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Relevant bibliographies by topics / In Hollywood (Motion picture)

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Academic literature on the topic 'In Hollywood (Motion picture)'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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Journal articles on the topic "In Hollywood (Motion picture)"

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Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (April 4, 2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.

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Fisher, Morgan. "Standard Gauge." Revista Laika 4, no. 7 (May 18, 2021): 77–84. http://dx.doi.org/10.11606/issn.2316-4077.v4i7p77-84.

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A frame of frames, a piece of pieces, a length of lengths. Standard gauge on substandard; narrower, yes, but longer. An ECU that’s an ELS. Disjecta membra; Hollywood anthologized. A kind of autobiography of its maker, a kind of history of the institution from whose shards it is composed, the commercial motion picture industry. A mutual interrogation between 35mm and 16mm, the gauge of Hollywood, and the gauge of the amateur and independent.

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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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Curtin, Michael. "What makes them willing collaborators? The global context of Chinese motion picture co-productions." Media International Australia 159, no. 1 (May 2016): 63–72. http://dx.doi.org/10.1177/1329878x16638938.

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Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted sceptically by industry critics. This essay assesses the ambitious logic behind this project, situating it in the broader context of the globally networked production infrastructure that has emerged over the past 20 years, one that generally favours Hollywood producers at the expense of local partners. It illustrates why the Wanda studio may in fact succeed and why foreign producers are growing ever more willing to collaborate with Chinese partners.

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Kumar, S. Dinesh, and K. Soundarapandiyan. "The Effectiveness of Product Placement in Tamil movies: A Study with Reference to the State of Tamil Nadu, India." South Asian Journal of Social Sciences and Humanities 3, no. 5 (October 6, 2022): 28–41. http://dx.doi.org/10.48165/sajssh.2022.3503.

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This study endeavors to enquire the power of item arrangements in Tamil motion pictures. The past surveys are more focused towards Hollywood films, and the majority of the Indian examinations are concentrated towards Hindi motion pictures. Subsequently, there exists a critical hole for this flow exploration to discover the viability of item position and item advancement in the films. The review bargains on Tamil films, VIP support, buyer mentality, corporate believability, brand picture and buy expectation are thought about to foster the speculations. The review was led utilizing an organized poll which was coursed among 3500 film circumvents Tamil Nadu. The investigation was achieved utilizing Visual PLS and SPSS. The consequences of this examination demonstrate that item situations really do have compelling exploration among Tamil crowds, which likewise has a positive relationship with buy goal.

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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.

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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.

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Scott, Allen. "Hollywood and the world: the geography of motion-picture distribution and marketing." Review of International Political Economy 11, no. 1 (February 2004): 33–61. http://dx.doi.org/10.1080/0969229042000179758.

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Chahdi, Chadi. "Revisiting Binarism: Hollywood’s Representation of Arabs." International Letters of Social and Humanistic Sciences 83 (August 2018): 19–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.83.19.

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This article throws into relief the tropes by which Hollywood has come to churn out identical Arabs bent on destruction, yet ones that need to be salvaged. However, the salvation process is never complete(d) because the Arabs are not worthy of redemption, which sinks them further into the abyss of darkness. The representation of Arabs in Hollywood movies mostly aims at disseminating a stereotypical image that demeaninglyhomogenizestheir cultures and identities. Hollywood here participates in a process of imperial hegemony. The repetition in producing suchimagined cultureof Arabs and Muslims is seen as a hegemonic act of naturalizing orientalist ideologies that tend to over-idealize the Western culture and relegate the Eastern counterpart. In this light, this article attempts to deconstruct the visual representations (ideologies) produced to malign and vilify Arabs in Hollywood movies. Such movies are always premised upon a structure of binary oppositions that establish a motion picture of a civilized center dominating the margins, the so-called uncivilized subjects.

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Anselmo, Diana W. "Fire in the Hole." Feminist Media Histories 10, no. 1 (January 1, 2024): 28–56. http://dx.doi.org/10.1525/fmh.2024.10.1.28.

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Drawing on the letters female fans submitted to Motion Picture Magazine between 1914 and 1918, this article seeks to center negative feelings as a constitutional part of Hollywood reception during the World War I years. Emergent at this time, the language of affective film reception took up a combative tenor reflective of women’s lived experiences: anger, derision, and dissent pervade the first-person writings submitted by self-identified movie-loving “misses” and “girls.” Reading their published correspondence as proto-manifestations of feminist “troublemakers” and “killjoys” helps in historicizing early Hollywood fandom as an “intimate publics” commercially centered on women’s culture, but communally appropriated by female consumers as a means to express antisocial responses.

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Brianton, Kevin. "The Hollywood Motion Picture Blacklist: Seventy-Five Years Later by Larry Ceplair (review)." Film & History: An Interdisciplinary Journal 53, no. 2 (December 2023): 64–66. http://dx.doi.org/10.1353/flm.2023.a915292.

