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APPLICATION OF THE STIRLING MODEL TO ASSESS DIVERSITY USING UIS CINEMA DATA
For about the first ten years of its existence, cinema in the United States and elsewhere was mainly a trick and a gadget. Before 1896 the coin-operated Kinematograph of Edison was present at many fairs and in many entertainment venues. Spectators had to throw a coin in the machine and peek through glasses to see the film. The first projections, from 1896 onwards, attracted large audiences. Lumière had a group of operators who travelled around the world with the cinematograph, and showed the pictures in theatres. After a few years, around 1900, films became a part of the program in...
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Multidimensional characterization of quality of experience of stereoscopic 3D TV
The emergence of fixed cinemas coincided which a huge growth phase in the business in general; film production increased greatly, and film distribution developed into a special activity, often managed by large film producers. However, until about 1914, besides the cinemas, films also continued to be combined with live entertainment in vaudeville and other theatres (Musser 1990; Allen 1980). We can thus place the take-off of the cinema industry between 1905 and 1907. In these years it developed its own retail outlets and did not depend exclusively on theatres and travelling showmen. From this time onwards the business also came...
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SPRINGTIME DOR SOVIET CINEMA: RE/VIEWING THE 1960S
During the interval in which time series overlap, the British and French negative length was growing at roughly the same rates as the US one, until 1914. That war year constitutes a great discontinuity, and from then on European growth rates are different and far lower than US ones. At the same time, the average film length increased considerably, from eighty feet in 1897 to seven hundred feet in 1910 to three thousand feet in 1920. As a result, the total released length, which is the best indicator of production, increases more rapidly than the number released, in...
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The Cinema Effect
Representative audience surveys on early motion picture audiences are lacking, and modern market research was not yet done by the emerging movie companies (Bakker 2003). The only information available is from the press and trade press and from company sources. Before the era of fixed cinemas emerged, probably a dual audience existed. At the high end was the upper middle class, who saw the first shows of Lumière’s cinematograph probably in a legitimate theatre, as a special event, and later on between the live-acts in big-time vaudeville. At the other end, a more mixed social cross-section of local communities came...
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The New Brazilian Cinema
In the US, once the Nickelodeons had emerged between 1905 and 1907, their audience seems to have been mixed. Women and children probably constituted about half of the audiences and they might even have been the majority of visitors. Richard Abel relates, for example, that in New York, women often went with their children to the Nickelodeon after or during shopping, as these venues were handily located in the shopping districts (Abel 1999: 48). A substantial difference between cinema and many other entertainments was that cinema was consumed by members of both sexes, while football, other sports, drinking and music...
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The Oxford History of World Cinema
The price of cinema was probably an important factor for the kind of audience it interested. Before the Nickelodeon prices varied, from a dollar or more for the first special Lumière events, to a few cents to fifty cents for a travelling showman (Musser 1990: 299). But in general, the market was in too turbulent a condition to put a reliable average price on motion picture watching. This even harder because they were often part of live entertainment. The prices the Nickelodeon charged were between five and ten cents, which often enabled the spectator to stay...
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The Evolution of Entertainment Consumption and the Emergence of Cinema, 1890-1940
In the short-run, however, substantial differences existed. During the First World War entertainment expenditure moved in opposite directions in France and Britain and remained stable in the US. During the great depression US real entertainment expenditure shrunk substantially, while European levels remained stable. The French expenditure level was substantially lower than in the other two countries, about a fifth in 1938 using exchange rates, although the difference is difficult to quantify because of devaluation of the franc and purchasing power parity issues. French expenditure also fluctuated more in the short term. ...
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SEDUCTION INCARNATE: PRE-PRODUCTION CODE HOLLYWOOD AND POSSESSIVE SPECTATORSHIP
Most fundamentally, the term Hollywood refers to three interrelated aspects of American cinema: the industrial, the institutional, and the formal-aesthetic. As an industry, Hollywood is a vast, integrated com- mercial enterprise with specific business practices and standard operat- ing procedures geared primarily to producing and distributing feature-length films (“Hollywood movies”). The film industry, like most capital-intensive entertainment and media enterprises, has always tended toward an oligopoly structure—that is, a system whereby a few compa- nies control a particular industry. This invokes the institutional aspect, in that the film industry has been dominated from the outset by a hand- ful of movie studios—Paramount, Fox, Warner Bros.—many of which still operate and still...
