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Articoli di riviste sul tema "Motion picture industry – california – los angeles"
1
Berg, Charles Ramírez. "Colonialism and Movies in Southern California, 1910-1934". Aztlán: A Journal of Chicano Studies 28, n. 1 (2003): 75–96. http://dx.doi.org/10.1525/azt.2003.28.1.75.
Testo completoAbstract (sommario):
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.
2
Christopherson, S., e M. Storper. "The City as Studio; The World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry". Environment and Planning D: Society and Space 4, n. 3 (settembre 1986): 305–20. http://dx.doi.org/10.1068/d040305.
Testo completoAbstract (sommario):
Motion picture production is currently carried out by small firms under contract to an independent producer rather than in large integrated firms, the major studios. In this paper the emergence of this vertically disintegrated industry is traced and its impact on the location of the motion picture industry is analyzed. Vertical disintegration has led to a reagglomeration of motion picture employment and establishments in Los Angeles, despite the dispersal of film shooting throughout the world. The processes that are shaping the present-day organization of motion pictures can be observed across a range of industries. An examination of these processes in motion pictures suggests that their association with reagglomeration in urban centers could have an important impact on patterns of urbanization.
3
DePond, Margaret. "Southland Surf". Southern California Quarterly 101, n. 1 (2019): 45–78. http://dx.doi.org/10.1525/scq.2019.101.1.45.
Testo completoAbstract (sommario):
Surfing was an Hawaiian cultural practice long before it became a Southern California sport. Hawaiian surfers George Freeth and Duke Kahanamoku popularized the sport at Los Angeles-area beaches. Freeth was sent to demonstrate surfing as a promotion of Hawaiian tourism. Both Freeth and Kahanamoku became promotional tools of Southland beach resorts. Their skills, their media-stereotyped Hawaiian personae, supposed links to Hawaiian nobility, life-saving exploits, and motion-picture promotion mediated their dark skin in race-conscious Los Angeles. By the 1920s, surfing (on lighter, shorter boards) had been adopted as a Southern California pastime.
4
Trifunac, M. D. "The Whittier Narrows, California Earthquake of October 1, 1987—Note on Peak Accelerations during the 1 and 4 October Earthquakes". Earthquake Spectra 4, n. 1 (febbraio 1988): 101–13. http://dx.doi.org/10.1193/1.1585467.
Testo completoAbstract (sommario):
Attenuation patterns of the recorded peak accelerations during two moderate earthquakes (ML = 5.9 and 5.3) in Los Angeles, California are described. It is shown that the recording of earthquake motions by dense arrays of accelerographs can yield a detailed and deterministic picture of the physical processes which are involved in shaping the observed variations of strong ground motion. For the two earthquakes the observed changes of peak amplitudes with respect to the azimuth and distance are slowly and continuously changing functions showing strong dependence of amplitudes on the radiation patterns of the two earthquakes and on the effects of wave propagation through irregular three-dimensional geology of the Los Angeles basin.
5
Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood". Pacific Historical Review 80, n. 2 (1 maggio 2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.
Testo completoAbstract (sommario):
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.
6
Garcia, Eddie, Hamed Yazdanshenas, Nicholas A. Kusnezov e Arya Nick Shamie. "Costs of Musculoskeletal Injury in the California Film and Motion Picture Industry". Global Journal of Health Science 8, n. 11 (13 aprile 2016): 293. http://dx.doi.org/10.5539/gjhs.v8n11p293.
