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Journal articles on the topic 'Hollywood cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

Nazario, Luiz. "O outro cinema." Aletria: Revista de Estudos de Literatura 16, no. 2 (December 31, 2007): 94–109. http://dx.doi.org/10.17851/2317-2096.16.2.94-109.

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Resumo: Um breve panorama da trajetória percorrida pelo desejo homossexual no cinema, de seu tímido despertar no cinema mudo alemão, passando pelo seu mascaramento em Hollywood e sua estilização no “cinema de arte” europeu, até a constituição de um assumido “cinema gay” nos oásis de liberdade do capitalismo avançado.Palavras-chave: cinema; alteridade; capitalismo avançado.Résumé: Un bref panorama de la trajectoire parcourue par le désir homosexuel au cinéma, de son timide réveil au cinéma muet allemand, en passant par son déguisement à Hollywood et sa estilisation au “cinéma d’art” européen, jusqu’à la constitution d’un assumé “cinéma gay” dans les oasis de liberté du capitalisme avancé.Mots-clefs: cinema; altérité; capitalisme avancé.

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2

Lyu, Siyi. "Opportunities and Challenges: Hollywoodisation and Asian Cinema’s Ascent." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 848–52. http://dx.doi.org/10.54097/ehss.v23i.14121.

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With the drive towards globalisation, Hollywood has had a profound impact on Asian films, including their production methods, storytelling, and film presentation. This paper delves into the multilayered impact of Hollywood on Asian cinema, analysing its origins, consequences, and potential impact. In addition, this research examines the positive aspects of Hollywood's influence, such as raising the international profile of Asian cinema, fostering cross-cultural collaboration, and enriching global cinematic diversity. Simultaneously, it also discusses potential challenges, including the risk of cultural homogenisation and the impact of Hollywood's commercial hegemony on the local film industry. In short, the development of the Asian film industry under the influence of Hollywood is a complex story of opportunities and challenges. By actively embracing openness, innovation, and cultural diversity, Asian cinema can continue to play a unique role on the global stage, presenting engaging and diverse cinematic experiences.

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3

Berliner, Todd. "Hollywood Aesthetic." Projections 14, no. 2 (June 1, 2020): 48–55. http://dx.doi.org/10.3167/proj.2020.140204.

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Hollywood Aesthetic: Pleasure in American Cinema investigates the Hollywood film industry’s chief artistic accomplishment: providing aesthetic pleasure to mass audiences. Grounded in film history and supported by research in psychology and philosophical aesthetics, the book explains (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Hollywood Aesthetic addresses four fundamental components of Hollywood’s aesthetic design—narrative, style, ideology, and genre—aiming for a comprehensive appraisal of Hollywood cinema’s capacity to excite aesthetic pleasure. This article outlines the book’s main points and themes. As a précis, it is heavy on ideas and light on evidence, which is to be found in the book itself.

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4

Viljoen, Jeanne-Marie. "Re-forming Hollywood's imagination: beyond the box office and into the boardroom." Image & Text, no. 36 (May 5, 2022): 1–17. http://dx.doi.org/10.17159/2617-3255/2022/n36a2.

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Despite the commercial success of Black Panther (Coogler 2018) and its ostensible achievement of making Hollywood more representative of black people and "their" narratives, the film is limited in terms of the progress on inclusion it can achieve. This is because, as a Hollywood superhero film, its success is predicated upon perpetuating the colonisation of the imagination of its (still largely white) spectators and it does not represent black people on their own terms. A close focus on form exposes the film as retaining the spectacular and action-orientated visual language of Hollywood that engenders cinema as fundamentally voyeuristic and imperial. In this way, a close examination of Black Panther supports the examination of limits of what the commercial structure of an industry established upon the colonial gaze of spectacle is currently able to produce. This paper goes further and also argues that decolonisation in cinema should involve a more radical confrontation of Hollywood aesthetics and the formal language of Hollywood's gaze itself, so that the embodied visual languages of global cinema and New Black cinema may be more widely employed to reveal the world of those colonised by Hollywood as materially different, on their own terms. It is only by going beyond the success of films like Black Panther in the box office and through a radical investigation of form and haptic visuality that the considerably unequal structure of the Hollywood boardroom - which produces such films in the first place - may be transformed.

