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

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Chase, Kerry A. "Moving Hollywood Abroad: Divided Labor Markets and the New Politics of Trade in Services." International Organization 62, no. 4 (October 2008): 653–87. http://dx.doi.org/10.1017/s0020818308080235.

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Theories of trade and domestic politics have been applied extensively to manufacturing and agriculture; the political economy of trade in services, however, remains poorly understood. This article examines how the “offshoring” of services segments labor markets and places low-skilled and high-skilled labor at odds on trade issues. Drawing from a case where trade has been politically contentious of late—motion picture services in the United States—the article finds that offshoring can aggravate wage inequality, creating incentives for low-skilled workers to demand policy remedies. Consistent with this expectation, an ordered probit analysis of labor-group lobbying reveals that low-skilled occupations in motion picture services were most likely to support countervailing duties and Section 301 action against productions filmed abroad. The findings suggest that when services are tradable, labor-market cleavages are not purely factoral or sectoral, but occupational. This new politics of trade in services has important implications for trade policy in the United States and multilateral rulemaking in the World Trade Organization.

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12

Allison, Deborah. "Surviving "Certain Death": Narrational Reliability in American Motion Picture Serial Cliffhangers of the Golden Age." JCMS: Journal of Cinema and Media Studies 62, no. 5 (2022): 123–46. http://dx.doi.org/10.1353/cj.2022.a907194.

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abstract: American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before the following week's installment would reveal how they evaded seemingly certain death. Frequently relying on audience memory lapse, these solutions, or "take-outs," did not always play fair. Drawing on a 20 percent sample of golden age serials (1936–1945), I analyze the narrational methods and reliability of cliffhangers and their take-outs. I propose that there are three key strategies, which I term sequential, augmented , and incompatible . I show how these categories move progressively further from the cliffhanger's nineteenth-century literary precedents and from conventions of classical Hollywood narration alike.

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13

Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (May 1, 2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.

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14

Perkins, Edwin J. "Writing the Script for Survival and Resurgence: RKO Studio and the Impact of the Great Depression, 1932-1933." Southern California Quarterly 93, no. 3 (2011): 289–311. http://dx.doi.org/10.2307/41224083.

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RKO Studio's business records, opened briefly to researchers in the 1970s, detailed the company's strategies for surviving and prospering during the worst years of the Great Depression, 1932-1933. They also revealed the workings of the Motion Picture Producers Association, the cartel linking the leading Hollywood studios. David O. Selznick and Benjamin Kahane engineered significant budget reductions while maintaining the quantity and improving the quality of movie output. Their hugely successful King Kong (1933), often given sole credit for RKO'S survival, was only one factor and serves to illustrate the studio's various strategies.

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15

Cox, Fiona. "Closet Cases: Costuming, Lesbian Identities and Desire, Hollywood Cinema and the Motion Picture Production Code." International Journal of the Image 1, no. 4 (2011): 43–56. http://dx.doi.org/10.18848/2154-8560/cgp/v01i04/44221.

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16

Brownell, Kathryn Cramer. "“Movietime U.S.A”: The Motion Picture Industry Council and the Politicization of Hollywood in Postwar America." Journal of Policy History 24, no. 3 (June 12, 2012): 518–42. http://dx.doi.org/10.1017/s0898030612000164.

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17

Skilton, Paul F. "Knowledge based resources, property based resources and supplier bargaining power in Hollywood motion picture projects." Journal of Business Research 62, no. 8 (August 2009): 834–40. http://dx.doi.org/10.1016/j.jbusres.2008.05.001.

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18

Berg, Charles Ramírez. "Colonialism and Movies in Southern California, 1910-1934." Aztlán: A Journal of Chicano Studies 28, no. 1 (2003): 75–96. http://dx.doi.org/10.1525/azt.2003.28.1.75.

