mac 215 media history movies and the impact of images all right, mr. demille, i'm ready for my...
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MAC 215 Media History
Movies and the Impact of Images
All right, Mr. DeMille, I'm ready for my close-up.
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Discussion - Consensus Narratives
Discuss a recent film you've viewed in the context of consensus narrative by identifying mainstream values and whether they are either being *challenged or reaffirmed.
*Often challenged by more traditional or emerging values
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The Transitional Period (1907-1913)
Industry and Cultural Form
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Moguls move west (1911-1912)
– Carl Laemmle, IMP, then Universal Pictures
– William Fox, 20th Century Fox
– Adolph Zukor, Paramount
– Marcus Loew, MGM
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Industrial practices vertical integrationcentral planningcompetition and cooperationpermanent exhibition sites
first run, second run venuesproduct differentiationstars and advertising
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Hollywood 1922
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D.W. Griffith (1875-1948)
Mature storytelling technique
Motion pictures as high art & entertainment
Director as author/central creative force
Film as social force
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Cultural FormCinema of narrative integration
Style serves storyIncreased length (multireel or feature)Multiple shotsInternally coherent storiesActing
• Individualized characters (identification) • ‘Verisimilar’ style
Increased use of editing (standard film grammar)• Subjectivity, POV• Analytical editing• Continuity or spatial-temporal relations (match cuts)
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Hollywood: Triumph of the Studio System (1930-1945)
Technological Standards - SOUND!!!Majors and Minors (an oligopoly)Production Code Standard exhibition practicesContract Player SystemStars, Directors, Looks, Genres
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Studio Era
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Studio Era
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SOUND
Sound effects machines standard by 1908Continuous musical accompaniment by
1914Producers began commissioning original
scoresIn 1920s all features were accompanied
by cue sheets
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SOUND
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SYNC SOUND
Competing systemssound on discsound on film
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SOUND
Competing systemssound on discsound on film
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SOUND
Competing systemssound on discsound on film
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The Jazz Singer (1927)Starring Al JolsonDirected by Alan CroslandReleased by Warner Bros.Premieres October 6, 1927Earns over $3.5 millionConsidered the first “talkie,” in fact a “part
talkie”Initiates studios to invest in sound
technology for motion pictures
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The Jazz Singer (1927)Starring Al JolsonDirected by Alan CroslandReleased by Warner Bros.Premieres October 6, 1927Earns over $3.5 millionConsidered the first “talkie,” in fact a “part
talkie”Initiates studios to invest in sound
technology for motion pictures
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Impact of Sound
1. Economic
2. Technological
3. Stylistic
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Impact of Sound: Economic
Capital Investment and the alliance between Wall Street and Hollywood
Investment in excess of $300 million for the motion picture industry’s conversion to sound
most $ lent by Rockefeller and Morgan
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Impact of Sound: Economic
Mergers and realignmentsby 1930, eight studios account for 95
percent of US film production
The Big Five (vertically integrated)Paramount, MGM, 20th Century-Fox, Warner Bros
(bought First National), RKO
The Little Three (lacking theater chains)Universal, Columbia, United Artists
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Impact of Sound: TechnologyRise of technical agencies
SMPE Society for Motion Picture EngineersASC: American Society of CinematographersAMPAS: The Academy of Motion Picture Arts
and Sciences
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Impact of Sound: TechnologyTechnological standardization &
interoperabilityBell and Howell camerasMitchell camerasEastman Kodak panchromatic film stockMovietone optical sound systemMoviola editing equipmentMole Richardson incandescent lightsstandardized blimps, tripods, booms, microphones,
speakers
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Impact of Sound: StyleEarly Problems
Directional microphones Noisy camerasProblems with stasis (camera and actor)Repetitive cutting (inflexible tempo)Reduced variety of camera angles
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Impact of Sound: StyleThe Adjustment to Sound
Multicamera shootingBooms Dollies, small cranes, camera carriagesIncreased camera mobility
post-synchronization (dubbing in postproduction)
Hallelujah (Vidor, 1929)
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Impact of Sound: StyleThe Adjustment to Sound
Multicamera shootingBooms Dollies, small cranes, camera carriagesIncreased camera mobility
post-synchronization (dubbing in postproduction)
Film: Hallelujah (Vidor, 1929)
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–II. Regulation of content and the Production Code
Antecedents to film censorship moralists and reformers fought against the corrupting
influence of film on youth Mutual v. Ohio, 1915 (Mutual Film Corporation v.
Industrial Commission of Ohio) MPPDA/The Hays Office (the voluntary period) Hollywood Scandals in the 1920s Hollywood film and the “New Morality”
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–1922-1934 MPPDA/The Hays Office (the voluntary period)
Motion Picture Producers and Distributors Association (MPPDA) March 1922 A self-regulatory trade organization Will Hays as head (dubbed the Hays Office) A public relations and lobbying firm rarely censored films 1927 Motion Picture Production Code Unenforced!
