Journal articles: 'Hollywood'

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Kitamura, Hiroshi. "Hollywood's America, America's Hollywood." American Quarterly 58, no. 4 (2006): 1263–73. http://dx.doi.org/10.1353/aq.2007.0011.

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Berliner, Todd. "Hollywood Aesthetic." Projections 14, no. 2 (June 1, 2020): 48–55. http://dx.doi.org/10.3167/proj.2020.140204.

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Hollywood Aesthetic: Pleasure in American Cinema investigates the Hollywood film industry’s chief artistic accomplishment: providing aesthetic pleasure to mass audiences. Grounded in film history and supported by research in psychology and philosophical aesthetics, the book explains (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Hollywood Aesthetic addresses four fundamental components of Hollywood’s aesthetic design—narrative, style, ideology, and genre—aiming for a comprehensive appraisal of Hollywood cinema’s capacity to excite aesthetic pleasure. This article outlines the book’s main points and themes. As a précis, it is heavy on ideas and light on evidence, which is to be found in the book itself.

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Thabet, Andrea. "“From Sagebrush to Symphony”." Pacific Historical Review 89, no. 4 (2020): 557–99. http://dx.doi.org/10.1525/phr.2020.89.4.557.

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This article explores the founding of the Hollywood Bowl and the multiple visions of its founding generation, tracing the cultural negotiations they engaged in between 1918 and 1926. These aims included disseminating high culture to ordinary citizens, democratizing access to music, providing spiritual uplift, unifying Hollywood’s diverse populace, and offering legitimacy to Hollywood as an emerging symbol of the U.S. film industry. By 1926, the Hollywood Bowl that emerged from a contentious planning process reflected aspects of all of the founders’ goals, but did not entirely fulfill those of any one of them. I argue that, despite their disagreements, the Bowl’s founders believed that their collective cultural enterprise had the potential to encourage a sense of cohesion and community among Hollywood’s—and more generally Los Angeles’s—inhabitants. The Hollywood Bowl was the first of many large-scale efforts to give culture permanence in Los Angeles, and its success helped redefine its urban identity by replacing negative images of the region with a growing reputation as a noteworthy cultural metropolis.

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Lyu, Siyi. "Opportunities and Challenges: Hollywoodisation and Asian Cinema’s Ascent." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 848–52. http://dx.doi.org/10.54097/ehss.v23i.14121.

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With the drive towards globalisation, Hollywood has had a profound impact on Asian films, including their production methods, storytelling, and film presentation. This paper delves into the multilayered impact of Hollywood on Asian cinema, analysing its origins, consequences, and potential impact. In addition, this research examines the positive aspects of Hollywood's influence, such as raising the international profile of Asian cinema, fostering cross-cultural collaboration, and enriching global cinematic diversity. Simultaneously, it also discusses potential challenges, including the risk of cultural homogenisation and the impact of Hollywood's commercial hegemony on the local film industry. In short, the development of the Asian film industry under the influence of Hollywood is a complex story of opportunities and challenges. By actively embracing openness, innovation, and cultural diversity, Asian cinema can continue to play a unique role on the global stage, presenting engaging and diverse cinematic experiences.

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Wang, Youran. "An Analysis of the Development of Hollywood Science Fiction Films in Chinas Mainland Market in 2010s." Communications in Humanities Research 5, no. 1 (September 14, 2023): 196–200. http://dx.doi.org/10.54254/2753-7064/5/20230197.

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Hollywood science fiction movies have long been popular with audiences in the Chinese market, and even reached their peak before the outbreak of the Covid-19 pandemic. 2019 saw a record $4.25 billion box office for imported movies in Chinas mainland for Avengers IV: Endgame. However, after the 2019 epidemic, Hollywood movies are declining in the Chinese market. This paper attempts to provide a concise summary of the multifaceted social reasons behind the popularity of science fiction films, in order to find out the way to improve the current situation of Hollywoods science-fiction movies market in Chinas mainland. By investigating the literature, this paper analyzed the cause of the popularity of Hollywood science fiction films in China from 2010 to 2019, the analysis involves four aspects: politics, economy, society and technology. Through this analysis, it can be found that the popularity of Hollywood science fiction movies is closely related to those four macro factors.