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5

Song, Xu. "Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market." Global Media and China 3, no. 3 (September 2018): 177–94. http://dx.doi.org/10.1177/2059436418805538.

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China’s cinema market has been growing dramatically in recent years. Hollywood exports revenue-sharing movies to China to receive additional box-office revenues. Although globalization accelerates Hollywood movies’ domination in most global film markets, that is not the case in China. Hollywood studios encounter cultural and political complications in China’s cinema market. This research reviews the interplay of Hollywood globalization and the complexity of China’s cinema market, applies a relationship management perspective in analyzing Hollywood studios’ China-focused endeavors, identifies and discusses five key relations, and analyzes why and how Hollywood studios have strategically managed the key relations to boost their revenue-sharing movies’ box-office performance in China.

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Gabbard, Glen. "Psychotherapy in Hollywood Cinema." Australasian Psychiatry 9, no. 4 (December 2001): 365–69. http://dx.doi.org/10.1046/j.1440-1665.2001.00365.x.

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7

King, Barry. "‘The Classical Hollywood Cinema’." Screen 27, no. 6 (November 1, 1986): 74–89. http://dx.doi.org/10.1093/screen/27.6.74.

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8

Smith, Richard. "Review: Contemporary Hollywood Cinema." Media International Australia 93, no. 1 (November 1999): 176–78. http://dx.doi.org/10.1177/1329878x9909300127.

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9

Zhong, Ouyuan. "The Values in the Hollywood Cinema Market." Highlights in Business, Economics and Management 22 (December 27, 2023): 41–46. http://dx.doi.org/10.54097/48wmag55.

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Some have misled Hollywood cinema with impressions due to some conception that it is limited to big budgets, stars, special effects, and extensive publicity campaigns. However, it encompasses more than investment diversification, production, and commercial propaganda feature. In other words, beyond the illustrative classic Hollywood pre-sold mechanism, monopoly, and overseas market, it supports values and serves as multicultural, sexual and race equality. This paper lists the phenomenon that contemporary Hollywood cinema is revenue-driven, resulting in many low-quality and quantity reproduction cinemas such as hybrid genre is typical of formulaic filmmaking, and they arranged all the cinematic elements narrative to meet the audience's expectations. Significantly, formulaic movies have become popular and widespread in the international market and may have an unpredictable impact on the future film industry. The author believes that films are the medium for representing historical periods and are for the generation's legacy, which should craft narratives that intricately blend values and ideology. In a nutshell, it is crucial to discover a solution for cinema's unpredictable future.

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Brown, David Max. "Theatrical cinema in South Africa: The Parasite within, South Korea as a model for survival." Journal of African Cinemas 13, no. 1 (December 1, 2021): 43–62. http://dx.doi.org/10.1386/jac_00043_1.

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The 2019 Oscar winner, Parasite attracted millions to South Korean cinemas even before its success in Hollywood. Nigerian cinema is also growing, with local movies topping the theatrical box office and new cinemas being built. Meanwhile, in South Africa, feature film production and cinema attendance are declining without significant transformation of access to the means of film production or to distribution and exhibition. Practical propositions, including the implementation of quotas and taxes, are presented as remedies for the survival of South African cinema, particularly in relation to content creation and the expansion of the exhibition infrastructure.

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11

Hu, Bonny Tan Xuan. "Research on the Influence of War on Film Art Taking Casablanca During World War II as an Example." Communications in Humanities Research 14, no. 1 (November 20, 2023): 106–10. http://dx.doi.org/10.54254/2753-7064/14/20230418.

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The monumental events of World War II deeply impacted numerous spheres of human life, including Hollywood cinema. This paper delves into the influence of WWII on Hollywoods thematic and narrative shifts, using the iconic film Casablanca (1942) as its focal point. Released amidst the wars tumult, Casablanca seamlessly blends a distinct love story with contemporary political dynamics, exemplifying Hollywoods adaptive response to wartime conditions. Through meticulous examination of Casablanca, this study gleans insights into Hollywoods filmmaking choices and content transformation against the wars backdrop, drawing from varied sources such as film archives, governmental records, and industry reports. This exploration vividly highlights the lasting impact of the war on cinema, positioning Casablanca as a paragon of the synergy between cinematic art and wartime politics.

