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Destry Rides Again, Mr Smith Goes to Washington, and the Fall of the Hollywood Studio System
Thomas Schatz cites the 1950’s as the inevitable end of the Hollywood film studio system, with the signs appearing as early as the height of the second World War (472). However, the seeds of discontent and disintegration within the system were apparent as soon as the late 1930’s, exemplified in such films as Destry Rides Again (1939, George Marshall) and Mr. Smith Goes To Washington (1939, Frank Capra). The production of these two films and the paths down which they led their star (James Stewart), directors (at least Frank Capra), and studios (Universal and Columbia, respectively) are evidence of the decline of the studio system. The haphazard production of Destry Rides Again and its subsequent success (financially, but not as an enduring classic film) are indicative of a system eating itself alive: so intent on the production of film after film made with almost the same crews and casts that lasting meaning had been all but completely forgotten in favor of financial success and power within the system. This also demonstrates the decline of the fascist executive order of the studios in favor of the hard work and devotion of those directly involved on the film set as well as the increasingly important role of the talent agent as the intermediary between the talent and the studios. Frank Capra’s eventually freelance auteurship, in the wake of David O. Selznick and his “independent” film productions, particularly evident in the production of Mr. Smith Goes To Washington, was a notable indicator of the studios’ impending loss of power (Schatz 407). These and other independent and freelance artists (such as Alfred Hitchcock and Fritz Lang)...
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...gton, 11 October 1939”. Variety: A Sixteen Volume Set. New York and London: Garland Publishing, Inc. 1983
Nachbar, Jack (ed). Focus on the Western. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. 1974: 132
Newman, Kim. Wild West Movies or How the West was Found, Won, Lost, Lied About, Filmed and Forgotten. London: Bloomsbury. 1990: 135
Nugent, Frank S. “Destry Rides Again, 2 December 1939”. The New York Times Film Reviews. New York: The New York Times and Arno Press. 1970
Nugent, Frank S. “Mr. Smith Goes To Washington, 20 October 1939”. The New York Times Film Reviews. New York: The New York Times and Arno Press. 1970
Schatz, Thomas. The Genius of the System. New York: Metropolitan Books. 1988: 235-251
Wright, William. Six Guns and Society: A Structural Study of the Western. Berkeley, Los Angeles, London: University of California Press. 1975: 48
McMurtry, Larry. 2005. Oh What a Slaughter: Massacres in the American West: 1846-1890. 10th Ed. New York, NY: Simon and Schuster.
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...
Gunther, G. (1991). Constitutional Law. Twelfth Edition. New York: The Foundation Press, Inc. pp. 1154-1161.
Tompkins, Jane. West of Everything: The Inner Life of Westerns. New York: Oxford University Press, 1992.
Mortimer Chambers, Barbara Hanawalt, Theodore K. Rabb, Isser Woloch, Raymond Grew, and Lisa Tiersten, The Western Experience, Ninth Edition (Boston: McGraw-Hill, 2006).
The study of children’s theory of mind has grown tremendously attractive to many developmental psychologists in the past few decades. The reason for this being because having a theory of mind is one of the quintessential skills that define us as being human and because having this ability plays a major role in our social functioning. To have a theory of mind is to be able to reflect on the categorical contents of one’s own mind, such as dreams, memories, imaginations, and beliefs, which all provide a basic foundation to understand how someone else may think and why they may behave in the manner that they do (Bjorklund, p.199). It is the development of one’s concepts of mental activity; their ability to understand that they think things that others do not and that their thoughts are theirs alone, as well as understanding that other peoples’ minds work in the same way, in which they too, have their own individual thoughts. Our theory of mind grants us ability to navigate our personal and social world by explaining past behavior, and anticipating and predicting future actions (Moore & Frye, 1991).
... ed (BFI, 1990) we read … “contrary to all trendy journalism about the ‘New Hollywood’ and the imagined rise of artistic freedom in American films, the ‘New Hollywood’ remains as crass and commercial as the old…”
... idea of Parliamentary Sovereignty: The Controlling Factor of Legality in the British Constitution’ (2008) OJLS 709.
Since the beginning of time, humanity has been in search of a reliable weapon. They search for a gun that is dependable and successful. The .44 magnum and the .45 Colt share their differences with origins and prices, but also share similarities in uses. Both serving as great calibers, these bullets are great for the sporting man, the hunting man, or the common man.
Carter, Gregg. Guns in American Society: An Encyclopedia of History, Politics, Culture, and the Law. Santa Barbara, California: ABC-CLIO, 2012. Print.
Clara’s experience with the motion picture industry gives us a picture of what it was like in the 1920’s. It was new and intriguing, enticing and corrupt. The motion picture industry underpaid Bow, which is almost inconceivable today. The environment of Hollywood now pays actors and actresses corpulent amounts of money...but that may be the only change. The “star-maker” environment is still as enticing and corrupt as yesterday’s.
I will begin my essay by looking closely at the narrative of Sunset Boulevard to see where and how the film represents the Hollywood Studio System. At the beginning of the film the audience is introduced to Joe Gillis, a script writer who is struggling to pay his rent as he in unable to sell his scripts to the ‘majors’ of Hollywood. The film follows Joe to ‘Paramount Pictures’ one of the major studios in Hollywood, which the film pays a large self reference to as the producers of Sunset Boulevard as well as representing the studio system.
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’.
To understand how we are able to become such complex and multifaceted individuals, we must grasp the idea of cognitive development. Cognitive development is defined as “the ability to think and reason” (University of Chicago Comer Children's Hospital, 2006). The two main contributors of this topic within psychology, are Piaget and Vygotsky. They are also both the main competitors in terms of contrasting theories, however, do still have many similarities between them. Piaget’s main theories include stages of development; sensorimotor (senses, reflexes and object permanence) preoperational egocentric speech, use of
In the early 1950s the films of Douglas Sirk led the way in defining the emerging genre of the Hollywood melodrama. "Melodrama" strictly means the combination of music (melos) and drama, but the term is used to refer to the "popular romances that depicted a virtuous individual (usually a woman) or couple (usually lovers) victimized by repressive and inequitable social circumstances" (Schatz 222). Sirk's films were commercially successful and boosted the careers of stars like Lauren Bacall, Jane Wyman, and Rock Hudson, who was in seven of Sirk's thirteen American films (Halliday 162-171). Although critics in the fifties called the films "trivial" and "campy" and dismissed them as "tearjerkers" or "female weepies" (Schatz 224), critics in the seventies re-examined Sirk's work and developed an "academic respect for the genre" and declared that the films actually had "subversive relationship to the dominant ideology" (Klinger xii). Douglas Sirk's Magnificent Obsession (1954) and Imitation of Life (1959) are representative of the techniques melodramas used to address relevant fifties issues like class, gender, and race.