Testo completoAbstract (sommario):
<p><strong>INTRODUCTION:</strong> Musculoskeletal injuries may have a significant economic impact on the film and motion picture (FMP) industry. However, there is currently no comprehensive data on the cost of workers’ compensation (WC) claims in the FMP industry. We present the first analysis of the cost of musculoskeletal injuries in the California (CA) FMP industry.</p><p><strong>METHODS: </strong>We reviewed the WC claims database of the Workers’ Compensation Insurance Rating Bureau of California (WCIRB) from 2003 to 2007 and employment statistics through the US Bureau of Labor Statistics (BLS). We analyzed the medical cost and indemnity of musculoskeletal injuries and compared the CA FMP injury data to the data for all CA industries.</p><p><strong>RESULTS: </strong>From 2003-2009, the total cost of WC claims in the CA FMP industry was $19.1 million per year, 88.6% of which was attributed to musculoskeletal injuries. The anatomical sites which incurred the most expense were the knee, lower back, and ankle at $2.3, $1.5 and $1.1 million per year, respectively. The most expensive causes of injury were work-directed activity and falls, totaling $5.4 and $4.7 million per year, respectively. The most costly types of isolated injuries were dislocations and fractures at $57,000 and $55,000 per claim. Additionally, the average cost per anatomic site, cause of injury and type of injury were significantly different for the CA FMP compared to CA industry in general. Over the course of the seven years that data was reviewed, orthopedic injury cost $191.71 per worker per year while orthopedic injury cost $224.00 per worker per year across CA industries (p<0.001).</p><p><strong>CONCLUSION: </strong>Musculoskeletal injuries contribute substantially to both FMP expenditures and US WC costs. Though the costs for injuries were statistically significant between the FMP and CA industries, the clinical significance has yet to be seen. The data presented in this study provides detailed data to help guide future designs for reducing costs associated with workplace injury in both the FMP industry and across CA industries.</p>
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Murphy, David G. "The Entrepreneurial Role of Organized Labour in the British Columbia Motion Picture Industry". Articles 52, n. 3 (12 aprile 2005): 531–52. http://dx.doi.org/10.7202/051185ar.
Testo completoAbstract (sommario):
Research into an industrial sector reflecting principles of the emergent "network" model of production indicates that organized labour can play a positive role in post-Fordist Systems of industrial governance. Within the dynamic motion picture industry of British Columbia (B. C), organized labour was the key organizational factor in the birth and rapid expansion of the agglomeration ofsmall, specialized film production firms which has become a competitor for the coveted title of second largest film centre, after Los Angeles, in North America. In this process, B.C. film unions have become the dominant "actors " in forging collaborative relations between local production companies, between the sector and the state, and between the district and other film centers, so critical to the success of the network model.
8
Thom, Michael. "Lights, Camera, but No Action? Tax and Economic Development Lessons From State Motion Picture Incentive Programs". American Review of Public Administration 48, n. 1 (5 giugno 2016): 33–51. http://dx.doi.org/10.1177/0275074016651958.
Testo completoAbstract (sommario):
Despite mixed results, state government use of targeted economic development programs has escalated. This study evaluates the impact of motion picture incentive programs, an array of tax incentives employed by over 40 states to entice film and television productions out of California and New York, on labor and economic conditions from 1998 through 2013. Results suggest that sales and lodging tax waivers had no effect on any of four different economic indicators. Transferable tax credits had a small, sustained effect on motion picture employment levels but no effect on wages. Refundable tax credits had no employment effect and only a temporary wage effect. Neither credit affected gross state product or motion picture industry concentration. Incentive spending also had no influence. These findings demonstrate the heterogeneous impacts of different incentives offered under a single program and should inform future economic development policy design.
9
Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences". Art Libraries Journal 34, n. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.
Testo completoAbstract (sommario):
‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
10
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, n. 1 (17 dicembre 2007): 43–59. http://dx.doi.org/10.1080/09654310701747969.
Testo completoTesi sul tema "Motion picture industry – california – los angeles"
1
Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Testo completo
2
Lewis, Shane. "Orry-Kelly : an Australian in Hollywood : producing meaning through costume". Thesis, Queensland University of Technology, 1997.
Cerca il testo completoAbstract (sommario):
Costume designer Orry-Kelly has a unique place in Hollywood history as one of the few designers to win three or more Academy Awards and one of the few Australians to succeed in
the Hollywood studio system. His work was a major factor in the success of Bette Davis at Warner Bros. However, Orry-Kelly and his work have received little critical attention.