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Varghese, Priju. "Marriage in Cinema." Journal of Student Research 4, no. 2 (June 3, 2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

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Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

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Carrega, Jorge Manuel. "O CINEMA DE RAY HARRYHAUSEN: EFEITOS ESPECIAIS E MANEIRISMO NO CINEMA DE HOLLYWOOD." Contemporânea Revista de Comunicação e Cultura 14, no. 1 (May 31, 2016): 7. http://dx.doi.org/10.9771/1809-9386contemporanea.v14i1.14341.

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Através de uma análise histórico-formal, este trabalho propõe uma leitura maneirista da obra de Ray Harryhausen (1920-2013), um dos maiores criadores de efeitos especiais do cinema de Hollywood, verdadeiro autor de uma série de filmes que se distinguem pelo uso virtuoso da técnica, colocada ao serviço de narrativas fantásticas, construídas numa clara referencia a grandes clássicos do cinema de Hollywood

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14

Leitch, Thomas. "There’s No Nostalgia Like Hollywood Nostalgia." Humanities 7, no. 4 (October 19, 2018): 101. http://dx.doi.org/10.3390/h7040101.

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This essay argues that the complexities of the nostalgic impulse in Hollywood cinema are inadequately described by Svetlana Boym’s particular description of Hollywood as “both induc[ing] nostalgia and offer[ing] a tranquilizer” and her highly influential general distinction between restorative and reflective nostalgia. Instead, it contends that Hollywood departs in important ways from the models of both the restorative nostalgia established by the heritage cinema and Great Britain and the reflective nostalgia commonly found in American literature. Using a wide range of examples from American cinema, American literature, and American culture, it considers the reasons why nostalgia occupies a different place and seeks different kinds of expressions in American culture than it does in other national cultures, examines the leading Hollywood genres in which restorative nostalgia appears and the distinctive ways those genres inflect it, and concludes by urging a closer analysis of the more complex, multi-laminated nostalgia Hollywood films offer as an alternative to Boym’s highly influential categorical dichotomy.

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Senanayake, Harsha. "Hollywood and Wicked Other: The Identity Formation of “Western Us” Versus “Muslim Others”." Open Political Science 4, no. 1 (January 1, 2021): 64–67. http://dx.doi.org/10.1515/openps-2021-0007.

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Abstract An image on a screen can produce a greater effect than thousands of words in conveying a message and in popular culture, movies with images as a representation, create a discourse. Out of many, Hollywood which has become a flagbearer of western cinema, plays an important role in constructing identity and images including the stereotyping of Muslims. This paper attempts to identify the discourse of ‘US’ verses ‘THEM’ through Hollywood and in which ways Hollywood has constructed the stereotypical identity of Muslims. The main research question is whether the stereotyping of Muslims in Hollywood is a result of 9/11 global terrorism or has it been shaped by the historical discourse of western orientalism. The case study method has been employed to derive the insights of the discourse with the theoretical lights of Orientalism. A number of Hollywood movies have been cited to validate the identity formation process led by Hollywood in pre and post 9/11 American society and illustrate how the image has been used by Hollywood to construct ‘US’ verses ‘THEM’ in popular culture. This paper argues that Hollywood has depicted Muslims as barbaric, wicked others as a result of the civilizational mission of the West, orientalism and post 9/11 Hollywood cinema advocate these roots, yet with 9/11 Hollywood cinema plays a pivotal role in the securitization of ‘Muslim others’ and politicize Muslims as a threat to western society by stereotyping Muslim society in a post 9/11 epoch.

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Armstrong, Richard. "New Hollywood Cinema: An Introduction." Film Quarterly 57, no. 2 (December 2003): 59–60. http://dx.doi.org/10.1525/fq.2004.57.2.59.

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17

Akser, Murat. "Editorial." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 1–4. http://dx.doi.org/10.5195/cinej.2014.116.

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This issue of CINEJ focuses on a varity of topics: American tourism to Mexico and 1950s Hollywood film, cinematic pedagogy of Gilles Deleuze and Manoel de Oliveira, United Arab Emirates building a national cinema, crowdfunding in documentaries, flying scenes in Steven Spielberg's films, Rudaali in film narrative, a brief history of motorcycle in cinema, romantic relief in the Hollywood Blockbuster, filmosphy of Turkish cinema and flash animation as a counter cultural tool.

