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‘GOOD RIDDANCE TO BAD COMPANY’: HEDDA HOPPER, HOLLYWOOD GOSSIP, AND THE CAMPAIGN AGAINST CHARLIE CHAPLIN, 1940-1952
Third, we computed VAIs for each shot in each film. The purpose of these calculations was to determine the relative amount ofmotion andmovement in shots of different duration and whether that relation had changed over the course of 75 years of popular film. Since both dimensions, shot length and VAI per shot, are strongly skewed, we transformed each. We took the logarithmof each shot duration, and because VAI is based on correlations, we used the r-to-z transformfor VAIs. These transformations created roughly normal distributions along both dimensions for all films....
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ATTRACTION TRANSPORTATION RESORT AREA HOTEL PICK UP/DROP OFF
Finally, we computed the overall luminance of each filmby finding themedian luminance value of each frame, then averaging across frames. For the black-and-white films we simply worked with 8-bit pixel values of 0 (black) to 255 (white) fromthe jpegs; for the color films we first converted them to grayscale using the standardMatlab conversion, and then measured them in the same way. Median values for each frame were then given a reverse gamma transformof 1/2.2 before the whole-filmmean luminance was calculated....
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Teacher Development through Project-based Learning: The Hollywood Elementary Story
It is clear that contemporary films have a quicker pace than those 50 years ago, although films from the end of the silent era had ASLs not much different from 1995 films (Salt 2009). Cuts constitute almost 99% of the transitions between shots in contemporary film(Cutting et al 2011a), and given that Mital et al (2010) have shown that cuts affect eye movements, generally causing saccades towards the middle of the screen, it is clear that more quickly paced films demand a reorientation of visual attention to a degree that older films do not....
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The Hollywood Sign A Beat-by-Beat Plotline
Thus, our data show that films have clearly gotten faster, but on the basis of Salt’s data it seems unlikely that the VAI increase in Figure 1b is due to cameramovement; instead, it is likely due to the choice of filmmakers in depicting things thatmove.Much psychological experimentation has shown thatmotion andmotion onsets capture our attention (eg, Abrams and Crist 2003; Hillstromand Yantis 1994). The progression of filmmaking over the last 75 years would appear to have capitalized on this effect....
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Representation, space and Hollywood Squares: looking at things that aren't there anymore
We view this increasing inverse correlation ofmotion and shot length as an amplifying effect. That is, short shots likely increase viewer response to films and film segments, forcing observer eye movements to quickly reevaluate each new visual depiction and increasing heart rate and other bodily responses (Carruthers and Taggart 1973). Addingmoremotion to these short shots is likely to increase viewer response all the more.We suggest that this increasing correlationmay help to couple attention to broader physiological responses.We also find it intriguing that the natural patterns of heart rate, like those of attention (Gilden 2001) and increasingly of film(Cutting et al 2010), follow a 1/f pattern (Saul et...
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All the World’s a Cage: Animal Entertainment
There are likely several reasons for the long-termluminance decrease. First, analog film and its digital successor have increased their dynamic range, allowing for darker darks in a given image. Second, and also due to filmstock, studio-era films needed to be shot under very bright lights, whereas for contemporary films that is no longer necessary (Salt 2009). And third, a darker filmin a dark theater allows for greater dynamic contrast, which in turn allows for better control over viewers’ attention (Lin and Yan 2011, Smith (2006), and the potential of viewers seeing a film even more convincingly as an invisible window into the world in which the narrative...
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HOORAY FOR HOLLYWOOD: Marian Gibbons and The Founding of Hollywood Heritage
The three individuals that have themost control over the final appearance of a filmare the director, the cinematographer, and the editor. The 160 films we have analyzed hadmore than 400 different such individuals, and each of themoften led teams of considerable size. Thus, popular films are a collective and collaborative product, and the causes for the general changes in film over time as shown in Figure 1 can only be sociological, even cultural. That is, through the cultural transmission and dissemination of filmmaking practices, through experimentation and technological innovation, and through continual inspection and evaluation of their results, the relatively small community of filmmakers has gradually changed their...