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Palis, Eleni. "Uploading the Archive, Copy/Pasting the “Classical”." Frames Cinema Journal 19 (February 18, 2022): 301–7. http://dx.doi.org/10.15664/fcj.v19i0.2392.

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This video essay combines a series of fiction feature films, made between the late-1990s and 2010s, in which futuristic androids and robots trade in digitised classical Hollywood archival film fragments as pedagogical and expressive traces, amassing an amateur archive. I call these fragments “film quotations” to denote the process of selection, citation, and reappropriation in these film-within-a-film moments. In this video essay, Flubber (Mayfield, 1997), S1m0ne (Niccol, 2002), Teknolust (Leeson, 2002), WALL-E (Stanton, 2008), and Prometheus (Scott, 2012) all “quote” classical Hollywood films, in the form of short excerpts of sound and image, projecting (or uploading?) Hollywood’s archival past onto their imagined versions of the future. As this cohort of robots explore and amass personal visual archives, mining Hollywood history for meaning and mimicry, their viewership reveals several interrelated classical Hollywood ideologies and biases: the robot-amassed archives replicate hyper-traditional behaviour, both in conforming to strict copyright rules and in depictions of gender, sexuality, and monogamy. While only Teknolust self-consciously and critically replicates hegemonic, heternormative media logics, this essay seeks to reveal how these robots’ sensorial experience of the archive select and project a misleading selection of history into the future. While touting a paradoxically easy-to-access Hollywood history, these robots cling to a tightly limited, licensed, entirely white and compulsorily cis-het digitised Hollywood archive.

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Viljoen, Jeanne-Marie. "Re-forming Hollywood's imagination: beyond the box office and into the boardroom." Image & Text, no. 36 (May 5, 2022): 1–17. http://dx.doi.org/10.17159/2617-3255/2022/n36a2.

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Despite the commercial success of Black Panther (Coogler 2018) and its ostensible achievement of making Hollywood more representative of black people and "their" narratives, the film is limited in terms of the progress on inclusion it can achieve. This is because, as a Hollywood superhero film, its success is predicated upon perpetuating the colonisation of the imagination of its (still largely white) spectators and it does not represent black people on their own terms. A close focus on form exposes the film as retaining the spectacular and action-orientated visual language of Hollywood that engenders cinema as fundamentally voyeuristic and imperial. In this way, a close examination of Black Panther supports the examination of limits of what the commercial structure of an industry established upon the colonial gaze of spectacle is currently able to produce. This paper goes further and also argues that decolonisation in cinema should involve a more radical confrontation of Hollywood aesthetics and the formal language of Hollywood's gaze itself, so that the embodied visual languages of global cinema and New Black cinema may be more widely employed to reveal the world of those colonised by Hollywood as materially different, on their own terms. It is only by going beyond the success of films like Black Panther in the box office and through a radical investigation of form and haptic visuality that the considerably unequal structure of the Hollywood boardroom - which produces such films in the first place - may be transformed.

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Gates, Racquel. "SUBVERTING HOLLYWOOD FROM THE INSIDE OUT." Film Quarterly 68, no. 1 (2014): 9–21. http://dx.doi.org/10.1525/fq.2014.68.1.9.

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This article examines the production of Watermelon Man (1970), director Melvin Van Peebles’s only Hollywood film. While the film is often overlooked in scholarly circles in favor of Van Peebles’s more famous Sweet Sweetback’s Baadasssss Song (1971), Watermelon Man demonstrates that degree to which Van Peebles was able to produce a film that was aesthetically and narratively subversive in spite of the studio’s attempts to turn the film into a standard, mainstream comedy. Further, combining historical and theoretical approaches, including details about the film’s production from Van Peebles himself, the article contends that the film provides a link between the worlds of Hollywood and black independent film production. Finally, the article explores the ways that Van Peebles uses conventions of Hollywood filmmaking, including racial stereotypes, to criticize mainstream America’s own racism and Hollywood’s role in maintaining it.

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Moon, Hwy-Chang, Wenyan Yin, and Feihu Zheng. "Revitalising the Chinese Film Industry through Internationalisation and Interplay with Hollywood Films." China: An International Journal 21, no. 3 (August 2023): 105–28. http://dx.doi.org/10.56159/chn.2023.a904729.