This study examines the function of Orry-Kelly's costumes in a selection of Bette Davis vehicles produced at Warner Bros. between 1938 and 1942. In order to assess the value of Orry-Kelly's contributions, the thesis charts the development of the role of the Hollywood studio costume
designer and summarises theories relevant to the function of costume in classical Hollywood narrative.
Films analysed are Jezebel, Dark Victory, The Letter, The Little Foxes, Now, Voyager, The Great Lie and In This Our Life. Sources consulted for background to Orry-Kelly's life and career include records in the Orry-Kelly File in the Warner Bros. Archives at the University of Southern
California, and material gathered in Australia which has not been previously presented in an academic study.
The study concludes that Orry-Kelly's costume concepts display an intuitive understanding of processes of human perception and behaviour, and knowledge of the requirements of the film medium, to convey the preferred meanings about characters and aid in story-telling.
3
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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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.
5
Schembri, Peter Mark. "The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989". Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.
Testo completoAbstract (sommario):
In 1977, Star Wars opened in the United States to become a multimillion dollar blockbuster. Star Wars heralded the arrival of the recombinant science fiction-fantasy film. By the end of the 1980s, recombinant science fiction-fantasy films were the top grossing Hollywood manufactured films of the decade, with E.T., The Extra-Terrestrial (1982) becoming the highest grossing film
in Hollywood's history. The use of genre by the Hollywood film industry during the 1980s ensured the continued popularity, and therefore financial success as measured by box-office receipts, of Hollywood recombinant science fiction films. This thesis argues that the Hollywood film industry during the 1980s, used genre as it operated through the Hollywood standard, to regulate and control the interrelationship between: the economic structures and practices of the Hollywood film industry;
the content of recombinant science fiction genre films and generic cycles as expressed in Hollywood manufactured film texts; and the consumption by American audiences of these texts. The Hollywood standard is essentially a standardized industrial process. The standardized production/manufacturing conventions of the 1980s Hollywood standard, informed the manufacture of
science fiction film commodities by studio executives and contracted creative personnel. The Hollywood standard also influenced the science fiction genre's product/content conventions and formulas. Although the science fiction genre was successfully recombined with the fantasy genre, each genre had its own content
conventions and formulas. The manufacture, promotion, distribution, and exhibition of Hollywood manufactured recombinant science fiction films entailed
relationships between a complex network of organizations. This thesis details four functions, each a stage of an industrial process operating in a consumer-orientated market economy. All four functions were present in the 1980s Hollywood film industry system: manufacture or creation; entrepreneurship and patronage; promotion and marketing; and consumption. These functions transformed
a science fiction film from a conception to a commercial
commodity. The Hollywood film industry used genre in an attempt to regulate and control each stage of the Hollywood film industry system. 1980s recombinant science fiction films, as commercial
commodities manufactured through an industrial process, were cultural
products subject to the supply and demand pressures of the American marketplace. The theoretical approach upon which this thesis is based is a synthesis of a number of social science perspectives. Each chapter of this thesis corresponds to a stage of the industrial process.
The basic process of communication model is combined with
semiotics in the performance model. The performance model acknowledges that the content of film texts are determined by studio executives and creative personnel who manufactured texts according to the Hollywood standard. During the 1980s, Hollywood film manufacturers were unable to predict, or predicted only to a limited extent, what manufactured genre film commodities would be successful in the marketplace. As a coping strategy, Hollywood film studios engaged in overproduction. Once the film commodity was selected for release in the American marketplace, it was subject to differential promotion, with greater financial resources being allocated to expensive science fiction films that were likely to be potential blockbusters. But every recombinant science fiction film was promoted. As a marketing strategy, genre recombinations could be used to develop a unique brand image for each manufactured film commodity so that it could be targeted at different segments of a mass market.