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GREAT HOLLYWOOD COMEDIANS
The physical form of popular film has changed over the last 75 years and seems likely to continue to do so. Here we have documented four linear changes. We believe that all of them have been created by filmmakers seeking to control the attention of their viewers, and possibly to enhance viewer involvement in film. These four dimensions—shot length, motion, the coupling of shot length withmotion, and luminance—by nomeans exhaust the potential changes that might be found in popular film over this span, but they do add to our cinemetric knowledge of how films have been constructed and how perceptually relevant variables have been harnessed to produce...
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Recession and Regression The 2011 Hollywood Writers Report
Power has been defined in a variety of different ways by sociologists and political scientists so it behooves us to review those definitions before launching into an exploration of the imagery of power. The simplest definition of power is an ability to get others to do something that they would not otherwise have done. This is sometimes referred to as power as “capabilities” or “potential” power and is measured in terms of the attributes of the social actor that allegedly possesses it. An individual is powerful if she is rich, well-educated, a member of a social elite, etc. A country is powerful if it is big in...
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Images of Power in Hollywood Films: The Example of Star Wars
A second way to define power is in terms of a relationship in which one actor is observed to attempt to influence another directly and succeeds. This is sometimes called “actualized” power. The attempt to influence results from differing preferences over outcomes, and the attempt is successful if the attempt of actor A to influence actor B results in an outcome preferred by A. A may convince B that A’s preferred outcome is also B’s preferred outcome without the threat of force by engaging in persuasive discourse, but if A threatens B with force to get B to act against B’s preferences then we are talking about...
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2007/08 Hollywood Business Resource Book
A third way to define power is in terms of the ability to structure an environment of choice, to determine the “rules of the game” of some sphere of human activity. Also called structural power, this notion focuses on how individuals or groups of individuals influence “regimes” –sets of rules, norms, procedures, and institutions in a particular area. An example of structural power would be the ability of the Motion Picture Association to prevent government censorship of movies by adopting a variety of self- regulatory measures (such as voluntary ratings schemes)....
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Quicker, faster, darker: Changes in Hollywood film over 75 years
Power is related to a set of concepts which may be represented by images. We have already spoken about noncoercive forms of power, influence and persuasion, and one can imagine various ways of graphically representing those noncoercive activiities. Power that has been institutionalized in the form of institutions is often represented in terms of the buildings housing those institutions or symbols of the institution or the functions it performs. Thus, a picture of the Supreme Court building could be used to represent the institution and an image of a blindfolded woman in a toga holding a balance might represent the justice dispensed by that court. Some forms...
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Facial Expressions in Hollywood's Portrayal of Emotion
Much theory and research on emotion are based on the facial expressions of amateurs asked to pose for still photographs. The theory of facial affect programs (FAPs; P. Ekman, 1972) was proposed to account for the resulting expressions, most of which are patterns consisting of distinguishable parts. In the present study, 4 Hollywood films noted for fine acting and realism were examined for the facial expressions that accompany a basic emotion. In keeping with the theory of FAPs, profes- sional actors judged as happy were found smiling in 97% (Duchenne smiling in 74%) of cases. In contrast, actors judged as surprised, afraid, angry, disgusted, or sad...
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MADAME TUSSAUDS HOLLYWOOD TIMELINE
There is a whole genre of “celebrity” biography that focuses on the rich and famous, the influential, or the notorious, and within this category an entire sub-genre devoted to movie-stars and other Hol- lywood types. They can range from the sleazy and sensational to the more complex, hefty literary film studies, or historical biography— the latter varieties seeking to situate the biographical subjects in the social, cultural, or literary context of the times in which they lived, without sparing the gossip. This is what makes the literary and film biography of the British actor Victor McLaglen (1886-1959) so fas- cinating and appealing...
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Erich Wolfgang Korngold – The Maestro of Hollywood
Victor McLaglen’s life was greatly influenced by, and mir- rored, his experiences of the British Empire, an empire he travelled widely and knew well. He had been a Boer War volunteer, potential Canadian homesteader, gold and silver miner in Canada and Austra- lia, farm worker, boxer, wrestler, pearl diver, big game hunter, ma- cho carnival tough guy, music hall performer, World War I soldier, Assistant Provost Marshal of Baghdad, and an actor in the early Brit- ish film industry. Some of his brothers would settle in Kenya and South Africa. He knew the British Army and its imperial mission. ...