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Once the film industry moved to Los Angeles fiom the East Coast in the 1910s, Hollywood became the source of the negative stereotyping of Latinos in mainstream American cinema. This article argues that the anti-Mexican American discourse in Southern California during the motion picture industry’s formative years provided the social context for those derogatory film images. In doing so, the essay synthesizes two bodies of literature that rarely comment on one another: early Hollywood studio history and works treating the Mexican American experience in Southern California. Three main elements that shaped the anti-Mexican American discourse are discussed: (a) the ostracizing of Mexican Americans to East Los Angeles at the same time that movie companies were flocking to the opposite side of town; (b) the social, economic, and political climate that resulted in anti-Mexicano attitudes, and (c) the view of Mexico as a playground for the United States.

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19

DeBauche, Leslie Midkiff, Peter C. Rollins, and John E. O'Connor. "Hollywood's World War I: Motion Picture Images." Journal of American History 85, no. 4 (March 1999): 1636. http://dx.doi.org/10.2307/2568366.

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20

Chan, Jessica Ka Yee. "The screen kiss in 1937: Re-reading Street Angel and Crossroads." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 71–89. http://dx.doi.org/10.1386/eapc_00063_1.

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This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tianshi, Yuan 1937) and Crossroads (Shizi jietou, Shen 1937), released shortly before the second Sino-Japanese War in 1937, appropriated and subverted Hollywood representational conventions of the screen kiss, fulfilling both the entertainment and pedagogical functions of cinema by constructing a sexually desiring and potentially class-conscious subject with aspirations for free love and social betterment at a critical moment of national crisis.1

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21

Yogerst, Chris. "Searching for common ground: hollywood prior to the senate investigation on motion picture propaganda, 1935–1941." Historical Journal of Film, Radio and Television 39, no. 4 (April 10, 2019): 725–48. http://dx.doi.org/10.1080/01439685.2019.1600918.

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22

Scholl, Jan. "4-H and 4-H Members in Motion Pictures." Journal of Youth Development 9, no. 3 (September 1, 2014): 66–78. http://dx.doi.org/10.5195/jyd.2014.52.

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Youth involved in Extension activities were portrayed on film as early as 1913. This paper provides a summary of the earliest motion pictures in which 4-H and 4-H members were a part. From the more than 400 early Extension films made by USDA, 22 4-H films were located and described. Hollywood films, with 4-H themes, were found. Reflections on film preservation and availability are addressed as well as the role of film and other media in the early twentieth century.

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23

Lauria, Davide, and Wyatt D. Phillips. "Insuring Hollywood: A Movie Returns Index and the American Stock Market." Journal of Risk and Financial Management 14, no. 5 (April 21, 2021): 189. http://dx.doi.org/10.3390/jrfm14050189.

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The aim of this paper is the definition of a daily index representing the risk-return on investments in the American film industry. The index should be used to predict the riskiness and the expected return of movie projects at the level of the overall industry and then to determine a premium for insurance for such an investment. Such an index can inform the decision making in relation to risk but also timing. Though not currently legal in the United States, such an index may be relevant at some point in the future or in other countries for film production companies as well as venture capitalists interested in investing in one or a slate of motion picture productions or more broadly in the holdings of a media conglomerate, an exhibition chain, or some other aspect of the media landscape.

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Kaufmann, Eric, and Andrea Ballatore. "New York Yankees and Hollywood Anglos: The persistence of Anglo‐conformity in the American motion picture industry." Nations and Nationalism 25, no. 4 (April 3, 2019): 1153–89. http://dx.doi.org/10.1111/nana.12507.

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25

Varghese, Priju. "Marriage in Cinema." Journal of Student Research 4, no. 2 (June 3, 2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

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Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

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26

Wall, Michael. "Censorship and Sovereignty: Shanghai and the Struggle to Regulate Film Content in the International Settlement." Journal of American-East Asian Relations 18, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/187656111x577456.

