From 1930 to 1935 films is Hollywood developed and changed quite drastically, musicals in particular. In 1934 Hollywood’s Chief Censor Will Hays adopted a code and began to enforce it in 1934. The code was referred to as the Hays code and it controlled the content of which films were allowed, or not allowed, to release to a public audience. Prior to this time the was a large gray area on what was being released. Gold Diggers of 1933 was one of these films; when compared to Top Hat of 1935 the censorship and differences are quite clear.
When Looking at Gold Diggers of 1933 we have our dual-structure format with the characters being a group of showgirls faced with unemployment and the difficulties of the depression, and there director trying to keep the show going but a lack of funding is stopping him. A group of upper class men trying to stop a marriage from one of their brothers marrying one of the showgirls gets thrown into the mix, but coincidently fall in love themselves with the showgirls. So essentially there’s a battle between the perfect love but the barriers between arist...
The Public Enemy is a gangster film and it had a dangerous lifestyle. Last, but not least, is Gold Diggers of 1933 and it is a pretty happy film. These films all had one thing in common though; the characters all had problems with money, which greatly relates to the Great Depression. Room Service was released in 1938 and it starred the Marx brothers and Lucille Ball. It is an RKO production comedy film and the director was William Seiter.
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...
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
The 1920s was a time of conservatism and it was a time of great social change. From the world of fashion to the world of politics, forces clashed to produce the most explosive decade of the century. It was the age of prohibition, it was the age of prosperity, and it was the age of downfall.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
Web. 30 Apr. 2014. Sharot, Stephen. "The 'New Woman', Star Personas, And Cross-Class Romance Films in 1920s America.
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene from a long shot (a dead body is found floating in a pool), this narrative throughout the film establishes a formalist film.
After four hard years of fighting, Canadians celebrated the end of the Great War. Many returned to the country early in 1919, only to be brought down by the lack of employment and other disappointments. However, slowly, good times returned back to Canada, as the country ushered into a new era known as the “Roaring Twenties”. Many Canadians participated in the good life as the wealthy, as well as average families had more money to spend. Economic prosperity and technological advances brought Canadians pleasure to their lives. Canadians tuned in to their radios, used the automobile, cheered for their home sports teams, followed new fashion trends, listened to the same music and did the same dances. In addition, the 1920s marked the growth of movies as Canadians packed theatres to watch their favourite stars. The 1920s were one of the most important and revolutionary times for the film industry.
Gilmour, Heather. “Journal of Film and Video.” Different, except in a Different way: Marriage, Divorce, and Gender in the Hollywood Comedy of Remarriage. Chicago: University of Illinois Press, 1998. 26 – 39. Print.
The 1940s changed through just about everything: war, technology, and presidents. After the great depression in the 1920s the American Dream went in a new direction and began the postmodernist era. The American Dream in the 1950s was different from the American Dream in the 1940s because of the culture and by many factors throughout the twenty year span like government, technology, war, and women's rights.
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.
Before the Second World War began Hollywood’s purpose lied within entertainment for the American people. After the war started, the main focus shifted to wartime propaganda. Film was used to display the war in a way that did not show its true colors—including the censorship of soldier causalities and other negative connotations that are a simple fact of war. There was even a time in which some actors became better known to America than politians. Through films, Hollywood began to make a statement of their anti-Nazi beliefs. They began to make motion pictures for American recruitment into the Army as well as many that supported the war effort, and intended to make other Americans more aware of the war’s effect on the United States, and how people can get involved. Many European countries banned these Hollywood films, as they began to affect not only America but many other countries that were involved in the war as well.
The 1920s were known as carefree and relaxed. The decade after the war was one of improvement for many Americans. Industries were still standing in America; they were actually richer and more powerful than before World War I. So what was so different in the 1930’s? The Great Depression replaced those carefree years into ones of turmoil and despair.
With women’s new found sexual independence came film’s focus on women’s sexuality. Even though the Motion Picture Production Code was created in 1927 and the Hays Office opened in 1930 for the purposes of self-censorship, it wasn’t strictly enforced until 1934 . The production code itself allowed more of a woman’s body to be seen than a man’s. The movie’s focus is on the beautiful chorus girls who wear shorts and dance around. During the casting scene, Julian Marsh wants to see the women’s legs so he can decide if they are beautiful enough to be in the chorus. In fact, one of the promotional posters for this movie highlights the legs of the chorus
There are many elements of film musicals, which are present in typical Hollywood, and Broadway musicals. For example the synchronized dancing can be seen in many musicals such as 'Seven Brides for Seven Brothers' and 'Cabaret'. The musical films are a development from the dance halls and silent movies and became very popular in the 1930's. This popularity remained until the television boom in the 70's and 80's, and also due to the fact that more realistic films were being released and people saw the films as unrealistic and fantastical.