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Gavran, Iryna, Serhii Honcharuk, Volodymyr Mykhalov, Halyna Kot, and Artem Parokonnyi. "Analysis of the American directors� works in the context of the European theory of auteur cinema." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (January 18, 2024): 1439–48. http://dx.doi.org/10.54919/physics/55.2024.143ge9.

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Relevance. The relevance of this study is determined by the trends in the development of New Hollywood, which have radically changed the essence of modern cinematograph.Purpose. The purpose of the study is to identify the specifics of New Hollywood cinema, which resonated in the work of modern Hollywood directors as an influential and competitive area. Examples from films by American directors and authors were analysed.Methodology. Methods of scientific analysis, comparison, and generalisation were used in the study of the topic. In addition, analytical and systematic methods were applied in their unity, which is necessary for studying the art history aspect of the problem, working on the historical and factual base and clarifying the terminology of research. Using the method of introspection, the paper investigated and systematised the problems of director's self-fulfilment, which contributed to the awareness of the specifics of the theory and practice of author's cinema parity.Results. Based on the results of the study, conclusions were drawn about the specifics of creating author's models of modern cinema under the influence of the canons of New Hollywood author's independent cinematograph.Conclusions. It was established that the determination of factors of professionalism creates psychological models of professional activity and professional self-consciousness of the individual. The practical significance of the study consists in expanding the arsenal of knowledge about the specifics of the author in cinema and, in particular, the author's cinema of New Hollywood and makes it possible to use them in training courses on the theory and history of cinema and directing.

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Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 1 (December 7, 2012): 1–2. http://dx.doi.org/10.5195/cinej.2012.59.

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20

Portanova, Eduardo. "Michel Marie e a poesia do olhar." Revista FAMECOS 14, no. 33 (April 14, 2008): 7. http://dx.doi.org/10.15448/1980-3729.2007.33.3428.

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Professor da Universidade Sorbonne (III) e autor de livros já incorporados à cultura cinematográfica no âmbito acadêmico, como “Dicionário teórico e crítico de cinema” e “A estética do filme”, ambos em coautoria com Jacques Aumont, Michel Marie pode ser considerado, hoje, um dos principais teóricos franceses e mundiais da história do cinema. Acaba, ainda, de lançar, junto com Laurent Jullier, “Lires les images de cinéma”, pela Larousse, no qual apresenta as ferramentas da análise fílmica, considerando as escalas do plano, da seqüência e do filme, e reflexões sobre o Cinema Mudo, a Idade de Ouro dos gêneros, as lições de vida do classicismo, o cinema da modernidade, o segundo sopro de Hollywood e a era pós-moderna.

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Bettinson, Gary. "9Film Theory." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 160–80. http://dx.doi.org/10.1093/ywcct/mbz009.

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AbstractIn this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas Godfrey’s The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood (Rutgers University Press); Peter Krämer and Yannis Tzioumakis’s The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (Bloomsbury Academic); Dorothy Wai Sim Lau’s Chinese Stardom in Participatory Cyberculture (Edinburgh University Press); and Gina Marchetti’s Citing China: Politics, Postmodernism, and World Cinema (University of Hawaii Press). The chapter has three sections: 1. Cognition, Emotion, and Ethics; 2. The New Hollywood; 3. Contemporary Chinese Cinema.

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Holliday, Christopher. "Retroframing the Future: Digital De-aging Technologies in Contemporary Hollywood Cinema." JCMS: Journal of Cinema and Media Studies 61, no. 5 (2021): 210–37. http://dx.doi.org/10.1353/cj.2021.a922658.

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ABSTRACT: An emergent current of contemporary Hollywood cinema’s virtual population is the digitally age-regressed body, whereby computer animation “de-ages” star performers in feats of astonishing technological expressivity. This article examines the critical implications of virtual de-aging processes as both an institutional shift and a set of regularized formal practices. While the computerization of stardom by visual effects studios permits the aged star to transcend the limitations of their flesh-and-blood bodies, de-aging technologies intervene into critical discussions surrounding computer-mediated acting and digital performance; Hollywood’s increasingly “puzzling” narrative structures; gendered representations of aging in popular cinema; and the historical relationship between cinema, physiognomy, and memory.

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23

Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.

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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.

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Nazario, Luiz. "O outro cinema." Aletria: Revista de Estudos de Literatura 16 (December 31, 2007): 94. http://dx.doi.org/10.17851/2317-2096.16.0.94-109.