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–Hollywood Scandals
Roscoe “Fatty” Arbuckle (1887-1933)
September 1921, “Fatty” Arbuckle charged with the rape and murder of actress Virginia Rappe
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–Hollywood scandals February 1st, 1922,
director found murdered
actresses Mary Miles Minter and Mabel Dormand accused, careers destroyed
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–Hollywood scandals
January 1923, actor Wallace Reid dies of heroin overdose
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–Hollywood films and the new morality
Films of Cecil B. Demille
Features of late era silent films:
»Extramarital sex »Hedonism»Lurid spectacle
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– Precode - Trouble in Paradise (Lubitch, 1932)
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–The Production code of 1934
Headed by prominent Catholic Joseph Breen
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–The Production Code of 1934
A wide range of subject prohibited on film (p. 112):
– Scenes of passion, profanity, nudity, excessive drinking, depiction of crime and the law defeated, excessive violence, narcotics, gambling…
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–Process of PCA Certification1. A preliminary conference with Breen, with basic
story and plot discussed2. Careful scrutiny of the script3. Conference with writers to make changes where
necessary4. Approval of script by Breen to go into production5. Continued conferences during production6. Previews of sequences during production7. Preview of the completed picture8. Certificate of approval granted to picture, after
requested changes are made
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–The Enforcement of the Production Code
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–Enforcement of PCA
In 1942 The Outlaw was initially denied a certification . . .
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–Analysis: social implications . . .
–
Baby Face (Green, 1933)
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–The Enforcement of the Production Code
Social implications . . . – conceal social problems that involve sexual
crimes including: • Incest• Pedophilia• Sexual harassment• Sexual violence• Rape• . . .
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–The Enforcement of the Production Code
Other implications . . . ?
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–The Enforcement of the Production Code
Implications . . . – Prevents criticism of
authority and corruption (police, politicians, etc).
– conceals human sexuality
– Infantilism of public – Masks reality– Demise of the
sophisticated comedy– Rise of the screwball
comedy
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Film Censorship Post WWII
Film Noir– Morally ambiguous– Structurally complex– Sexually bold
Pushed conventions– allusive system of representation
“From which conclusions might be drawn from the sophisticated mind...but would mean nothing to the inexperienced” (Balio, p. 40).
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Film Censorship Post WWII
1952 Supreme Court Case Joseph Burstyn, Inc. v. Wilson, 343 U.S. 495 (1952) (also
referred to as the " Miracle Decision"), was a landmark decision by the United States Supreme Court
– Films covered by First Amendment Guarantee of Free Speech
– MPAA has problems enforcing the code– Hays Office power to dictate content begins
to erode . . . why? – 1966 MPAA stops issuing certificates all
together
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Decline of Studio System (1946-1960)
US audience attendance peaks and declines 1946 98 million viewers per week 1957 47 million viewers per week
Factors 1. Anti-trust litigation (Paramount Decision of 1946) 2. Political challenges (HUAC)3. Sociological Changes (suburbia)4. Competing Entertainment forms (TV)
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Paramount Decision of 1948
1938 US vs. Paramount Pictures, Inc., et al
Big Five and Little Three accused of violating anti-trust lawsBig 5 - Paramount, MGM, Warner Bros, RKO, and
Twentieth Century-FoxLittle 3- Universal, Columbia, and United Artists)
vertically integrated structure - a monopoly
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Paramount Decision of 1948 (cont)
1948 U.S. Supreme Court decision8 companies found guilty
Block-bookingCooperating to exclude independent exhibiters
Big 5 ordered to sell off their theater chains
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Impact of Paramount Decision (1948)
Industry revenues decreases 20%
Studio profits decline$120m in 1947- $31m in 1950
Output decreasesStudios’ stocks plummetStudios falter
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Political Challenges: Hollywood Ten and the Blacklist
“Are you now or have you ever been a member of the Communist Party?”
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House Committee of Un-American Activities (HUAC) conservatives sought to drive out leftists from
the media Equated labor rights with communism1947 HUAC hearings of 1947
called 41 “friendly” witnesses who named 1710 out of 19 subpoenaed refused to testify
jailed for up to 1 yearblacklisted for many more
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Hollywood Ten
Alvah Bessie, screenwriter Herbert Biberman, screenwriter and director Lester Cole, screenwriter Edward Dmytryk, director Ring Lardner Jr., screenwriter John Howard Lawson, screenwriter Albert Maltz, screenwriter Samuel Ornitz, screenwriter Adrian Scott, producer and screenwriter Dalton Trumbo, screenwriter
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Hollywood and the “Blacklist”
1947 MPAA, on behalf of studios, cooperated Comprised a list of several hundred writers, actors, and
directors who would lose their jobs known as the blacklist many survived by using pseudonyms or frontslasted over a decade 1960 Exodus and Spartacus give screen credit
Dalton Trumbo, blacklisted screenwriter
[Screen documentary: The Hollywood Ten (1950)]
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Results of HUAC hearings and the Blacklist
Ruined lives, careers ended foreverTalented filmmakers left HollywoodCreated distrust in the studio system
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Sociological Changes: suburbanization
Little boxes on the hillside,Little boxes made of ticky-tacky,Little boxes on the hillside,Little boxes all the same.—-Malvina Reynolds
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Sociological Changes: the rise of suburbiaReturning vets focused on careers, raising
families Move away from city (and city theaters)Discretionary income goes to household goods
and new carsEmphasis on participatory leisure activities
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Television
mid 1950s TV replaces radio and the movies
1954 Americans own 32 million sets
Many people stay home instead of attend the movies
TV Watch Parties!
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Moving Towards a New Hollywood
Hollywood on HollywoodNostalgia & Self-Critique
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Color and Aspect Ratio
By early 1950s Hollywood films made in color increase from 20% to 50%
1952 Many widescreen processes introducedCinemaScope 2.35:1 vs. Academy ratio 1.33:1
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Aspect Ratio
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Aspect Ratio