Everything old is new again: reality television celebrity, the Hollywood studio system, and the battle for control of one’s image

2020 ◽  
pp. 1-17
Author(s):  
Andrea Ruehlicke
Keyword(s):  
Reality Television ◽  
Studio System ◽  
Hollywood Studio System

The Hollywood Studio System

1987 ◽  
Vol 73 (4) ◽  
pp. 1066
Author(s):  
Thomas Cripps ◽  
Douglas Gomery ◽  
Graham Petrie
Keyword(s):  
Studio System ◽  
Hollywood Studio System

Migrant Media

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
Los Angeles ◽  
American Culture ◽  
Southern History ◽  
Black And White ◽  
History Of ◽  
Studio System ◽  
Southern Migrants ◽  
Ubiquitous Presence ◽  
Hollywood Studio System

Chapter 2 provides a history of southern migration and its impact on American culture at large. Most pointedly, black and white southern migrants to Los Angeles contributed in fundamental ways to the development of the Hollywood studio system, and the “southernization” of many of its institutions. Southern filmmakers included D. W. Griffith and many of his acolytes and younger peers. Other southerners occupied positions throughout the industry, and the enormous output of films registered southern history and culture in many ways: in the appearances of southern actors, in the presence of jazz, in films of every genre, and perhaps more than anything else in the ubiquitous presence of segregation, which the system as a whole had adopted for its own purposes.

Hollywood Regionalism

2020 ◽  
Vol 6 (2) ◽  
pp. 16-42
Author(s):  
Alexandra Edwards
Keyword(s):  
Big Five ◽  
Black And White ◽  
Film Producer ◽  
Studio System ◽  
Hollywood Studio System

In her sixty years on earth, Gene Stratton-Porter was many things: a women's club organizer, nature photographer, naturalist, conservationist, best-selling novelist, and a burgeoning film producer who died just as her film studio began to realize her mission of adapting her novels into movies that could further her education and conservation efforts. By 1960, eight of her books had been turned into twenty-one films—silent and sound, black and white and color, from Poverty Row studios to members of the Big Five. This article examines how Stratton-Porter and others translated her regionalism and conservationism to film across a span of forty-three years that saw major revolutions in Hollywood filmmaking. The Hollywood studio system, I argue, appropriated her successful brand of regionalism and her audience of women's club members, while also augmenting her problematically genteel mode of activism.

The Unheard Song of Joy

2015 ◽  
Author(s):  
Jeff Jaeckle
Keyword(s):  
Studio System ◽  
Over The Top ◽  
Hollywood Studio System

This chapter illustrates some of the untapped riches of Preston Sturges’s unproduced screenplay for the musical Song of Joy, both in terms of its pivotal timing in his filmmaking career and its unappreciated achievements in screenwriting. When compared with Sturges’s other written-and-directed films, Song of Joy often shows less restraint and more exuberance in testing the boundaries of the Hollywood studio system, especially in terms of plotting, meta-cinema, and dialogue. Tracing these extremes clarifies why the script was so disliked and why so many studios rejected it. These analyses also illustrate the intensity of Sturges’s creative ambitions at this point in his career—that period between his roles as playwright and writer-director when he took an even more over-the-top approach to screenwriting.

A Graveyard for Lunatics

2020 ◽  
pp. 189-195
Author(s):  
Jonathan R. Eller
Keyword(s):  
System P ◽  
Autobiographical Fiction ◽  
The Future ◽  
Studio System ◽  
The 1950S ◽  
Hollywood Studio System

Chapter 27 describes the development and publication of A Graveyard for Lunatics, Bradbury’s second exercise in sustained autobiographical fiction within a five-year span. If Death Is a Lonely Business had explored the late 1940s moment when he overcame his fear of losing his creativity, A Graveyard for Lunatics focused on the period in the 1950s and early 1960s when he realized that he must not be swallowed up by his love of writing for Hollywood. Bradbury knew that he would lose all the future stories he would ever write if he assumed the secure but anonymous life of a screenwriter, working only with the works of other writers. The resulting fantasy offered an effective satire of the Hollywood studio system.

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