Outline the main changes the paramount decree effected on the structure of the American film industry and discuss the measures the ex-studios took to remain in control of the film market. The period of the 1920’s to 1950’s where known as the studio era in Hollywood. A few major companies monopolized the industry through vertical integration when the film companies controlled all production distribution and exhibition. The majors determined which movies were shown in which theatres, choosing their own over others. The theatres were often palaces, about spectacle and a night out more than the movie itself. Marcus Loew said , “we sell tickets to theatres, not movies” (pg 113 , Hollywood cinema, Maltby R, 2003). The majors forced independent theatres into block booking their movies. If they wanted to purchase an individual movie from the producers they had to buy them in blocks, which often included some low budget and less popular movies. “The system worked in the distributors best interest by ensuring a wider distribution for lower budget movies and preventing independent exhibitors from buying only the most successful product”, (124, Hollywood cinema, Maltby R, 2003). The Paramount decree was passed in 1948 when the US supreme court ruled that the Hollywood majors control over distribution and exhibition of its product constituted an illegal monopoly and ruled that production and distribution be separated from the exhibition of movies. It marked the end of the studio era and the beginning of decades of changes in the industry made in order for the ex-studios to remain in control of the film market. After the paramount decree the Big Five studios , Twentieth century fox, MGM, Paramount, Warner Bros and RKO, were forced to sell off their theatre chains. The biggest problem the studios faced was that “the theatres had contributed more to profits than either production of distribution- production, of course, can only become a profitable activity as a result of distribution and exhibition” (pg7 Hillier J , 1992, The New Hollywood). Changes had to be made in order to make distribution of productions profitable. The studio system worked on permanent studio facilities with a highly paid roster of stars and an extensive payroll of technicians and staff. It soon became clear th... ... middle of paper ... ... The Sequel was often more expensive and less successful than its predecessor but provided a guaranteed profit. Studios recognized that outside their regular audiences most cinema goers did so only two or three times a year. These groups were often families attending during holidays , like Christmas, Easter or during the summer. Studios began releasing ‘event movies’. Big budget blockbusters, with promotional hype around them. The studios moved with the times and survived the Paramount decision. What had seemed a devastating blow at the time was accompanied by a huge drop in audience numbers with the advent of television and the population migration to the suburbs. The majors restructured, and were able to adapt in order to fit in with the changing times and remain profitable. “the overall changes which came in the wake of the consent decrees and other factors amounted essentially to a restructuring rather than a revolution and allowed the majors to retain command of the market.” (pg9 Hillier J , 1992, The New Hollywood). Its has been a long process of integration into the more diverse leisure industry we enjoy today.
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.
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...
The research question that will be evaluated is, to what extent was the Catholic Church the leading establishment to alter production policies in Hollywood during the great depression? While the Great Depression was a time of grief, it was additionally an era of new opportunities. The institution of Hollywood and the Catholic Church were two separate entities during the Great Depression. The two institutions disagreed on how society should conduct itself, through the means of entertainment. However, arguably, the Catholic Church wasn’t the only organization that altered the ethics of Hollywood. The time period that will be evaluated will be from the late 1920s to the late 1930s, seeing how Hollywood was reformed during that time period. The research question should be sufficiently answered by finding in depth information through articles and studies on the two separate entities, and other possible influences during this particular era. Also, by analyzing the effects of the institution’s individual contributions on society itself, there will be added evidence to the research question.
explode in popularity and the introduction of theaters specifically for film. Firstly, amid the circuses, the wild...
As can be seen in exhibit to solution 2, we have estimated the per-film value of each production company. MCA Universal, Warner Brothers and Walt Disney Co are the only production companies that provide a positive per film value, with values of 9.89, 1.92, 12.56 million respectively. This value is calculated by dividing the net present value of all the movies by the total number of movies. We also calculated the average value of each production company based upon their share of the total number of movies produced. The companies with positive values were MCA Universal, Warner Brothers and Walt Disney Co is also the only production companies that provide a positive per film value, with values of 1.40, 0.37, 1.40 million respectively. These values are based on the average value per film multiplied by the company's average share of the industry.
In Hollywood political conflict was also paving the way for what would later occur in Hollywood as the HUAC would attack the industry. Big business controlled the lucrative industry and the companies that controlled the market were eight major studios in Hollywood. The Metro-Goldw...
Describe some ways in which business values and artistic values in Hollywood contend with one another.
...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).
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
...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.
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...
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.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
...rding to the US Economic Census, motion picture and video production in the United States as a whole generated revenues of $20.15 billion in 1997, with Hollywood alone being responsible for close to 60% of this total.” (US Census) Hollywood’s success has come with no great competition to push for more, and with the emergence of film globalization, it should be very interesting going forth seeing if they can maintain the ideal motion picture headquarters. Its unique pool of talent drawn from many different countries cultural impact of Hollywood films is now felt in all parts of the world.
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.