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Visual Activity in Hollywood Film: 1935 to 2005 and Beyond
David Thomson was indeed correct when he said that McLaglen’s screen persona of imperial tough guy had actual “authentic grounding in personal experience.” 2 But when McLaglen arrived in California in 1924, he would find that his cinematic career would now become conflated with the Hollywood mythology of the British Empire, just as he himself became more immersed in the conflation of California and British culture in the so-called “Hollywood Raj” of the 1920s and 1930s, that collection of English actors living in luxurious, if self-imposed, isolation among the palm trees and Spanish Mission architecture of Hollywood. So taken was...
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A DINING EXPERIENCE LIKE NO OTHER! PLANET HOLLYWOOD
Victor McLaglen, the rambunctious leading man and later character actor in American films, especially those of the legendary director John Ford, played so many swaggering drunks and sentimen- tal Irish sergeants that film critics dubbed him the British-born Wal- lace Beery. The film critic David Thomson, who was less than gen- erous in his overall summation of Victor McLaglen’s later film ca- reer, wrote: “Self-pity and barroom Irish bravado were the keys to his work.”
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Ebook: A dining experience like no other: PLANET HOLLYWOOD
When his two older brothers, Fred and Leopold, enlisted in the army during the Boer War (1899-1902), the thrill-packed letters home were too much to resist, and one night fourteen-year-old Victor ran away from home and joined the Life Guards. He never fought, however, as his father promptly secured his release from military service. While in the Guards, Victor first learned to use his fists to protect himself, developing an interest in boxing, and becoming the regimental champion. Fatherly care may have kept Victor out of the Boer War, but returning to school was simply too dull for the...
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PLANET HOLLYWOOD: Meeting Facilities Map
This essay explores one manifestation of the popular historicization of “Hollywood,” the historical film clip montages created—mostly—by former trailer producer Chuck Workman for the Academy Awards telecasts produced by Gil Cates during the 1990s. These brief pieces of (televised) film about film history participated strongly in the reconfiguring and marketing of the cinematic past in the popular imaginary during the nineties, pivotal years in the globalization of hegemonic American film culture. The Academy Awards telecast is a surprisingly under-examined televisual text, considering its longevity and international ubiquity, and deserves further...
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Hollywood vs. Consumers: Does Tinseltown Hurt Itself with Consumers By Stifling 21st Century Innovation?
In order to historicize the Workman montages, I want to point first to the Oscars telecast for 2002, a year in which no Chuck Workman pieces appeared, and the first year the awards were held in Hollywood. This Oscars was different: the show was held in a theater that seated 1500 fewer guests than some previous venues (Anderton), but whose location within the new media complex and mall at Hollywood and Highland offered— for virtual guests—geographic cachet, ersatz Intolerance elephants, and big-screen video displays. As commentators and stars alike remarked, this...
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RED STARS IN HOLLYWOOD
This hyperbolic collapsing of film-historical specificity within a spatially-based and marketing-driven, postmodern nostalgia bath on live TV is only possible in the digital media environment. The 2002 Oscar show introduction performs a mapping of first, a visual and aural take-off on a current film, and next, old movie posters, onto the contemporary Hollywood street, collapsing cinematic space onto at once marketing discourse and geographic space. Such “presti-digital” cinematic feats point to new geographies of movie marketing, and more precisely, movie heritage marketing, that have broader implications. As recent conjunctions of...
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COSMIC MAPS, PROPHECY CHARTS, AND THE HOLLYWOOD MOVIE, A BIBLICAL REALIST LOOKS AT THE ECLIPSE OF OLD TESTAMENT NARRATIVE*
For some time now, movie marketing has expanded its boundaries beyond discrete paratexts such as posters, TV ads, trailers, or featurettes, and into such publicity-driven entities such as “Entertainment News” shows, actual news segments covering movie premieres or milestones, and other nebulous promotional venues. The digital environment accelerates such embedments and boundary-crossings. Marketing becomes an increasingly elusive and crucial subject for film historians interested in ecologies of cinematic knowledge. The current phenomenon of digital media about film history owes much to the Oscar show’s use of montage, and particularly its...
