI studios would be quite advantageous. Soon, Indie studios that are traditionally live action, such as Lions Gate Films began putting out their own films. During the first decade of the millennium, the independent production company influx was the most prominent trend that had captured the attention of mainstream audiences across the
...ons as to why the studio system collapsed and how Hollywood tried to prevent this from happening. The Hollywood we see today is a reformed version of the old studio system, yet is still seen as the most dominant film industry in the world, despite its earlier collapse.
...s have been regaining ownership of theaters due to the reluctance of anyone filing suit against them, “new Hollywood it is just like the old days before divestiture only better” (Lewis, 2008, p. 406). In conclusion, the giant head of the studio system monster was cut off only for a bigger more powerful one of the new Hollywood to have grown back in its place. Ultimately, Hollywood studios remain more interested about making money, than making better films and “The independent producer does what a movie producer has always done: choose the right stories, directors and actors to produce quality films” (Lewis, 2008, p. 502).
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 ...
``From Y&RNY and DDB, the creative virus quickly spread in the 70's to spin-off agencies started by immigrant creatives who jumped from their motherships: Wells, Rich, Greene; Papert, Koenig Lois; DellaFemina Travisano; Rosenfeld, Sirowitz & Lawson; Carl Ally; Ammerati & Puris; Scali, McCabe & Sloves; Delehanty, and Kernit & Geller, to name but a few. All it took was an award-winning writer/art director team, a sharp business guy or gal, and a client willing to take the million dollar leap of faith.
In the 1980’s animation hit it peak with feature films, animated television, commercial that was paying very well, bands, and music videos. Stop motion animation was being the star in animation. Cable television shows would hire stop-motion animators to create their logo entirely with stop-motion animations, one network that did this was MTV. Also, some music videos would be completely done with stop-motion animation. Stop motion animation was almost used everywhere. Will Vinton created an animation studio that would produce the most iconic character today like the stop motion of Noid and the California Raisins made in clay for a commercial. These characters would become bigger than the brands they were to promote. “ Films such as Star Wars, Empire Strikes Back, Dragon Slayer, and Robocop would be filled with stop-motion visual effects to the point that the lines between reality and the imagined were so well blurred, many people thought it just couldn’t get any
During the nineteen twenties films were becoming more popular, creating five major studios and three minor studios (“Films History of The 1920s.”) The five major studios, some of which are still around today, were: Warner Brothers, Paramount Pictures (originally named Famous players), Mutual Film Corporation, Metro-Goldwyn-Mayer, and Fox Film Corporation. Warner Bros. Pictures, incorporated in 1923 by the brothers (Jack, Harry, Albert, and Sam); the studio's first principal asset was Rin Tin Tin. MGM, first named Metro-Goldwyn Pictures - in 1924 formed from the merger of Metro Pictures (1915), Samuel Goldwyn Picture Corporation (1917), and the Louis B. Mayer Pictures Company (1918).
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.
Hollywood has always been considered as one of the crown jewels of the entertainment industry. A true powerhouse of western cinema with a myriad of productions, each successful in the art of storytelling, and the maker of numerous directors, producers, writers and actors. With a reputation such as that, it’s no surprise that Hollywood is not only a symbol of success but also a beacon of hope for any aspiring newcomer.
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.
Hollywood has for over twenty-eight years created and supplied products associated with movies to all main film studios, leisure and entertainment industries. The most revered clients recognized in the entire world include Disney, Paramount, Colombia, 20th Century Fox, Warner Bros and Universal among others. For this basis, the greater part of the actors all over the world wants to labor and make a living in Hollywood. The exceptional and distinctive characters have their own customs, beliefs and cultures which aid them to pursue fame and fortune in this Dream Factory. Every talented person desires this American dream. There are numerous prospects that make life better and in Hollywood, t...
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
The American motion picture studio was formed in 1912 by Carl Laemmle who was a film exhibitor, and producer. The studio started off creating low budget films, until it was purchased by the Music Corporation of America, which formed it into the most profitable and largest company for films and television in the world.
Computer Generated Imagery began with awkward and dull effects in the early 1980’s. The 1982 film “Tron” was a desperate attempt from Disney to jump on the CGI bandwagon and start a revolution in film making technologies (imdb.com). Although this film showed an attempt at something that had never been done before in the history of cinematics, it was weird and confusing. This broke the door down for other companies to start up and aid films in creating better and better effects that appealed to a larger market. Although the effects were not good in the early days, the general film going public was astonished by computer generated effects and flocked to the theaters to see these cheesy attempts to use basic technology that did not transfer well to the silver screen. It was not until later films like “Jurassic Park,” “Toy Story,” and “The Lord of the Rings” until CGI became a film making powerhouse and the killer application for high budget movies.
The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.