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Um breve panorama da trajetória percorrida pelo desejo homossexual no cinema, de seu tímido despertar no cinema mudo alemão, passando pelo seu mascaramento em Hollywood e sua estilização no “cinema de arte” europeu, até a constituição de um assumido “cinema gay” nos oásis de liberdade do capitalismo avançado.

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Doostdar, Alireza. "Hollywood Cosmopolitanisms and the Occult Resonance of Cinema." Comparative Islamic Studies 13, no. 1-2 (October 23, 2019): 121–49. http://dx.doi.org/10.1558/cis.32526.

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This article examines various circulations of Hollywood productions in Iran and the ways in which audiences, critics, cultural administrators, and activists relate to them. I am particularly concerned with what I call “Hollywood cosmopolitanisms,” forms of receptivity to religious and cultural others as mediated by the U.S. film industry. Rather than dividing attitudes toward Hollywood in terms of openness and refusal, or cosmopolitanism and counter-cosmopolitanism, I suggest that we attend to different modes of openness: those that are overtly acknowledged, those that are concealed, and those that pass altogether unrecognized but make their mark in the form of “occult resonance.”

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Andraș, Sonia D. "FASHION, CINEMA, AND GERMAN-AMERICAN PROPAGANDA IN 1930s BUCHAREST." ANUARUL INSTITUTULUI DE CERCETĂRI SOCIO-UMANE „GHEORGHE ŞINCAI” 25 (April 1, 2022): 211–35. http://dx.doi.org/10.59277/icsugh.sincai.25.16.

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This paper explores how Bucharest’s cinema-going public perceived the Nazi influence on Hollywood in the 1930s. The aim is to identify how Nazi propaganda was disseminated and consumed in interwar Bucharest and its similarities to the idea of glamour, relevant both to fashion and cinema. Considering the links between Goebbels’ propaganda machine and certain entities or individuals in Hollywood, US cinematography becomes a more complex medium of dissemination beyond a mere promoter of modernity’s technological and consumerist ideas. Romania’s situation in the 1930s, especially the increasing leaning towards the extreme right then inform movie star image, particularly through a gendered lens, as perfect tools for propagandists. The interwar cinema-centered Romanian discourse involves a triple filtration, through Hollywood, Berlin, and Bucharest, as a complex depiction of the Romanian public’s ideals and views. To illustrate these points, I will analyze relevant written and visual texts from the interwar era, including fiction, memoirs, essays, nationally and locally spread cinema-centered and general periodicals, postcards, or photographs. The interdisciplinary research will include cultural studies (fashion, media, cinema, gender), history, and discourse analysis. This innovative perspective on fashion and cinema in an interwar Romanian context adds to the existing knowledge by opening new research topics and subjects in the fields of fashion studies and Romanian studies.

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WILLMETTS, SIMON. "Quiet Americans: The CIA and Early Cold War Hollywood Cinema." Journal of American Studies 47, no. 1 (July 4, 2012): 127–47. http://dx.doi.org/10.1017/s0021875812000060.

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This article examines the relationship between the Central Intelligence Agency and the Hollywood film industry from 1947 to 1959. Surprisingly, the CIA was almost entirely absent from American cinema screens during this period, and their public profile in other popular media, including television and the press, was virtually nonexistent. This conspicuous lacuna of publicity coincided with what some scholars have termed the “Golden Age” of US covert action – an era of increasing CIA intervention in Italy, Iran and Guatemala, to name only the most prominent examples. How was it that the CIA managed to maintain such a low public profile and in the process evade popular scrutiny and questions of accountability during such an active period of its history? Utilizing extensive archival research in film production files and the records of the CIA themselves, this article suggests that Hollywood filmmakers adhered to the CIA's policy of blanket secrecy for three interrelated reasons. First, it suggests that the predominance of the so-called “semidocumentary” approach to the cinematic representation of US intelligence agencies during this period encouraged filmmakers to seek government endorsement and liaison in order to establish the authenticity of their portrayals. Thus the CIA's refusal to cooperate with Hollywood during this period thwarted a number of attempts by filmmakers to bring an authentic semidocumentary vision of their activities to the silver screen. Second, up until the liberalization of American defamation law in the mid-1960s, Hollywood studio legal departments advised producers to avoid unendorsed representations of US government departments and officials through fear of legal reprisal. Finally, this article suggests that the film-industry censor – the Production Code Administration – was instrumental in reinforcing Hollywood's reliance upon government endorsement and cooperation. This latter point is exemplified by Joseph Mankiewicz's controversial adaptation of Graham Greene's The Quiet American. Overturning existing scholarship, which argues that CIA officer Edward Lansdale played a decisive role in transforming the screenplay of Greene's novel, this article suggests that Mankiewicz's alterations were made primarily to appease the Production Code Administration.