A mass audience of American consumers in the 1980s were aggregates of unique individuals and groups of active consumers, making informed and conscious decisions in the marketplace. When individuals paid to see a recombinant science fiction film, they expected to obtain meanings and pleasure from it. Consumers often used genre as an important strategy to gather initial information about a film prior to viewing, and genre was often
used as an strategy for evaluating the film after viewing. Using the concept of cultural forum, this thesis argues that Hollywood manufactured recombinant science fiction film texts 'commented' on ideological conflicts. Individuals and groups were capable of creating opposition readings, and could engage the Hollywood film industry at the level of personal actions; individuals were not being ideologically manipulated. It was upon consumer demand and expectations that the Hollywood film industry system during the 1980s was based. Since consumers in the 1980s were notoriously fickle in their selection of films, the Hollywood film industry used genre in an attempt to direct audience reception of film commodities in the marketplace.
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Evans, Victoria Louise, e n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity". University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
Testo completoAbstract (sommario):
In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
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Mills, Jane Kathryn, University of Western Sydney, College of Arts e School of Humanities and Languages. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape". 2007. http://handle.uws.edu.au:8081/1959.7/19823.
Testo completoAbstract (sommario):
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.Doctor of Philosophy (PhD)
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"凝視現代性: 三四十年代上海電影文化與好萊塢因素 = Gazing modernity : Shanghai movie culture and Hollywood factors in 1930-40's". 2000. http://library.cuhk.edu.hk/record=b5895832.
Testo completoAbstract (sommario):
姜玢."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 104-108)
附中英文摘要.
"2000 nian 8 yue"
Jiang Fen.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves 104-108)
Fu Zhong Ying wen zhai yao.
Chapter ´ؤ --- 引言 --- p.10
Chapter 1.1 --- 上海特殊環境的.形成 --- p.11
Chapter 1.2 --- 文化中心的形成與電影事業的發展 --- p.13
Chapter 1.3 --- 好萊塢的優勢 --- p.16
Chapter 1.4 --- 上海好萊塢電影硏究的重要性 --- p.17
Chapter 二 --- 電影院分佈與歷史意義 --- p.21
Chapter 2.1 --- 上海電影院歷史 --- p.21
Chapter 2.2 --- 電影院與影片級別 --- p.24
Chapter 2.3 --- 電影院地點與階級傾向 --- p.29
Chapter 2.4 --- 娛樂場所現代性更替的意義 --- p.30
Chapter 三 --- 電影雜誌 --- p.34
Chapter 3.1 --- 《電影週刊》與.《好萊塢》 --- p.35
Chapter 3.2 --- 批評的角度 --- p.38
Chapter 3.3 --- 中美電影關係 --- p.40
Chapter 3.4 --- 對市場的認識 --- p.44
Chapter 3.5 --- 《好萊塢》現象 --- p.48
Chapter 四 --- 影片種類分析 --- p.51
Chapter 4.1 --- 娛樂傾向與片種調查 --- p.51
Chapter 4.2 --- 文化想象與雙向凝視關係 --- p.59
Chapter 4.3 --- 國產片的好萊塢因素 --- p.60
Chapter 4.4 --- 好萊塢意識與中國價値的接合點 --- p.64
Chapter 4.5 --- 片名繙譯與價値投射 --- p.68
Chapter 五 --- 城市情境與摩登心態 --- p.70
Chapter 5.1 --- 現代性社會結構 --- p.70
Chapter 5.2 --- 新型消費心態與文化需求 --- p.74
Chapter 5.3 --- 城市情境與現代現象 --- p.76
Chapter 六 --- 總結 --- p.83
附錄 --- p.86
參考書目 --- p.101
圓表目錄
Chapter 1. --- 美國八大電影公司在上海發行處地址 --- p.25
Chapter 2. --- 放映外國影片的電影院 --- p.26
Chapter 3. --- 放映國產影片的電影院 --- p.28
Chapter 4. --- 《電影週刊》關於好萊塢新聞的比例 --- p.36
Chapter 5. --- 最喜歡娛樂項目評選 --- p.52
Chapter 6. --- 最喜歡影片類型評選 --- p.52
Chapter 7. --- 《電影週刊》之“新片批評´ح統計表 --- p.53
Libri sul tema "Motion picture industry – california – los angeles"
1
Ian, Hamilton. Writers in Hollywood 1915-1951. London: Heinemann, 1990.