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AbstractThe Nationalist government struggled to control the content and exhibition of motion pictures in Shanghai in the 1920s. Officials of the Shanghai Municipal Council in the foreign-controlled International Settlement, empowered by the right of extraterritoriality, stymied Chinese efforts to control foreign – predominantly American – motion pictures shown in the enclave. The struggle over political control was exacerbated by increasing nationalist sentiment and belief that foreign motion pictures contained distorted and unflattering images of China and its people. Demonstrations targeted Hollywood films including those by Douglas Fairbanks and Harold Lloyd. Ultimately, neither strenuous Chinese efforts nor stubborn foreign resistance could resolve the matter satisfactorily, but the dispute became moot with Japan's seizure of Shanghai in 1937.

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27

May, Lary. "Making the American Way: Moderne Theatres, Audiences, and The Film Industry 1929–1945." Prospects 12 (October 1987): 89–124. http://dx.doi.org/10.1017/s0361233300005548.

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Three years after the start of the Great Depression, and shortly after A Franklin Roosevelt assumed the presidency, Terry Ramsaye, editor of the motion picture industry's major trade journal, wrote an editorial entitled “New Deal, Superman and Today.” No doubt many readers thought the world had turned upside down. For years civic reformers had attacked the movies for incarnating the dangers of city life: consumption, class mixing, and a sexual revolution. Now Ramsaye assumed the critic's stance, seeing hard times as divine retribution for the industry's folly. Atop the editorial pulpit, he condemned the Hollywood producers as equal to the monopolists whose speculation and grandiose illusions brought about the stock market crash in 1929. Even more dangerous, film producers spread lavish ideals through the powerful medium of sound films, which were displayed in sumptuous theatres that corrupted public life. After three years of bankruptcies and theatre closings, Ramsaye saw a New Deal pointing the way toward business and cultural reform. Like an old-fashioned revivalist, he then exhorted Hollywood to shed the foreignstyled theatre and create models more in touch with national traditions, “more a part of the town and less something that was imposed by outside Supermen.”

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28

Ayres, John D. ""I want to tell you about Christmastown …": The Navigation of Festive Narrative Tropes in The Nightmare Before Christmas." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 2021): 1–23. http://dx.doi.org/10.1353/stw.2021.a925848.

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Abstract: Henry Selick's The Nightmare Before Christmas (1993) appears initially to have little in common with the mini-cycle of festive storytelling that emerged in Hollywood at the end of World War II, which included It's a Wonderful Life (1946), Miracle on 34th Street (1947) and The Bishop's Wife (1947). These films arguably crystallized the Hollywood conventions that would go on to govern this type of seasonally themed output for decades to come. Yet closer examination suggests that in its content, if not its form, Selick's motion picture exists as a reworking of key tropes that have dominated this specific narrative heritage. This article comprises three sections that examine how the film navigates and amends long-established themes in Christmas storytelling. The first section addresses the concept of masquerade as it relates to Jack Skellington's appropriation of the Santa Claus persona; the second considers the contest between narrative protagonist and greedy antagonist, and the nature of this specific conflict resolution; and the third analyzes how the film draws upon a Dickensian use of the supernatural to echo the literary tradition from which many Christmas stories originally emerged.

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Dawson, Andrew. "Challenging Lilywhite Hollywood: African Americans and the Demand for Racial Equality in the Motion Picture Industry, 1963-1974." Journal of Popular Culture 45, no. 6 (December 2012): 1206–25. http://dx.doi.org/10.1111/jpcu.12005.

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30

Oliver, Willard M. "Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures." Journal of Criminal Justice Education 22, no. 3 (September 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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31

Paul, Andrew. "“Sometimes a Bee Can Move an Ox”: Biblical Epics and One Man's Quest to Promote Jewish Values in Blacklist-Era Hollywood." Modern American History 1, no. 2 (May 15, 2018): 173–94. http://dx.doi.org/10.1017/mah.2018.11.

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In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.

