By Jerome Christensen

ISBN-10: 0804771677

ISBN-13: 9780804771672

ISBN-10: 0804778426

ISBN-13: 9780804778428

ISBN-10: 0804778639

ISBN-13: 9780804778633

Contrary to theories of unmarried individual authorship, America's company Art argues that the company studio is the writer of Hollywood films, either throughout the classical period of the studio approach and past, while studios turned gamers in international dramas staged through tremendous leisure conglomerates. Hollywood video clips are examples of a commodity that, until eventually the electronic age, was once infrequent: a self-advertising artifact that markets the studio's model within the very act of consumption.

The e-book covers the background of company authorship during the antithetical visions of 2 of the main dominant Hollywood studios, Warner Bros. and MGM. in the course of the classical period, those studios promoted their manufacturers as competing social visions in strategically major photos comparable to MGM's Singin' within the Rain and Warner's The Fountainhead. Christensen follows the studios' divergent fates as MGM declined right into a beneficial and conveyable brand, whereas Warner Bros. hired Batman, JFK, and You've received Mail to seal offers that made it the largest leisure company on the earth. The ebook concludes with an research of the Disney-Pixar merger and the 1st Toy Story videos in mild of the new judicial extension of constitutional rights of the company person.

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Additional info for America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures (1929-2001)

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Thalberg’s working day is replaced at night by an electric silence in which, pallid and intent, he performs the trick of dividing his brain into two parts. S. cinemaddicts, tells Mr. Thalberg with an astonishing degree of accuracy whether or not the picture is good” (AFI, 317–18). Hollywood personified MGM as Thalberg. Irving Thalberg merited that singular distinction because, according to Fortune, 25 26 Chapter 1 when he was alone, left to his own marvelous devices, the executive effectively impersonated the studio as a feedback mechanism that integrated production, distribution, and exhibition.

Besides his “instinctive equipment” for crafting slogans, the only other distinctive trait that John has is his zeal to impress one and all by entertaining with sleights of hand or by playing the ukulele. But he’s not very good at either tricking or picking. On one occasion, however, his fancied skills spontaneously combine. 8 Sure enough, out pops a slogan that he feels sure would win a contest sponsored by a household soap. In the one meansend narrative in the film that links an act with potential success, Mary challenges John to enter the slogan, “Sleight o’ Hand, the Magic Cleaner,” in the contest.

Betrayed by stereotypes of singularity, after his calamity John loses his place in the crowd and therefore his sense of a future. ” He shambles to a nearby railroad bridge and almost takes her up on the suggestion. ” Though he is shut out of job after job, John’s ability to juggle finally lands him work costumed as a clown and sandwiched between signs to which he attracts attention by his sleight of hand. Of course it is ironic that the John who had earlier mocked a sign-toting clown has become one himself.

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America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures (1929-2001) by Jerome Christensen


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