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Abstract: Previous studies have emphasised mainly the competitive relationship and the resistance of host governments to the expansion of foreign firms in the film industry. Adopting the competitiveness approach, this article, by contrast, analyses how internationalisation has enhanced the competitiveness of China's film industry. It shows that Chinese filmmakers leverage Hollywood's resources via three channels of internationalisation—trade, foreign direct investment and international co-productions. The enhanced competitiveness of China's film industry serves as the foundation for its bargaining power vis-à-vis Hollywood, enabling China to respond more effectively to Hollywood's expansion into its film market. However, the Chinese government's recent tightening of censorship on film production has negatively affected the sustainable relationship between China and Hollywood and hinders China's pursuit of achieving global appeal for Chinese films.

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Tanaka, Melis, and J. A. Wempi. "Hegemoni Hollywood Pada Film American Sniper." Jurnal Komunikasi Global 8, no. 1 (July 29, 2019): 17–37. http://dx.doi.org/10.24815/jkg.v8i1.13523.

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Most movies shown in Indonesian cinemas are Hollywood movies. From existing genres, war movies tend to be used by Hollywood to spread their hegemonic practices. American Sniper, which was released in 2014, is one of the examples. The heroic scene acted by the main lead persuades the audience that America has a hero involved in Navy SEALs. This study was qualitative research using a critical paradigm. Hollywood’s hegemony in the film American Sniper (2014) could be understood by elaborating the three dimensions of Critical Discourse Analysis by Norman Fairclough, along with the theory of hegemony by Antonio Gramsci. The result of the research shows that in microanalysis, there are universal and idealist elements such as patriotism, nationalism, and loyalty. Meso analysis found that PT. Omega Film is a registered distributor of Film Censorship Institute (LSF) as part of the Political Society, according to Gramsci, which plays a significant role in the distribution of Hollywood films in Indonesia. Based on the macro analysis, the American Sniper (2014) film is one of the hegemonic practices of Hollywood in the era of neo-conservative that contains American centric.

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Kim, Minjeong, and Rachelle J. Brunn-Bevel. "Hollywood’s Global Expansion and Racialized Film Industry." Humanity & Society 44, no. 1 (April 1, 2019): 37–66. http://dx.doi.org/10.1177/0160597619832045.

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A theory on the political economy of image production argues that the U.S. film industry, namely, Hollywood, prioritizes financial considerations over racial justice or political correctness. Decisions made in the production and marketing processes are to minimize financial risks, but they often limit the representation of racial–ethnic minority filmmakers and actors. At the same time, Hollywood incorporates foreign-born directors and actors to reach international audiences. This article assesses how Hollywood’s “going global” impacts local racial–ethnic minority politics in the U.S. film business. As a part of a larger study examining the 100 top-grossing films in the United States from 1995 to 2014, we closely examine films where racial–ethnic minorities comprise the majority of the cast or films where minorities are the lead actors. We argue that the incorporation of foreign-born directors and actors undermines U.S. racial–ethnic minority filmmakers’ efforts to tell cinematic narratives from a critical perspective. Also, Hollywood fails to promote black films and black actors based on the assumption that they cannot appeal to international audiences, but our findings illustrate that black films directed by black directors perform well domestically and they show great potential with more support from Hollywood.

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Rasmus, Agnieszka. "Hollywood remakes of British films: A case of cross-pollination." Journal of Adaptation in Film & Performance 14, no. 1 (March 1, 2021): 53–63. http://dx.doi.org/10.1386/jafp_00042_1.

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This article is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence in the original works. The article focuses on genre and casting in a selection of British films from the 1960s/70s and then their Hollywood remakes in the new millennium as an example of such cross-pollination with remakes and their originals seen as hybrid works existing between two cultures and film traditions that can be accessed from both directions.

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Pollard, Tom. "Hollywood’s Asian-Pacific Pivot: Stereotypes, Xenophobia, and Racism." Perspectives on Global Development and Technology 16, no. 1-3 (April 7, 2017): 131–44. http://dx.doi.org/10.1163/15691497-12341424.