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COHEN, HARVEY G. "The Struggle to Fashion the NRA Code: The Triumph of Studio Power in 1933 Hollywood." Journal of American Studies 50, no. 4 (December 28, 2015): 1039–66. http://dx.doi.org/10.1017/s002187581500122x.

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This article traces the long and antagonistic fashioning of the National Recovery Adminstration's code of practice for the film industry during 1933. The NRA code process publicly exposed resentful fissions within Hollywood, and the oligarchic, if not monopolistic, way in which the major film studios had set up their vertically integrated consolidation of the motion-picture industry in terms of production, distribution and exhibition on a national scale. A media spotlight flooded onto their soundstages and executive suites, and many, including President Franklin Roosevelt, were not pleased with what they saw. The NRA, signed into law in 1933 by Roosevelt, implemented an unprecedented reorganization of the American economy to restore employment to combat the Great Depression. Perhaps most controversially, especially for the union-averse film industry, the NRA established collective bargaining. Though they supported it initially, the major studios would not long abide by the NRA. Throughout 1933, they violated the spirit and letter of the code, ensuring as much as possible that the economic pain and sacrifice of the Great Depression in Hollywood was visited upon artists and technicians, not studio heads and executives. They used the making of the code to attempt to cement and further the advantages they enjoyed while offering little to other interests in the film industry.

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Scott, Allen J., and Naomi E. Pope. "Hollywood, Vancouver, and the World: Employment Relocation and the Emergence of Satellite Production Centers in the Motion-Picture Industry." Environment and Planning A: Economy and Space 39, no. 6 (June 2007): 1364–81. http://dx.doi.org/10.1068/a38215.

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34

Frost, Jennifer. "Cinema as Cultural Diplomacy and the Cold War: U.S. Participation in International Film Festivals behind the Iron Curtain, 1959–1971." Journal of Cold War Studies 25, no. 1 (2023): 75–100. http://dx.doi.org/10.1162/jcws_a_01122.

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Abstract During the Cold War, international film festivals proliferated on both sides of the Iron Curtain. The United States and the Soviet Union recognized these festivals as important venues for “cinematic diplomacy” and the pursuit of broader foreign policy goals. This article explores how the U.S. government, together with the U.S. motion picture industry, made use of its participation in the Moscow and Karlovy Vary International Film Festivals in the 1950s and 1960s. It confirms many of the findings of earlier studies of Cold War cultural diplomacy but also expands our historical understanding of this phenomenon. Specifically, it reveals the extent of cooperation and conflict—as well as an interchangeability of roles—among public officials in Washington and private citizens in Hollywood, with implications for both the formulation at home and reception abroad of U.S. cinematic diplomacy.

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35

Ayers, Lee. "Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures." Criminal Justice Review 39, no. 4 (June 25, 2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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36

Scott, Allen. "A new map of Hollywood: the production and distribution of American motion pictures." Regional Studies 36, no. 9 (December 2002): 957–75. http://dx.doi.org/10.1080/0034340022000022215.

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37

Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (November 1, 2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.

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38

Leriche, Frederic. "Regional Assets, Industrial Growth, Global Reach." Locus: Revista de História 26, no. 2 (September 10, 2020): 29–51. http://dx.doi.org/10.34019/2594-8296.2020.v26.31327.

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Within the US motion picture industry, Hollywood is a (big) tree that hides the forest. Indeed, in this industry, besides this powerful and dominating industrial cluster, there are other — though minor — clusters, particularly in New York and San Francisco. The paper focuses on the latter and argues that the development of the film industry in the San Francisco Bay Area relies on specific regional assets: (1) a unique urban context and experience, (2) a unique alternative culture, and (3) a world-class technological cluster. The paper starts by briefly describing the path dependency of the film industry in the Bay Area, and how the city of San Francisco has started (in the 1980s) to implement a dedicated policy aimed at promoting the development of this industry. In this context, the paper explores the way that the San Francisco Bay Area became an attractive place for filmmakers and the fact that the 1970s marked the beginning of a new regime of film shootings. The paper then describes how, since then, the Bay Area asserted itself as a place for film production, and that has resulted in a multisite and smoothly expanding industrial cluster with a quite dynamic local labor market. Finally, the paper questions the mechanics of the film industry cluster in the Bay Area, its connections with Hollywood, and its impacts on the global influence of San Francisco.