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2
Ian, Hamilton. Writers in Hollywood, 1915-1951. New York: Harper & Row, 1990.
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3
The diamond lane. New York: Putnam, 1991.
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4
Karbo, Karen. The diamond lane. New York: Putnam, 1991.
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5
Cameron, Sue. Honey dust. New York, NY: Warner Books, 1993.
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6
Boorstin, Jon. Pay or play. New York: Carroll & Graf Publishers, 1997.
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7
Boorstin, Jon. Pay or play. Los Angeles: Siles Press, 2000.
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8
Stars screaming. New York: Atlantic Monthly Press, 1997.
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9
Dunne, John Gregory. Playland. Franklin Center, Pa: Franklin Library, 1994.
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10
Schulberg, Budd. What makes Sammy run? 2a ed. New York: Random House, 2002.
Cerca il testo completoCapitoli di libri sul tema "Motion picture industry – california – los angeles"
1
Marzola, Luci. "“Maintained Solely for Your Benefit”". In Engineering Hollywood, 42–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0003.
Testo completoAbstract (sommario):
Chapter 2 centers on the specialized technology companies and service firms that formed around the motion picture producers in Los Angeles, creating an industrial “cluster” in the region. The movement of independent technology distributors, inventors, and laboratories to Southern California to cater exclusively to the needs of the motion picture producers was essential to the growth and stability of Hollywood. The relationship between the studio workers and companies such as Technicolor, Mole-Richardson, and Mitchell Cameras helped establish the community of Hollywood as the center of the motion picture industry, even as the studios themselves dispersed throughout Los Angeles. These companies, unlike their corporate brethren in the East, were eager to adapt their technical training to the creative needs of the studio, thus forming a unique engineering community around the production studios.
2
Procter, Ben. "Hollywood, San Simeon, and Expansion". In William Randolph Hearst, 129–52. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195325348.003.0006.
Testo completoAbstract (sommario):
Abstract Early in the 1900s, nestled in the valleys and foothills of the Santa Monica Mountains in northwest Los Angeles, lay the peaceful community of Hollywood. Because of the warm southern California climate, with a terrain caressed by Pacific Coast breezes and “aglow with orange groves, fruit trees, palms, and poinsettias;’ Hollywood was considered an ideal place to live. But by 1926 the business and economic complexion of the area had changed significantly “from a paradise for retired Iowan farmers into a seventh heaven for youth:’ More than eighty percent of the motion picture trade, which was the fourth largest industry in the world, now resided in Hollywood and the surrounding area. As this golden age of the 1920s continued, population doubled, trebled, then quadrupled, with Hearst’s Los Angeles Examiner publicizing California growth in a daily headline, “2nd Million Population Is Coming to Los Angeles:• As a consequence real estate exploded in value; accompanying businesses arose to meet urban demands, and local leaders struggled to solve the problems of municipal expansion.
3
Koegel, John. "Mexican Musical Theater and Movie Palaces in Downtown Los Angeles before 1950". In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0002.