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The Obama administration plans a “pivot” to the Asian-Pacific area, both in terms of military deployment and trade agreements. At the same time, Americans often view Asians through negative stereotypes while they express fear and distrust of Asian-Pacific institutions, including governments. These prejudices become readily apparent when one examines recent Hollywood films depicting Asian countries, including Asian intelligence agencies, corporations, and military forces. Hollywood’s depiction of Asians and Pacific Islanders often finds expression through stereotypes, xenophobia, and, on occasion, blatant racism. The following article analyzes recent Hollywood movies with Asia-Pacific settings in terms of themes, characters, and depictions of institutions.

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Jerbi, Syrine, and Eva Eszter Szabo. "From Vilification to Celebration: Arab American Comedians and Their Alternative Representations of Arabs and Muslims in Hollywood." International Journal of Arts, Humanities & Social Science 04, no. 08 (August 9, 2023): 29–37. http://dx.doi.org/10.56734/ijahss.v4n8a4.

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This article explores how Arab American comedians use humor and satire to challenge and subvert Hollywood’s negative stereotypes and portrayals of Arabs and Muslims. Drawing on the theory of Jack Shaheen, who analyzed and contested Arab and Muslim stereotypes in American media, the article uses qualitative content analysis to examine stand-up shows, films, and television series featuring Arab American comedians and other ethnic comedians in Hollywood. The article identifies common misconceptions and stereotypes, examines the techniques of humor and satire, and compares the impact of Arab American comedy with that of other ethnic comedies. The article argues that Arab American comedians successfully challenge Hollywood’s stereotypes and create alternative representations that celebrate their identity, culture, and diversity. The article contributes to existing literature on humor, satire, representation, stereotyping, resistance, empowerment, identity, culture, diversity, Arab Americans, Muslims, Hollywood, and the media.

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Hu, Brian. "Make a copy, pass it on: The Ring Two and the Ghost of Verbinski." Horror Studies 1, no. 2 (November 1, 2010): 253–63. http://dx.doi.org/10.1386/host.1.2.253_1.

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As a Hollywood production helmed by Japanese director Hideo Nakata, The Ring Two upsets categories like remake and sequel. Running below the sinuous narrative and generic entanglements of adaptation, translation, and sequelization is a pattern of shifting authorship. By analyzing the discourse of authorship in industrial texts such as trade journals, newspaper articles, press kits, and DVD featurettes, this article argues that the logic of shifting authorship reflects Hollywood's flexible accumulation of international content and labor. The fetish of the original, discussed and reinterpreted continuously in each subsequent installment of the Ringu/Ring franchise, becomes the basis for self-mythologizing and justification for Hollywood's new international division of cultural labor. Under these circumstances, Nakata's auteur status serves as (multi)cultural capital, while his labor serves to ventriloquize Hollywood horror conventions and the style of director Gore Verbinski, whose presence continues to haunt the franchise as it is further passed along.

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Armando, Ade, Nina Mutmainnah, and Hendar Putranto. "Class Bias in Indonesian’s Post-Reformation Film Revival." Jurnal Komunikasi: Malaysian Journal of Communication 40, no. 2 (June 30, 2024): 43–60. http://dx.doi.org/10.17576/jkmjc-2024-4002-03.

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This paper describes how the Indonesian film industry has experienced a revival to counter Hollywood dominance since the beginning of the Reformation Era in the 2000s. However, conditions that hinder the growth of the Indonesian film industry are mainly due to the concentration of movie theatres and film screens in big cities. Indonesian films are predominantly consumed by groups from the upper socioeconomic levels and ignored by the middle and lower economic strata. This article seeks to portray whether the movement against Hollywood dominance would be effective if Indonesian films were only directed at this particular audience segment. To analyse the development of the Indonesian film industry in the post-reformation era (2000-current), the authors used a nationwide survey from Saiful Mujani Research and Consulting, conducted from August 31 to September 9, 2019, shortly before the COVID-19 Pandemic hit globally. To corroborate the survey's findings, the authors also distributed a closed questionnaire to 100 students at Undergraduate Program in Communication, Universitas Indonesia, and followed this with in-depth interviews with several students. The authors seek to study the revival of Indonesian films despite the decade-long dominance of Hollywood films and, recently, South Korean films. The research question proposed in this paper is: Can Indonesia break away from Hollywood's dominance? For this reason, this research focuses on the availability and modality of Indonesian market-targeted millennial and post-millennial film audiences to support the revival of the national film industry to compete with the dominance of Hollywood films. Keywords: Class bias, Indonesian films’ revival, taste culture, movie theaters, Hollywood films.