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Norden, Martin F. "“We Are Coming Out to the Light”." Feminist Media Histories 3, no. 4 (2017): 195–203. http://dx.doi.org/10.1525/fmh.2017.3.4.195.

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Lois Weber gave many speeches during her career as a film writer-director, but until now our knowledge of them has been limited to journalistic summaries and brief quoted excerpts. The current article advances our understanding of this dimension of Weber's career (and helps restore her “voice,” in a sense) by providing the text of an entire speech, reconstructed from five primary sources. Weber discussed a wide range of film topics in this public talk, which she delivered to the Los Angeles Woman's Club in July 1913. They included censorship issues, film's educational possibilities, her interest in greater authenticity in films, and her desire to uplift films and to correct the misinformation surrounding what she called “the glamour and danger of motion picture work.” It typifies the many speeches she gave to audiences made up of women who shared her interest in raising the standards of Hollywood and its products.

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Ullah, Inayat, and Kulsoom Shahzor. "Cultural (Mis)Appropriation, Ideological Essentialism and Language: Analysis of Stereotyping in Hollywood Movie." International Journal of English Linguistics 7, no. 6 (September 27, 2017): 171. http://dx.doi.org/10.5539/ijel.v7n6p171.

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This study analyzes the monolithic-cum-essentialist portrayal of the non-Euro-American world in Hollywood movies, bringing forth the fact that the project of Othering is still at play but in different manifestations. This qualitative research endeavors to apply the concept of Orientalism to carry out a postcolonial analysis of the movie American Sniper. As Edward Said, decades ago, proposed a way to understand the notions of the West regarding East in his famous work Orientalism, the study helps to understand the embedded ideologies which are promoted through movies, and the way these discourses are used to shape the Western worldview about the East. The study highlights the fact that Hollywood, famous for entertainment and advanced motion pictures, is also being used for shaping the narrative of the superiority of the West. As Islam and Arabs have always remained in the limelight of the Hollywood movies, this special association of the entertainment media with the Islamic Orient is not just for the purpose of amusement but also to (un)consciously build unbefitting images of the East and portray it as a monolith of an inferior status for the common viewer in the West.

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Hoyler, Michael, and Allan Watson. "Framing city networks through temporary projects: (Trans)national film production beyond ‘Global Hollywood’." Urban Studies 56, no. 5 (October 3, 2018): 943–59. http://dx.doi.org/10.1177/0042098018790735.

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This article advances research on external urban relations by drawing attention to the role of temporary project-based economic organisation in the formation of inter-firm links between cities. Through a novel empirical examination of (trans)national co-production in the motion picture industry, we reveal how such projects transcend the boundaries of individual production clusters and link urban centres within specific network configurations. Stripping away the ‘top layer’ of Hollywood’s commercially successful feature films, we undertake a social network analysis of film productions in four markets across three continents – China, Germany, France and Brazil – to provide a unique comparative analysis of networked urban geographies. Our findings show that film production networks are grounded in existing structural relations between cities. The spatial forms of these networks range from monocentric in the case of the French film market, to dyadic in the case of China and Brazil, to polycentric in the case of the German film market. Conceptually, we argue that adopting an inter-firm project-based approach can account for the ways in which complex patterns of inter-firm production relations accumulate to form (trans)national city networks. Viewing city networks in this way provides an important alternative perspective to dominant conceptualisations of global urban networks as formed through corporate intra-firm relations.