Testo completoAbstract (sommario):
The Plaza was the first site of Spanish colonial civilian settlement in 1781, it was also the first entertainment district in Los Angeles. From the mid-nineteenth century through the 1950s, Plaza district buildings housed immigrant-oriented businesses, churches, restaurants and cafes, grocery stores, social clubs, billiard halls, saloons, music stores, dance halls, rooming houses, phonograph parlors, penny arcades, nickelodeons and ten-cent motion picture houses, and vaudeville theaters. The development of the Plaza area over time mirrors the transition of Los Angeles from a small Spanish and Mexican pueblo to an American frontier city, and ultimately to one of the world's major cities and metropolitan areas. This chapter explores how musical theater directly relates to physical location, civic identity, immigration, and ethnicity. A recurring process of cultural conflict, maintenance, and accommodation played out over time on stage in Los Angeles's Latino theatrical world. Music and theater served as conduits for communal self-expression, as powerful symbols of Mexican identity, and as signs of tradition and modernity.
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Marzola, Luci. "A System of Thorough Cooperation". In The Oxford Handbook of Silent Cinema, 420–39. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.27.
Testo completoAbstract (sommario):
Abstract From the late 1910s, Los Angeles was home to several small technology service firms that catered specifically to the needs of the motion picture studios. The development of this sector was instrumental in transforming Hollywood from a manufacturing outpost into an integrated economic/industrial zone. Contrary to narratives perpetuated by the producers themselves, the studios were not entirely self-sufficient facilities; rather, they were dependent on a network of technology businesses on the East Coast and, with increasing frequency, throughout Southern California. The movement of technological service firms into Los Angeles contributed to the development of the Hollywood studio system. In particular, independent processing laboratories tailored their business to the creative and technical workers toiling in the studios. By doing so, the labs and other firms created a unique and persistent technology community designed to meet the needs of creative production.
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Yogerst, Chris. "Intermission". In Hollywood Hates Hitler!, 107–12. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0009.
Testo completoAbstract (sommario):
On September 17, California Governor Culbert L. Olson mailed a letter of protest to the US Senate subcommittee on motion-picture propaganda. Addressing the letter to senator and subcommittee chairman D. Worth Clark, Olson wrote on behalf of the home state of Hollywood that California “looks with disfavor upon the implications of your committee’s investigation, not because this important industry of our state has anything to fear from such investigation, but because the investigation itself is considered an unjustifiable attack upon it.”...
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Melnick, Ross. "A Prologue to Hollywood". In The Oxford Handbook of Silent Cinema, 440–59. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.29.
Testo completoAbstract (sommario):
Abstract This chapter examines Sidney Patrick Grauman’s role in developing film prologues and premieres that helped redirect the focus of the film industry westward via a combination of motion-picture marketing and exhibition and real estate investment and promotion. Grauman, through his real estate development projects, redefined the cityscape of Los Angeles in the 1910s and then, during the 1920s, the growing urbanity of Hollywood. Grauman’s use of stars, publicity, and premieres to sell his real estate, theatrical, and other ventures is part of a larger story about his role in Hollywood’s evolution. Examining Grauman’s additional connections with local developers, financiers, hotels, banks, and industry organizations provides a window into the small number of key players in Hollywood’s early maturation and how Grauman’s Egyptian and Chinese theaters, the Hollywood Roosevelt Hotel, and other local entities became essential parts of Hollywood’s growth as an iconic place for global commerce, entertainment, and tourism.
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Powaski, Ronald E. "The Reagan Nuclear Buildup". In Return to Armageddon, 14–38. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195103823.003.0002.
Testo completoAbstract (sommario):
Abstract In January 1981 Ronald Reagan, like the overwhelming majority of his Cold War predecessors, entered the White House with almost no background in national security affairs. Before entering the political arena in the early 1960s and then serving as governor of California from 1966 to 1974, he had been in movies and television. His only military experience consisted of making training and documentary films during World War II. Reagan’s knowledge of communism and the Soviet Union was also limited. It was based almost entirely on personal experience rather than study. In the late1940s, as president of the Screen Actors Guild, he fought what he believed was a communist effort to take over the motion picture industry. The experience made him deeply suspicious of communism and the Soviet Union, in particular. In 1983 he called the Soviet Union “the focus of evil in the modern world.”1