Music on Demand: Composers and Careers in the Hollywood Film Industry.

Social Forces ◽  
1984 ◽  
Vol 63 (2) ◽  
pp. 589
Author(s):  
John W. Ryan ◽  
Robert R. Faulkner
Keyword(s):  
Film Industry ◽  
Hollywood Film ◽  
On Demand

Music on Demand: Composers and Careers in the Hollywood Film Industry.

1989 ◽  
Vol 34 (2) ◽  
pp. 318 ◽  
Author(s):  
Stephen R. Barley ◽  
Robert R. Faulkner
Keyword(s):  
Film Industry ◽  
Hollywood Film ◽  
On Demand

Music on Demand: Composers and Careers in the Hollywood Film Industry.

1984 ◽  
Vol 13 (2) ◽  
pp. 174
Author(s):  
Samuel Gilmore ◽  
Robert Faulkner
Keyword(s):  
Film Industry ◽  
Hollywood Film ◽  
On Demand

Soviet Film

2019 ◽  
pp. 63-74
Author(s):  
Lisa Nanney
Keyword(s):  
Political Action ◽  
Film Industry ◽  
Short Film ◽  
Independent Film ◽  
Hollywood Film ◽  
Avant Garde ◽  
Critical Response ◽  
Film Treatment ◽  
Film Productions ◽  
The Masses

Dos Passos’s adaptation of cinematic methods to literary style beginning in the mid-1920s emerged further in his work after he visited Russia in 1928. Tepid public and critical response to New Playwrights dramas motivated Dos Passos to explore how the revolutionary state-supported Russian theater and film productions had engaged the masses, united them politically, and produced groundbreaking artists. In dramatist Meyerhold’s avant-garde theater, Constructivist industrial sets and “biomechanical” acting techniques created successful dramas about and for workers. Dos Passos observed that cinematic innovations emerged from the Soviet-controlled studios despite the state’s use of film as its primary tool of mass ideological education. Though Lenin, then Stalin increasingly controlled film productions and artists, Soviet filmmakers nonetheless evolved theories of montage that became foundational in filmmaking and informed Dos Passos’s modernist novels and his 1936 independent film treatment “Dreamfactory,” with its meta-filmic exposé of the Hollywood film industry. In particular, these works registered the formal and conceptual innovations of two directors: Eisenstein, whose films combined fiction and history to effect political action through art; and Vertov, whose films acknowledged the artist’s vision as controlling the camera “eye” and who embedded in one short film an auto-critique of movie-making.

Roads Not Taken in Hollywood’s Comic Book Movie Industry

2017 ◽  
Author(s):  
Dan Hassler-Forest
Keyword(s):  
Comic Books ◽  
Film Industry ◽  
Comic Book ◽  
Dynamic Adaptation ◽  
Adaptation Process ◽  
Movie Industry ◽  
Hollywood Film ◽  
Box Office ◽  
Archaeological Approach ◽  
Formal Features

Chapter 23 approaches the phenomenon of the comic book movie as a complex and dynamic adaptation process. While superhero movies and other comics-inspired franchises now dominate the global box office, it is rare that they adapt comic books’ formal features in a meaningful way. By foregrounding three comic book movies that have largely been considered failures, the essay discusses innovative ways of adapting comics to film through a media-archaeological approach to the genre. The films Popeye (1980), Dick Tracy (1990), and Hulk (2002) can be read, each in its own way, as provocative “roads not taken” by the Hollywood film industry.

Nobody Knows Anything

2007 ◽  
Vol 18 (4) ◽  
pp. 31-40
Author(s):  
Ian Turner
Keyword(s):  
Film Industry ◽  
Final Outcome ◽  
Success Rates ◽  
Hollywood Film

The wild unpredictability of success rates in the Hollywood film industry is in fact a model of the unpredictability of success in many other areas of business. Is there any one factor that creates success? What impact do efforts towards success have on the final outcome of any business or product?

Working in Hollywood

2018 ◽  
Author(s):  
Ronny Regev
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Film Industry ◽  
Industrial Capitalism ◽  
Hollywood Film ◽  
New Class ◽  
Modern System ◽  
History Of ◽  
New Form ◽  
Anita Loos

A history of the Hollywood film industry as a modern system of labor, this book reveals an important untold story of an influential twentieth-century workplace. Ronny Regev argues that the Hollywood studio system institutionalized creative labor by systemizing and standardizing the work of actors, directors, writers, and cinematographers, meshing artistic sensibilities with the efficiency-minded rationale of industrial capitalism. The employees of the studios emerged as a new class: they were wage laborers with enormous salaries, artists subjected to budgets and supervision, stars bound by contracts. As such, these workers—people like Clark Gable, Katharine Hepburn, and Anita Loos—were the outliers in the American workforce, an extraordinary working class. Through extensive use of oral histories, personal correspondence, studio archives, and the papers of leading Hollywood luminaries as well as their less-known contemporaries, Regev demonstrates that, as part of their contribution to popular culture, Hollywood studios such as Paramount, Warner Bros., and MGM cultivated a new form of labor, one that made work seem like fantasy.

Lion and Lambs

2013 ◽  
pp. 396-416
Author(s):  
Carol Donelan ◽  
Ronald Rodman
Keyword(s):  
Digital Media ◽  
Young Women ◽  
Film Industry ◽  
Young Female ◽  
Pop Music ◽  
Female Desire ◽  
Hollywood Film ◽  
Musical Scores ◽  
Women And Girls ◽  
Music Market

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. With the advent of the Twilight Saga, the teen vampire subgenre has sunk its teeth into the blockbuster film franchise. Its migration into big-budget corporate cinema prompts a negotiation between the Hollywood film industry and the D-quadrant audience of young women and girls. The industry, for its part, has agreed to adopt a protective rather than predatory stance, offering young female viewers a PG-13 fantasy rather than exposing them to representations of sexual violence that “go too far,” are too threatening or age-inappropriate. At the same time, the industry not only acknowledges the existence of female desire, but represents its darker, uncanny dimensions. Newly composed musical scores play a major role in facilitating the experience of the uncanny for viewers without overshooting their tastes and sensibilities. The pop music in the films serves to initiate the audience into the adult music market.

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