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Dissertations / Theses on the topic "In Hollywood (Motion picture)"

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Wang, Ting. "Global Hollywood and China's filmed entertainment industry." online access from Digital Dissertation Consortium access full-text, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3230167.

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Tosaka, Yuji. "Hollywood goes to Tokyo American cultural expansion and imperial Japan, 1918-1941 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060967792.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.

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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /." Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.

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Thesis (Ph.D.) -- University of Glasgow, 2002.
Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.

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Meeuf, Russell W. "Wayne's world : John Wayne, transnational stardom, and global Hollywood in the fifties /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883679191&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Pope, Naomi Elizabeth. "Beyond Hollywood the social and spatial division of labor in the motion picture industry /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579190531&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Pillich, Gualberto Simeon. "Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Mills, Jane Kathryn. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.

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Lau, Wai Sim. "Hong Kong auteurs in Hollywood : the case of John Woo." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/437.

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Mills, Jane Kathryn. "Hollywood and its others porous borders and creative tensions in the transnational screenscape /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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Thesis (Ph.D) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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Books on the topic "In Hollywood (Motion picture)"

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Collection, Kobal, ed. Hollywood. London: DK Pub., 2004.

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Royot, Daniel. Hollywood. Paris: Presses universitaires de France, 1992.

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Castell, David. Hollywood 1970s. Leicester: Admiral Books, 1986.

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Calderón, Alfonso. Adiós, Hollywood! [Santiago? Chile]: Editorial La Noria, 1985.

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Lebrun, Dominique. Hollywood. [Paris]: Hazan, 1996.

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Graydon, Carter, Friend David 1955-, and Hitchens Christopher, eds. Vanity Fair's Hollywood. [New York]: Viking Studio, 2000.

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Collection, Kobal, ed. Hollywood: A celebration. New York: DK, 2001.

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Hillier, Jim. The new Hollywood. London: Studio Vista, 1992.

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Tyler, Parker. The Hollywood hallucination. New York: Garland, 1985.

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Hillier, Jim. The new Hollywood. London: Studio Vista, 1993.

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Book chapters on the topic "In Hollywood (Motion picture)"

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Brannon Donoghue, Courtney. "The Motion Picture Association and Its Member Studios: Policy, Piracy, and Promotion." In Localising Hollywood, 112–32. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-690-6_6.

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Izod, John. "The Motion Picture Patents Company, 1908–14." In Hollywood and the Box Office, 1895–1986, 16–25. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19324-0_3.

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Hofmann, Kay H. "Contemporary Co-Financing Practices in the Motion Picture Industry." In Co-Financing Hollywood Film Productions with Outside Investors, 41–54. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-658-00787-4_3.

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Western, Colin, and Emmanuel Hadzipetros. "EAI Goes Hollywood: Design of a Loosely Coupled Architecture to Manage Critical Business Data Flows at a Major Motion Picture Studio." In Business Process Automation, 107–24. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-24702-9_8.

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Jacob, Dodd. "Motion picture cameras." In 16mm and 8mm Filmmaking, 13–38. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-3.

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Marzola, Luci. "A Community of Engineers." In Engineering Hollywood, 15–41. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0002.

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In the motion picture industry, large East Coast manufacturers such as Kodak, GE, DuPont, and Bausch & Lomb produced materials such as lights, film stock, and lenses for production. Beginning with a brief history of the motion picture technology field before 1915, this chapter describes how the industry increasingly became reliant on these American industrial concerns. Beginning around 1916, the manufacturing side of the business was professionalized and unified by the Society of Motion Picture Engineers (SMPE), while continuing to isolate itself from the production side of the industry for another decade. SMPE emphasized standardization across companies in the manufacturing of motion picture tools, creating a stable industry and a community for knowledge sharing that had little contact with the production center in the west.

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"Ring Lardner Jr. and the Hollywood Blacklist." In The Hollywood Motion Picture Blacklist, 117–42. The University Press of Kentucky, 2022. http://dx.doi.org/10.2307/j.ctv2ndwxd0.9.

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"Notes." In The Hollywood Motion Picture Blacklist, 159–84. The University Press of Kentucky, 2022. http://dx.doi.org/10.2307/j.ctv2ndwxd0.13.

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"Dashiell Hammett:." In The Hollywood Motion Picture Blacklist, 66–96. The University Press of Kentucky, 2022. http://dx.doi.org/10.2307/j.ctv2ndwxd0.7.

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"Shedding Light on Darkness at High Noon." In The Hollywood Motion Picture Blacklist, 143–49. The University Press of Kentucky, 2022. http://dx.doi.org/10.2307/j.ctv2ndwxd0.10.

