The Contemporary Hollywood Film Industry is a collection of essays by leading scholars that examines the state of the U.S. film industry, from the l980s to present day. Includes important discussions of the industry’s labour and star systems, as well as intellectual property and state relations Considers the role of independent producers, the global marketplace for Hollywood product, corporate changes, and various new media windows, including video, DVD to cable, satellite, and online channels of delivery Brings together an international team of leading film scholars Offers a balanced and fresh approach to this important contemporary period in Hollywood
A comprehensive overview of the film industry in Hollywood today, Contemporary Hollywood Cinema brings together leading international cinema scholars to explore the technology, institutions, film makers and movies of contemporary American film making.
Hollywood has a growing fascination with America's past. This book offers an analysis of how and why contemporary Hollywood films have sought to mediate American history. It considers whether or how far contemporary films have begun to unravel the unifying myths of earlier films and periods.
By analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.
Movies expected to perform well can flop, whilst independent movies with low budgets can be wildly successful. In this text, De Vany casts his eye over all aspects of the business to present some intriguing conclusions.
A comprehensive overview of the film industry in Hollywood today, Contemporary Hollywood Cinema brings together leading international cinema scholars to explore the technology, institutions, film makers and movies of contemporary American film making.
Traditionally, film critics have concentrated on the director, seeing feature filmmaking as a form of individual expression. The authors challenge this view, arguing that filmmaking is a form of collection expression. They examine the idea that many individuals, including editors, cinematographers and sound designers, contribute to the making of a film, and argue that it is misleading to classify them as technicians. The authors consider is how money and power determines the structure within which all those involved with filmmaking work. And, in challenging the accepted view of the dynamics of filmmaking, the book raises questions about the nature of the feature film. Is it essentially a visual form? What place does it have? How important is the script? Making Films in Contemporary Hollywood contains analysis, interviews and case studies of Chinatown, Jurassic Park, and When Harry Met Sally, bringing a fresh perspective to the study of filmmaking that will be both informative and provocative for Media and Film Studies students at all levels.
At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry in ways beyond imagination in 1945. Nonetheless, at the start of a new century Hollywood's worldwide dominance is intact - indeed, in today's global economy the products of the American entertainment industry (of which movies are now only one part) are more ubiquitous than ever. How does today's "e;Hollywood"e; - absorbed into transnational media conglomerates like NewsCorp., Sony, and Viacom - differ from the legendary studios of Hollywood's Golden Age? What are the dominant frameworks and conventions, the historical contexts and the governing attitudes through which films are made, marketed and consumed today? How have these changed across the last seven decades? And how have these evolving contexts helped shape the form, the style and the content of Hollywood movies, from Singin' in the Rain to Pirates of the Caribbean? Barry Langford explains and interrogates the concept of "e;post-classical"e; Hollywood cinema - its coherence, its historical justification and how it can help or hinder our understanding of Hollywood from the forties to the present. Integrating film history, discussion of movies' social and political dimensions, and analysis of Hollywood's distinctive methods of storytelling, Post-Classical Hollywood charts key critical debates alongside the histories they interpret, while offering its own account of the "e;post-classical."e; Wide-ranging yet concise, challenging and insightful, Post-Classical Hollywood offers a new perspective on the most enduringly fascinating artform of our age.
" a modern mythography, a study of contemporary Hollywood films based on the tools offered by feminism, psychoanalysis, Marxist cultural theory, and deconstruction." --Village Voice "Solidly thought-out observation of the films of the 70's and 80's that comment on the system." --Audience "... intelligent, open advocacy. Its responsible arrangement of carefully described cultural materials will challenge students and instructors alike." --Teaching Philosophy Camera Politica is a comprehensive study of Hollywood film during a period of tremendous change in American history, a period that witnessed the end of the American empire, crises in the economy, a failure of political leadership, loss at war, and the rise of the Right.
From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of ‘total entertainment’. Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding’s significance for commercial film and the industrial culture from which it is produced.