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Saltmarsh, Sue. "Spirits, Miracles and Clauses: Economy, Patriarchy and Childhood in Popular Christmas Texts." Papers: Explorations into Children's Literature 17, no. 1 (May 1, 2007): 19–27. http://dx.doi.org/10.21153/pecl2007vol17no1art1201.

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In this paper I explore the notion of childhood as it is re/configured in Christmas texts through the discursive frames of industrialisation and global capitalism. Through a poststructuralist analysis of three Christmas texts from the 1840s, 1940s and 1990s, I map discursive shifts in the ways that children and childhood are constructed in relation to the discourses of capitalist societies. Three texts are examined in detail: A Christmas Carol, published by Charles Dickens in 1843; the 1947 version of the film, Miracle on 34th Street; and the 1999 Walt Disney film, The Santa Clause. While these texts provide only a small sample from the thousands of texts available, their commercial success and sustained popular appeal makes them particularly significant sites of analysis. Dickens' text is widely considered 'the most often repeated and imitated secular Christmas story of all' (Belk 2005, p.18), which has itself 'become sacred Christmas literature' (Belk 2005, p. 19). The success of Miracle on 34th Street led to several remakes for television audiences, with major motion picture remakes released in 1973 and again in 1994, while The Santa Clause the role credited with launching actor Tim Allen from a successful television career into a string of Hollywood blockbuster films won the 1995 People's Choice Award (USA) for Favourite Comedy Motion Picture, and was followed by sequels in 2002 and 2006 (IMDb, 2007). When considered together, these three popular, enduring and commercially successful texts illustrate some of the ways in which cultural texts are implicated in constructing children, over time, as particular kinds of economic subjects.

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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.

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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.

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Mossig, Ivo. "Global Networks of the Motion Picture Industry in Los Angeles/Hollywood using the Example of their Connections to the German Market." European Planning Studies 16, no. 1 (December 17, 2007): 43–59. http://dx.doi.org/10.1080/09654310701747969.

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Chisholm, Darlene C. "External and slate financing in motion pictures: a review of “Co-Financing Hollywood Film Productions”." Journal of Cultural Economics 38, no. 4 (February 12, 2014): 385–89. http://dx.doi.org/10.1007/s10824-014-9215-4.

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Kindley, Evan. "Book Review: America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures by Jerome Christensen." Film Quarterly 66, no. 1 (2012): 65–67. http://dx.doi.org/10.1525/fq.2012.66.1.65.

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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.

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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.

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Cattani, Gino, and Simone Ferriani. "A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry." Organization Science 19, no. 6 (December 2008): 824–44. http://dx.doi.org/10.1287/orsc.1070.0350.

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The paper advances a relational perspective to studying creativity at the individual level. Building on social network theory and techniques, we examine the role of social networks in shaping individuals' ability to generate a creative outcome. More specifically, we argue that individuals who occupy an intermediate position between the core and the periphery of their social system are in a favorable position to achieve creative results. In addition, the benefits accrued through an individual's intermediate core/periphery position can also be observed at the team level, when the same individual works in a team whose members come from both ends of the core/periphery continuum. We situate the analysis and test our hypotheses within the context of the Hollywood motion picture industry, which we trace over the period 1992–2003. The theoretical implications of the results are discussed. This work is licensed under a Creative Commons Attribution 4.0 International License. You are free to copy, distribute, transmit and adapt this work, but you must attribute this work as “Organization Science. Copyright © 2017 INFORMS. https://doi.org/10.1287/orsc.1070.0350 , used under a Creative Commons Attribution License: http://creativecommons.org/licenses/by/4.0/ .”

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LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (December 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.

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Frölich, Margrit. "Liberties and constraints: émigré producers in Hollywood Motion Pictures from the 1930s to the early 1950s." Jewish Culture and History 17, no. 1-2 (May 3, 2016): 59–80. http://dx.doi.org/10.1080/1462169x.2016.1187887.

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