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Conference papers on the topic "In Hollywood (Motion picture)"

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Tok, Michael, Volker Eiselein, and Thomas Sikora. "Motion modeling for motion vector coding in HEVC." In 2015 Picture Coding Symposium (PCS). IEEE, 2015. http://dx.doi.org/10.1109/pcs.2015.7170066.

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Tok, M., A. Krutz, A. Glantz, and T. Sikora. "Lossy parametric motion model compression for global motion temporal filtering." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213354.

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Aoshima, Kenichi, Hidekazu Kinjo, Kenji Machida, Daisuke Kato, Kiyoshi Kuga, Tomoyuki Mishina, Hiroshi Kikuchi, and Naoki Shimidzu. "Three dimensional motion picture technologies." In 2014 IEEE Industry Applications Society Annual Meeting. IEEE, 2014. http://dx.doi.org/10.1109/ias.2014.6978440.

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Hillman, P. M. "Segmentation of motion picture images." In International Conference on Visual Information Engineering (VIE 2003). Ideas, Applications, Experience. IEE, 2003. http://dx.doi.org/10.1049/cp:20030496.

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Hyungjun Lim, Dong Yoon Kim, Hyun Wook Park, Jun Ho Cho, Se Hyeok Park, and Jae Hyun Kim. "Motion estimation with adaptive block size for motion-compensated frame interpolation." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213358.

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Okade, M., and P. K. Biswas. "Fast camera motion estimation using discrete wavelet transform on block motion vectors." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213314.

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Mao, Jue, Hualong Yu, Xiaoding Gao, and Lu Yu. "Complementary Motion Vector for Motion Prediction in Video Coding with Long-Term Reference." In 2019 Picture Coding Symposium (PCS). IEEE, 2019. http://dx.doi.org/10.1109/pcs48520.2019.8954511.

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Krutz, A., A. Glantz, M. Tok, and T. Sikora. "Adaptive global motion temporal filtering." In 2012 Picture Coding Symposium (PCS). IEEE, 2012. http://dx.doi.org/10.1109/pcs.2012.6213349.

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Xu, Rui, Aous Thabit Naman, Reji Mathew, Dominic Rufenacht, and David Taubman. "Motion estimation with accurate boundaries." In 2015 Picture Coding Symposium (PCS). IEEE, 2015. http://dx.doi.org/10.1109/pcs.2015.7170072.

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Shih, Timothy K., Rong-Chi Chang, and Yu-Ping Chen. "Motion picture inpainting on aged films." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101215.

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Reports on the topic "In Hollywood (Motion picture)"

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Smith, J. A Uniform Resource Name (URN) Namespace for the Motion Picture Experts Group (MPEG). RFC Editor, September 2003. http://dx.doi.org/10.17487/rfc3614.

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Hanson, Gordon, and Chong Xiang. Testing the Melitz Model of Trade: An Application to U.S. Motion Picture Exports. Cambridge, MA: National Bureau of Economic Research, October 2008. http://dx.doi.org/10.3386/w14461.

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Gharai, L., C. Perkins, G. Goncher, and A. Mankin. RTP Payload Format for Society of Motion Picture and Television Engineers (SMPTE) 292M Video. RFC Editor, March 2003. http://dx.doi.org/10.17487/rfc3497.

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Labosier, James. Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6828.

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Edwards, T. A Uniform Resource Name (URN) Namespace for the Society of Motion Picture and Television Engineers (SMPTE). RFC Editor, February 2008. http://dx.doi.org/10.17487/rfc5119.

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Downs, J., and J. Arbeiter, eds. RTP Payload Format for Society of Motion Picture and Television Engineers (SMPTE) ST 336 Encoded Data. RFC Editor, April 2012. http://dx.doi.org/10.17487/rfc6597.

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Edwards, T. RTP Payload for Society of Motion Picture and Television Engineers (SMPTE) ST 291-1 Ancillary Data. RFC Editor, February 2018. http://dx.doi.org/10.17487/rfc8331.

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Edwards, T. Media Type Registration for the Society of Motion Picture and Television Engineers (SMPTE) Material Exchange Format (MXF). RFC Editor, May 2006. http://dx.doi.org/10.17487/rfc4539.

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Kiv, A. E., T. I. Maximova, and V. N. Soloviev. Microstructure of the relaxed (001) Si surface. [б. в.], December 1999. http://dx.doi.org/10.31812/0564/1245.

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We have applied molecular dynamics method and semi-empirical potential [1] to obtain the realistic picture of Si surface layers relaxation.The starting configuration was taken as a parallelepiped containing 864 atoms. There were 12 layers with 72 atoms in each one. Periodic boundary conditions were used in two dimensions. At first all atoms were in normal lattice positions. The relaxation of Si surface, which corresponds to (001) plane was investigated. MD method was applied in its standard form i.e. the equations of motion were solved by using of the central difference scheme. The time-step was 10-14s.

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