The Motion Picture Rating System of 1968: A Constitutional Analysis of Self-Regulation by the Film Industry

1973 ◽  
Vol 73 (2) ◽  
pp. 185 ◽  
Author(s):  
Jane M. Friedman
2020 ◽  
Vol 11 (1) ◽  
pp. 78-91
Author(s):  
Valentina Vitali

Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).


Author(s):  
Catherine Jurca

Using largely un-researched congressional records, this chapter examines the four hearings held between 1936 and 1940 on trade practices in distribution, notably block-booking and blind selling, which underwrote an effective big-studio monopoly. It examines how the material problem of getting commercial entertainment from the scene of production to thousands of theatres nationwide impacted on the way various elements in the film industry, notably the big studios and independent exhibitors, represented its practices, as well as its products, both to Congress and to themselves. Although the studios were able to frustrate legislative efforts to challenge their interests, this only ensured that the Justice Department would seek legal redress through the courts. The coming of World War II briefly suspended New Deal efforts to strengthen federal regulation of the film business but the seeds were sewn by the end of the 1930s for the US v Paramount et al Supreme Court decision that did much to undermine studio power by requiring separation of the ownership of production and exhibition of films.


Author(s):  
Peter Lev

“Studio” and “Hollywood” are interestingly complex terms. “Studio” originally meant a room with abundant natural light. The first motion picture studios were large, glass-walled rooms designed for filming with natural light. The term “studio” expanded to refer to a motion picture production facility, and then it expanded again to mean a company that made motion pictures. By the late 1920s the best-known American studios were large, vertically integrated corporations that produced, distributed, and exhibited films: Paramount, MGM, Fox, Warner Bros., and RKO. Columbia, Universal, and United Artists were also considered major studios, though they owned few or no theaters, and there were smaller B-movie companies such as Monogram and Republic. “Hollywood” refers to a neighborhood north and west of downtown Los Angeles where a number of movie companies settled when they left the East Coast for California in the 1910s. This term has expanded in meaning as well; it now means all film production in the Los Angeles area, and even by synecdoche the entire American film industry. From about 1920 to 1950, film was the dominant entertainment industry in the United States, and the eight major studios firmly controlled this medium. The studios’ top executives, sometimes called “moguls” to emphasize their power, supervised thousands of employees and decided what films were made, how they were made, and how they were released. This is often called the “studio period,” or the “classic period,” or the “golden age of Hollywood.” After 1950 there was a gradual change to independent production as directors, producers, stars, and agents took over the creative aspects of filmmaking, with the studios mainly responsible for financing and distribution. Eventually, the Hollywood film studios expanded to other fields such as television, cable, music, home video, theme parks, and Internet, and they were bought or merged with larger corporations. The giant media conglomerates of the early 21st century (Disney, Time Warner, News Corp., Viacom, Comcast, and Sony) resemble the studios of old in their domination of the entertainment industry. This article will concentrate on the studio period, especially the economic and institutional histories of the eight major studios. However, since almost all of these companies still exist, and they are still called studios, some entries will discuss what happened to the American film industry and to the individual companies since the 1950s.


2009 ◽  
Vol 163 (3) ◽  
pp. 218 ◽  
Author(s):  
Meghan R. Longacre ◽  
Anna M. Adachi-Mejia ◽  
Linda Titus-Ernstoff ◽  
Jennifer J. Gibson ◽  
Michael L. Beach ◽  
...  

Author(s):  
Sangjoon Lee

This chapter recounts how Nagata Masaichi, president of Daiei Studio in Japan, pitched the idea of founding the Federation of Motion Picture Producers in Southeast Asia (FPA) and an annual Southeast Asian Film Festival. It discusses the consensus among American foreign officers stationed in Asia that communists had infiltrated the Japanese film industry since the end of the US occupation of Japan in April 1952. It also describes the activities of the “Reds” in the Japanese motion picture industry that is considered a threat to the United States' strategic Cold War interests in the Asia-Pacific region. The chapter cites Rashomon, which won the award for Best Foreign Language Film at the Oscars and elicited simultaneous respect and jealousy from other nations in the region. It elaborates how the unprecedented success of Rashomon rapidly established Nagata's presence in the Japanese film industry.


Author(s):  
Sangjoon Lee

This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.


2004 ◽  
Vol 4 (2) ◽  
pp. 285-300 ◽  
Author(s):  
Sangyoub Park ◽  
Eui Hang Shin

Despite its embedded ambiguity, conventional wisdom tends to prevail over time. This may be because old adages recurrently embrace some ingredients of truth. As James A. Mathisen highlights, conventional wisdom plays a significant role in constituting knowledge as a starting point. For many people, numerous adages (the rich get richer while the poor get poorer; birds of a feather flock together) are most commonly perceived as true. More interestingly, the accuracy of the two folk wisdoms appears to be more salient in culture-producing industries, including the motion picture industry. Concomitantly, the two adages have long been connected to diverse societal phenomena and sociological knowledge.


2020 ◽  
pp. 1-8
Author(s):  
Justin Gautreau

The book’s introduction traces the emergence of so-called motion picture fiction in the pages of industry fan magazines. Such novels as Robert Carlton Brown’s My Experience as a Film Favorite (published in Photoplay in 1913 and 1914) and, later, Edward J. Clode’s My Strange Life: The Intimate Life Story of a Moving Picture Actress (published in 1915 as a standalone book) positioned readers to imagine themselves as stars at a time when the film industry was promoting itself as a place of romance and opportunity. The function of motion picture fiction, however, took a swift turn following a string of celebrity scandals in the 1920s. After laying out the structure for the rest of the book and touching on other studies on the Hollywood novel, the introduction highlights the Hollywood novel’s relevance to and resonance with film theory and more contemporary scandal in the entertainment industry.


Author(s):  
Charles O’brien

This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.


Sign in / Sign up

Export Citation Format

Share Document