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A Propaganda Model for Hollywood
The studios adapted and survived, and since the 1970s, they have enjoyed a remarkable resurgence and have reasserted their collective control of the so-called New Hollywood. Now the studios’ film divisions produce far more than simply feature films, however, and the studios themselves are all subsidiaries of massive, transnational multimedia conglomerates such as Sony, Viacom, News Corp, and TimeWarner. But even as subsidiaries, the studios represent the “core assets” of these media conglomerates due to the enormous popu- larity of Hollywood movies in the global entertainment marketplace....
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The Inverse Hollywood Problem From video to scripts and storyboards via causal analysis
The widespread appeal of Hollywood movies is due not only to the studios’ economic power and marketing prowess but also to the formal-aesthetic qualities of the films themselves. This third aspect of the term Hollywood has changed somewhat less than the industrial and institutional aspects, in that the cinematic style and narrative struc- ture of Hollywood movies have persisted over the decades, despite the obvious need for novelty and innovation. In other words, what we call a “Hollywood movie” is much the same artifact today as it was in the late teens and early 1920s. Recent changes in Hollywood’s industrial and institutional operations threaten this formal-aesthetic stability, however, due to...
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HOLLYWOOD BLOCKBUSTERS - Unlimited Fun but Limited Science Literacy
But another crucial aspect of the New Hollywood, and one that may help maintain the formal-aesthetic integrity of its movies, is the parallel development of independent films and filmmaking. Throughout the 1980s and 1990s, the studios’ blockbuster mentality has been offset by an unprecedented “indie boom.” Consequently, the film industry has been increasingly split between big-budget, franchise-spawning, global-marketed blockbusters and low-budget “specialty films” designed for carefully targeted niche markets. Although these so-called independent films generally are produced outside the direct control of the Hollywood studios, the studios often provide financing and distribution. Thus, most indie films are scarcely independent of the Hollywood system. And in terms of style and content, independent films...
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TAKING HOLLYWOOD SERIOUSLY
As the entertainment industry has become an increasingly global enterprise in recent years, Hollywood continues to occupy the central role in the production and commercialization of culture. Just as classi- cal Hollywood’s domination of the movie industry a half-century ago induced critic Gilbert Seldes (1978) to say that “the movies come from America,” so might one argue today that “entertainment comes from America”—and, more specifically, from Hollywood. And when one considers the widespread appeal of Hollywood movies and thus the col- onization of cultural consciousness on a global scale, it is worth noting that the term Hollywood becomes increasingly conflated with the notion of “Americanization” (Seldes, 1978)....
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AELE MONTHLY LAW JOURNAL
As even these preliminary comments should indicate, Hollywood has experienced a rich and dynamic history. The aim of this chapter is to chart that history in more detail and also to trace the efforts of film crit- ics and scholars to make sense of it. Journalistic film criticism dates back to Hollywood’s earliest years, and the film industry always has been subject to heavy coverage in both the trade and popular press. But the systematic scholarly study of Hollywood did not really take hold, interestingly enough, until after Hollywood’s postwar collapse. Not until the studio system and classical era were pronounced dead, in other words, were scholars and academics...
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TALENT AGENTS, PERSONAL MANAGERS, AND THEIR CONFLICTS IN THE NEW HOLLYWOOD
Experience transmitted by media is sometimes a functional equivalent for experience gained in the real world. American movies have influenced the image of legal procedure a great deal – and not just in the United States of America. An English legal expert told us about seeing a young barrister try to proceed before an English court in a manner that is possible only in the United States. A Spanish anthropologist who had filmed legal procedures in California carried her camera into a Spanish courtroom and was shocked to discover that everything was done differently from how it was done in the United States. German defendants and lay assessors...
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Adaptive Narrative: How Autonomous Agents, Hollywood, and Multiprocessing Operating Systems Can Live Happily Ever After
The effect of movies on the appearance of children as witnesses in German courts is particularly noticeable. Children, juveniles, and adults were asked by Petra Wolf what they knew about courts. The source of information they most often mentioned was movies, especially American crime movies and courtroom dramas. A group of psychologists from Kiel who published a book for the preparation of children as witnesses found out that, even after seeing pictures of a German courtroom, children still believed that the judge would have a gavel or at least wear a wig. 3 In the new edition, the authors explain to children that there will be no gavel or wig, both...