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Shephard, William H. "Hollywood." Anthropology and Humanism Quarterly 13, no. 3 (October 1988): 76–77. http://dx.doi.org/10.1525/ahu.1988.13.3.101.

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Govil, Nitin. "Hollywood." BioScope: South Asian Screen Studies 12, no. 1-2 (June 2021): 98–101. http://dx.doi.org/10.1177/09749276211026070.

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Ryan, Kevin J. "Hollywood." Iowa Review 17, no. 3 (October 1987): 118–25. http://dx.doi.org/10.17077/0021-065x.3574.

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Shephard, William H. "Hollywood." Anthropology Humanism Quarterly 13, no. 3 (October 1988): 76–77. http://dx.doi.org/10.1525/ahu.1988.13.3.76.4.

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Viner, Chris. "Hollywood." North Dakota Quarterly 91, no. 1-2 (March 2024): 38–46. http://dx.doi.org/10.1353/ndq.2024.a928257.

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Peng, James. "Will There be Another Hollywood Golden Age?" Lecture Notes in Education Psychology and Public Media 1, no. 1 (December 26, 2021): 275–79. http://dx.doi.org/10.54254/lnep.iceipi.2021220.

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After the end of Hollywoods second golden age, the film industry has fallen into a cycle that lacks creativity; it is often argued whether there will be another golden age. A film golden age often refers to a time period where Hollywood movies are seen as the most important part of popular culture and directors have a huge amount of creative freedom. Although the first two golden ages were caused by seemingly different reasons, the events that lead to their occurrence share many similarities, creating a possibility of another golden age.

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Tsabitah, Mutiara, Nathanael Jusac Lie, and Rizqi Magdawati Nur Izzizti. "Cultural Global Hegemony and Globalization: Hollywood’s LGBTQ+ Impacts in Asian Film Industry." Soshum: Jurnal Sosial dan Humaniora 12, no. 1 (March 29, 2022): 34–43. http://dx.doi.org/10.31940/soshum.v12i1.34-43.

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t is indisputable that globalization provides a vast space for various aspects of the world to continue developing and connecting. Through this, culture, as one of the aspects most affected by the times and technological advances, is the main focus of hegemonic companies such as Hollywood to expand their work, especially in cinema. This paper attempts to explain the impact of globalization on cultural hegemony in Asian countries due to the widespread influence of the film industry from Hollywood, especially the LGBTQ+ genre. The film industry in Asia has undergone many transformations over time since the impact of Hollywood's hegemony. Asia itself is a country that carries a very different culture from Western culture. This paper then explains this phenomenon using a qualitative research method based on observation of case studies per country, such as Japan, South Korea, and Indonesia. Through this method, this paper has concluded how the influence of American Culture through its film industry as a form of dominant culture has affected the film industry in Asia (Japan, Korea, and Indonesia). Thus, providing arguments of similarities in the elements of LGBTQ+ by films produced by Hollywood and the film industry in Asia.

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Saputra, Muhammad Irawan, and Dewanto Putra fajar. "The Image of Islam in Ms Marvel Series: An Analysis of Reception among Indonesian Muslim Audiences." Jurnal Komunikasi Islam 13, no. 01 (June 1, 2023): 50–74. http://dx.doi.org/10.15642/jki.2023.13.01.50-74.

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The issue of Islamophobia has become a major concern of discussions, including regarding the representation of Muslims in Hollywood films, where Muslim characters are often portrayed as terrorists or perpetrators of violence. However, recently several Hollywood films are trying to create positive representations of Islam and Muslims, for example Ms Marvel film series, which features a Muslim superhero. This study aims to examine how Muslim audiences in Indonesia interpret the depiction of Islam in the Ms Marvel film series. The reception analysis is used to observe phenomena related to audience interpretation. The findings have illustrated that the Muslim audience tends to take exact acceptance of Hollywood's depiction of how Muslims dress in this film, which is called a dominant hegemonic position. However, some respondents have the opposite acceptance position and the negotiated position as well.