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A New Map of Hollywood: The Production and Distribution of American Motion Pictures
The Academy Awards have been broadcast on television since 1953, when the show was sponsored by RCA Victor and televised by NBC. (Levy, 24) The show is currently contracted to the ABC network and has consistently captured very large audiences. The impact of Academy Awards on films and their creators has been widely discussed. As Emanuel Levy notes, [W]inning an Oscar means not only prestige but hard cash at the box office. Winning the Best Picture award can add up to twenty or thirty million dollars in movie ticket sales....
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Reel Bad Arabs: How Hollywood Vilifies a People
Like trailers for individual films, these “trailers” for film history (made by a former trailer-maker) use a montage structure which both elides and reconfigures the narrative they promote. When that “narrative” is the entire history of Hollywood cinema—indeed world cinema mapped onto Hollywood cinema under the rubric of “the movies”—as summed up within a brief montage of very short clips, the ideology of cinematic representation as a magic act is overdetermined and foregrounded, bringing it in line at once with other advertising rhetoric (Williamson 140-145) and with that of the...
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SHAKESPEARE IN HOLLYWOOD
Susan Stewart has argued that the appeal of miniature writing, specifically of the miniature book, coincided with the transition from one technology to another (with the invention of printing): On the interface between the manuscript and printing, the miniature book is a celebration of a new technology, yet a nostalgic creation endowed with the significance the manuscript formerly possessed. (Stewart, 39) The appeal of the excess rapidity of these montages likewise redoubles a nostalgic immersion in cinema’s past, by way of the new media discourses of the millennial globalized “Hollywood,”...
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Shot Structure in Hollywood Film
Several Oscar shows during the decade presented themed montages by other filmmakers, on women in cinema (by Lynne Litman), the work of the cinematographer, and on the activity of going to the movies (by Mike Shapiro and John Bloom respectively, both uncredited). The 67th show (1995) presented a tribute to comedy that incorporated a credited Workman montage with a dance number where onstage stars interacted with the screen. And Workman montages were highlighted in the 70th through 72nd shows (1998- 2000), on Oscar acceptances, “great moments,” and history in film. Interestingly,...
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Signed, sealed and delivered: big tobacco in Hollywood, 1927-1951
I focus here on a description of the first, 1990 montage, which originates the format, utilizing many of the clips from Precious Images and establishing conventions for subsequent montages. It followed an almost giddy opening speech by Academy president Karl Malden emphasizing the newly global reach of the satellite-assisted Academy Awards telecast (the previous year was the first time it was seen in Russia): “How can you have a closed society when the skies are open from Moscow to Beijing to—you name it—Gary, Indiana?” In that context, Malden introduces Workman’s...
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Hollywood Racks Sport Rider Hitch Rack Instruction Manual
While this and the other Workman montages ultimately elude any causally or narratively-based rhetorical analysis as persuasive marketing devices, their very anti- causality within a broadly thematic framework is of interest in terms of what is and isn’t valorized by these montages as constituting “the movies.” The montage’s argument could be summed up as: “Movies: there’s old ones, new ones, lots of kinds, lots of emotions, there are heroes and the women they fight for, and most of all, there’s love and light.” Again, the overarching rhetoric, mentioned by Malden himself,...
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Hollywood on the Head of a Pin: Montage and Marketing at the Oscars®
The great majority of the clips in the “100 Years” montage comprise iconic moments from significant performances: Al Pacino shouting “Attica!” in Dog Day Afternoon; Sally Field holding up a “Union” sign in Norma Rae; Whoopi Goldberg’s body being “taken over” by Patrick Swayze in Ghost; Cagney and the Public Enemy grapefruit; Diane Keaton’s “La-di-dah” as Annie Hall. And while there is no coherent narrative per se, the montage does contain an overall structure guided by the music: there is a clear introduction, followed by a dramatic build-up, then a...
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THE CORPORATE NEWSLETTER OF RAMSAY HEALTH CARE 2009
At the same time, the montage emphasizes the sheer variety, quantity, and accumulation of images, which are endowed with apparent magical qualities by the rapid cutting and the introductory fanfare. It seems coherent, yet mysterious—why the “Rosebud” clip just there? It’s hardly a documentary about film history; it doesn’t create a new film out of these clips; yet even as its meanings are elusive, the audience is encouraged to congratulate itself for grasping them (indeed, just for recognizing individual images within the headlong rush of the montage)....
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