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Script(ing) treatment: representations of recovery from addiction in Hollywood film
Addiction and recovery have been topics of Hollywood films and movies of the week and are increasingly integrated into mainstream television shows through the inclusion of addicted characters. Now the producers of reality shows have entered the field with the new American television show Intervention, on the A&E channel. Intervention follows addicts (broadly defined to include substance abuse, as well as shopping and other addictive behaviors) through the progression of their addiction, and then confronts them with a choice between treatment or expulsion from the lives of their loved ones....
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Clark County Parks & Recreation Department : Hollywood Aquatic Center
Although there are myriad possible moral and clinical objections to such a show. Intervention seems to be the next step in a growing wave of media products using addiction and recovery as plot devices. Several recent American television shows, such as The Sopranos, Dawson's Creek, and Law and Order, include central characters seeking recovery from substance abuse through clinical treatment and support groups. Although new to the small screen, such television story lines tap into a narrative about institutional treatment that has been developing in Hollywood for the past several decades....
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Law in Film: Globalizing the Hollywood Courtroom Drama
Addiction has appeared on the movie screen since Edison's earliest films (Starks, 1982); however, the now familiar images of modem institutional treatment did not appear until the late 1980s. After a decade of American cultural backlash against addicts and drug treatment during the years of the Reagan administration, public opinion seemed to shift throughout the 1990s toward encouraging people with substance-abuse problems to get help (White, 1998). Since that time, Hollywood has released several works with narratives focused on institutional treatment of addiction....
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HOLLYWOOD MOVIES
Through their representations of addicts, substance abuse, treatment centers and the experience of recovery, these films help construct for their audiences a common cultural understanding of addiction. They can be viewed as a discourse in a Foucaultian sense—creating meaning and marking off the boundaries of how filmgoers should view and understand treatment.
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A TASTE OF HONEY: CHOREOGRAPHING MULATTA IN THE HOLLYWOOD DANCE FILM
The representation of drug treatment in America can affect society in several ways, including stigmatization. Elizabeth Hirschman (1992), in her study of cocaine use in films, argues that motion pictures which focus upon addiction can serve as instructive, semiotically-rich texts for communicating cultural knowledge about addiction (p. 428). This communication is not simply one-way, though; it exists as a continual feedback loop, with movies both reflect[ing] and shape[ing] individual and societal values, attitudes, and behavior (Wedding, 2000, p. 3). Thus representations from cinema can become received knowledge, which is incorporated into societal views. These shifts may then be mirrored and reinforced in subsequent movies. Obviously, films are no magic bullet with the...
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The Ultimate Multimedia Tour of Hollywood & Beverly Hills
Films can speak to society as a whole, but they can also be instructive for individual groups. Previous research found that movies featuring substance abuse provide a strong point of identification for addicts (Hirschman & McGriff, 1995; Lalander, 2002). Films are part of a learning process about addiction, and the movie screen might be one of the few places where addicts can see their filmic counterparts receiving help.
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HOLLYWOOD: Thomas Schatz and Alisa Perren
This study compares the depicted reality the films present to audiences with previous addiction cinema and with real-world economic and cultural conditions. Since films privilege certain viewpoints through representational strategies and by leaving out alternatives, I also examine the ideologies of the films and issues of textual silence. The study offers a critique of these issues in the spirit of other well-known ideological film studies, such as Ryan and Kellner's (1988) Camera Politica....
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HOLLYWOOD INTERNATIONAL A DIVISION OF CHPW
After researching literature on addiction and film, I chose the films for the study and viewed each one many times, specifically looking for socioeconomic representations of characters, treatment of different races, sexes, and sexual preferences, methods of production as they relate to addicted characters and drug usage, and the depiction of treatment/ self-help groups. I then outlined the narrative of each film and compared the uses and meanings brought to addicts, addiction, and substances. I found that these movies construct a fairly unified image of treatment. In the films, 12-step- based substance abuse treatment is readily available to middle-class, non-minority addicts. The economic realities of treatment are ignored, as are alternative paths...