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Hu, Bonny Tan Xuan. "Research on the Influence of War on Film Art Taking Casablanca During World War II as an Example." Communications in Humanities Research 14, no. 1 (November 20, 2023): 106–10. http://dx.doi.org/10.54254/2753-7064/14/20230418.

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The monumental events of World War II deeply impacted numerous spheres of human life, including Hollywood cinema. This paper delves into the influence of WWII on Hollywoods thematic and narrative shifts, using the iconic film Casablanca (1942) as its focal point. Released amidst the wars tumult, Casablanca seamlessly blends a distinct love story with contemporary political dynamics, exemplifying Hollywoods adaptive response to wartime conditions. Through meticulous examination of Casablanca, this study gleans insights into Hollywoods filmmaking choices and content transformation against the wars backdrop, drawing from varied sources such as film archives, governmental records, and industry reports. This exploration vividly highlights the lasting impact of the war on cinema, positioning Casablanca as a paragon of the synergy between cinematic art and wartime politics.

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Lighthart, Alyson. "Hollywood Geology." Journal of Geoscience Education 48, no. 5 (November 2000): 601. http://dx.doi.org/10.5408/1089-9995-48.5.601.

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Goldleaf. "Hollywood Nights." F. Scott Fitzgerald Review 13, no. 1 (2015): 273. http://dx.doi.org/10.5325/fscotfitzrevi.13.1.0273.

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Cook, Rita. "Hollywood Shorts." Afterimage 29, no. 1 (July 2001): 4. http://dx.doi.org/10.1525/aft.2001.29.1.4.

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Skoller, Jeffrey. "Beyond Hollywood." Afterimage 34, no. 5 (March 2007): 2–3. http://dx.doi.org/10.1525/aft.2007.34.5.2.

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Jensen, Jake. "Hollywood Blackout." Texas A&M Journal of Property Law 3, no. 2 (March 2016): 147–72. http://dx.doi.org/10.37419/jpl.v3.i2.3.

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This Article will focus on particular emerging copyright laws and their effect on the film industry. Section II will begin with a brief overview of the film industry as well as a brief discussion of the reasons people watch films. The Section will then proceed with a discussion on the importance of filming locations, as well as how the industry has changed in its perception of filming locations. Section III will detail what the current copyright law is, as well as exceptions the courts have used in determining copyright infringement. Section IV will then describe the Freedom of Panorama laws that many countries have enacted to help filmmakers and other industries avoid copyright infringement. The Section will also detail the new copyright laws discussed around the world in addition to what these new laws mean for Hollywood and independent filmmakers. Finally, Section V will propose a solution to these new copyright laws that will be equally beneficial to both the copyright owners and the film industry. The solution calls for a heightened and more descriptive de minimis requirement that creates a more element-based approach as opposed to the factorbased approach used now.

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Medina Rodríguez, Sandra. "From Hollywood." Neuróptica, no. 2 (May 17, 2021): 95–116. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025421.

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Resumen: En el presente artículo se analizarán las versiones cinematográficas realizadas a partir de los cómics del guionista de historietas inglés Alan Moore (Northampton, 1953). Hasta la fecha, cuatro han sido las novelas gráficas de Moore que han sido llevadas a la pantalla: From Hell, La liga de los hombres extraordinarios, V de Vendetta y Watchmen. Asimismo, el eje de atención se centrará en las modificaciones propuestas por estos filmes, que han distorsionado y alterado la esencia y el mensaje profundo que originariamente contienen las obras de Moore. Abstract: In this article we will analyze the film versions made from the comics of the english comic writer Alan Moore (1953, Northampton). To date, four have been Moore's graphic novels brought to the screen: From Hell, The League of Extraordinary Gentlemen, V for Vendetta and Watchmen. In our study we will identify the modifications in these films that have distorted and altered the essence and profound message contained in Moore's works.

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McElroy, Patricia. "Hollywood Shuffle." Teaching Sociology 17, no. 1 (January 1989): 124. http://dx.doi.org/10.2307/1317966.

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Barrack, Jack. "Hollywood Extra." Grand Street 4, no. 2 (1985): 200. http://dx.doi.org/10.2307/25006715.