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Psychological Science: Attention and the Evolution of Hollywood Film
Popular American films penetrate nearly every aspect of contemporaryWestern life, and to an only somewhat lesser degreemost all cultures of the world. Historically, there are powerful sociological, cultural, economic, and even political reasons for this, but we would also argue thatHollywood-style filmhas evolved so that filmmakers havemore control over the attention of filmgoers (Smith 2006) and, in essence, the humanmind. One source of evidence concerns the changing pattern of shot lengths. These patterns have incrementally approached the fluctuations of human attention as demonstrated in the laboratory (Cutting et al 2010; Gilden 2001). That is, human attention over time, as revealed by a series of reaction times (RTs)...
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THE CHANGING POETICS OF THE DISSOLVE IN HOLLYWOOD FILM
Nonetheless, film did not start out well meshed with human perceptual and cognitive systems. Instead, it has evolved slowly over the last 120 years. Early in the 20th century, frame presentation rates were increased to make the flicker of the successive images less aversive. At the same time cuts, dissolves, and fades were used to denote shots within the same scene, across scenes, and across larger filmsegments (acts), respectively. But later the use of dissolves and fades as visual cues to filmstructure was found to be largely unnecessary. Since the 1970s almost 99% of all transitions between shots in popular film are now cuts (Cutting et al...
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Profitability trends in Hollywood, 1929 to 1999: somebody must know something
Given all these changes, we think itmakes sense to speak of an evolution for Hollywood film, one that increasingly makes presentational aspects of film either closer to what we perceive in the natural world (color, surrounding sound, enlarged images, etc) or aspects that capitalize on what has been discovered to be perceptually and cognitively acceptable (cuts, shot-reverse-shot composition and point-of-view editing, the optics of cameramovements without feedback fromeyemovements, etc). This evolution would also appear to reflect a goal of Hollywood filmmakers: to increase their control over viewers’ attention, and possibly to increase viewer engagement. If true, some long-termresults of filmmakers’ explorations exercising this control should be found in...
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EXILES IN HOLLYWOOD
In this article we track four such trends over time. First, and following filmscholars (eg, Bordwell 2006; Bordwell and Thompson 2004; Salt 2006; 2009), we measure the average shot lengths of films and find that the changes seen in our filmsample are consistent with what they have reported. Second, we review and add to the data of Cutting et al (2011b) on the increase in the amount of motion and movement in films. Third, we measure the motion andmovement within shots of different lengths and find a reliable change in pattern. And finally, we measure the luminance of each film. In all four cases we find...
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Boom and Bust in Australian Screen Policy: 10BA, the Film Finance Corporation and Hollywood‘s ‗Race to the Bottom‘
Previously, we (Cutting et al 2010; 2011a; 2011b) amassed 150 films for cinemetric analysis. We chose ten films fromfifteen release years at five-year intervals from1935 to 2005. All were English-language films, 139 were at least partlymade in the United States, and 124 were in color. Films were selected from among those with the highest box-office gross for their given year or, before these statistics were systematically kept (beginning in 1977), from among the most rated films on the InternetMovie Database (http://www.imdb.com). They were also selected to represent five genres—action films, adventure films, animations, comedies, and dramas....
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The French New Wave and the New Hollywood: Le Samourai and its American legacy
Three physical measures of the 160 films are used in the analyses below, and one interaction between them. First, the average shot lengths (ASLs) of each filmwere determined. Segmenting films into shots has been a tedious and ongoing process, starting with the measurements by Cutting et al (2010). Subsequently, each filmhas been gone over several times by several individuals both with computer assistance and by hand. Although we occasionally find additional transitions previously missed, we are confident that we have found greater than 99% of themin each film....
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Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan*
Second, the median amount of motion and movement is reported, as determined by Cutting et al (2011b).Motion is the optical change created bymoving objects, people, and shadows; movement is that change created by camera motion or gradual lens change (a zoom; see Gibson 1954).We calculated their combination by correlating next-adjacent frames along the length of each film—frames 1&3,2&4,3&5, . . . ,40377&40379, . . . , and so forth.We avoided adjacent frames (eg, 1&2, 2&3) because a number of the DVDs we obtained for these films were imperfectly digitized (the 24 frames/s rate in the analog filmwas not synchronized to the sampling rate of the DVD), creating...
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