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Otero, Manuel Ramos, and Gregory Kolovakos. "Hollywood Memorabilia." Callaloo 15, no. 4 (1992): 973. http://dx.doi.org/10.2307/2931914.

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Lyons, J. "Global Hollywood." Screen 44, no. 2 (June 1, 2003): 240–45. http://dx.doi.org/10.1093/screen/44.2.240-a.

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Sklar, Robert, and Justine Brown. "Hollywood Utopia." Labour / Le Travail 53 (2004): 294. http://dx.doi.org/10.2307/25149470.

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Bloom, James D. "Hollywood Intellect." Canadian Review of American Studies 34, no. 3 (December 31, 2004): 233–48. http://dx.doi.org/10.3138/cras-s034-03-02.

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Marchetti, Gina. "Hollywood Taiwan." Film International 2, no. 6 (November 2004): 42–51. http://dx.doi.org/10.1386/fiin.2.6.42.

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ORTNER, Sherry B. "Against Hollywood." HAU: Journal of Ethnographic Theory 2, no. 2 (September 2012): 1–21. http://dx.doi.org/10.14318/hau2.2.002.

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Yeoman, Ian. "Hollywood beckons…" Journal of Revenue and Pricing Management 14, no. 2 (March 2015): 71. http://dx.doi.org/10.1057/rpm.2015.12.

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Frank, Stephanie. "Claiming Hollywood." Journal of Urban History 38, no. 1 (January 2012): 71–88. http://dx.doi.org/10.1177/0096144211420643.

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Sutton, Matthew Avery. "Hollywood Religion." Historically Speaking 9, no. 3 (2008): 29–31. http://dx.doi.org/10.1353/hsp.2008.0102.

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Perkowitz, Sidney. "Hollywood physics." Physics World 19, no. 7 (July 2006): 18–23. http://dx.doi.org/10.1088/2058-7058/19/7/31.

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Simmon, Scott. "Beyond Hollywood." Boom 1, no. 4 (2011): 69–75. http://dx.doi.org/10.1525/boom.2011.1.4.69.

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California’s forgotten movie heritage is on view in the National Film Preservation Foundation’s Treasures 5: The West, 1898-1938 DVD set. Included among the 40 films are such fictional ones as The Sergeant (1910, the first surviving narrative film shot in Yosemite), Salomy Jane (1914, from the San Francisco-based California Motion Picture Corp.) and Over Silent Paths (1910, shot in the San Fernando Valley when it was still a desert). Even more revealing are the nonfiction types, including Romance of Water (1931, from the L.A. Department of Water and Power), Sunshine Gatherers (1921, from Del Monte), and two 1916 travelogues that document the beginning of auto tourism: Seeing Yosemite with David A. Curry and Lake Tahoe, Land of the Sky. These once-forgotten films stand as testimony to the complexity of the West—as a concept, a landscape, a borderland, a tourist destination, a burgeoning economy, and an arena for clashing cultures.

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Nannicelli, T. "Hollywood Incoherent." British Journal of Aesthetics 52, no. 3 (January 18, 2012): 317–20. http://dx.doi.org/10.1093/aesthj/ayr054.

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Stacey, J. "Hollywood memories." Screen 35, no. 4 (December 1, 1994): 317–35. http://dx.doi.org/10.1093/screen/35.4.317.

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GRBIĆ, JOVANA J. "GOING HOLLYWOOD." Chemical & Engineering News Archive 89, no. 44 (October 31, 2011): 53–54. http://dx.doi.org/10.1021/cen-v089n044.p053.

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Schuchman, John S. "Hollywood Speaks." Ear and Hearing 10, no. 4 (August 1989): 269. http://dx.doi.org/10.1097/00003446-198908000-00025.

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Cerisuelo, Marc. "Apprendre Hollywood." Critique 834, no. 11 (2016): 956. http://dx.doi.org/10.3917/criti.834.0956.

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Smith, Alison, and Stephen J. Cooper. "Hollywood schizophrenia." BMJ 333, Suppl S3 (September 1, 2006): 0609346. http://dx.doi.org/10.1136/sbmj.0609346.

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Journal articles on the topic 'Hollywood'

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