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Valverde-Maestre, Águeda-María, and José-Patricio Pérez-Rufí. "Loyal and stubborn heroes: the main character’s personality in Classic Hollywood cinema." Communication & Society 35, no. 1 (January 10, 2022): 151–61. http://dx.doi.org/10.15581/003.35.1.151-162.

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This research aims to analyze the main characters’ construction in classic Hollywood cinema by focusing on their personalities. This work follows Bordwell, Staiger and Thompson’s notions of classic cinema. The sample includes films from 1930 to 1960. Character is understood as personality and as a psychological unit. Characterization is defined by each trait that refers to the totality of their character. We start with the hypothesis that there are central tendencies for creating heroes and heroines in classic cinema. However, these tendencies also correspond with the film narrative model, which is shaped by the functionality of the narrative categories in the story. Personality is among those factors that shape the construction of the character. We applied a methodology of film narrative analysis to a sample of 64 films from six extensive genres in classic Hollywood cinema. The results confirm that the main character in classic cinema is conditioned and shaped by their adaptation to the film’s genre. The hero is usually positive according to what is considered socially acceptable values; the dramatic needs of the plot predetermine their definition. The Hollywood main character’s personality is based on their functionality as they serve the narrative needs of the story.

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Berliner, Todd. "Hollywood Aesthetic: Pleasure in American Cinema." Projections 14, no. 2 (June 1, 2020): 90–101. http://dx.doi.org/10.3167/proj.2020.140209.

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In this reply to four commentaries on my book, Hollywood Aesthetic: Pleasure in American Cinema, I address several conceptual and methodological issues raised by the respondents. Those issues include the book’s focus on aesthetic pleasure; the functions of narrative, style, ideology, and genre in Hollywood cinema; the relationship between ideology and aesthetics; the use of scientific research in the humanities; normative aesthetic evaluations; real versus hypothetical spectators; and the practices of aesthetic film analysis.

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Chan, Jessica Ka Yee. "The screen kiss in 1937: Re-reading Street Angel and Crossroads." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 71–89. http://dx.doi.org/10.1386/eapc_00063_1.

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This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tianshi, Yuan 1937) and Crossroads (Shizi jietou, Shen 1937), released shortly before the second Sino-Japanese War in 1937, appropriated and subverted Hollywood representational conventions of the screen kiss, fulfilling both the entertainment and pedagogical functions of cinema by constructing a sexually desiring and potentially class-conscious subject with aspirations for free love and social betterment at a critical moment of national crisis.1

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Abravanel, Genevieve. "Britain's Hollywood: Cinema and Close Up." Modernist Cultures 5, no. 1 (May 2010): 145–61. http://dx.doi.org/10.3366/mod.2010.0010.

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32

Wiedenfeld, Grant. "Hollywood Aesthetic: Pleasure in American Cinema." Canadian Journal of Film Studies 26, no. 2 (October 2017): 148–52. http://dx.doi.org/10.3138/cjfs.26.2.br5.

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Lutts, R. H. "Green Screen: Environmentalism and Hollywood Cinema." Interdisciplinary Studies in Literature and Environment 9, no. 1 (January 1, 2002): 267–68. http://dx.doi.org/10.1093/isle/9.1.267.

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Kramer, Mette. "THE MATING GAME IN HOLLYWOOD CINEMA." New Review of Film and Television Studies 2, no. 2 (November 2004): 137–59. http://dx.doi.org/10.1080/1740030042000276626.

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정종화. "Colonial Korea’s Recognition of Hollywood - Review of Chosun Cinema and Hollywood by Study Group Cinema Babel." Journal of Humanities, Seoul National University 73, no. 2 (May 2016): 493–509. http://dx.doi.org/10.17326/jhsnu.73.2.201605.493.

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Gordon, Robert J., and Glen Elder. "In Darkest Hollywood: Cinema and Apartheid/ In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema:In Darkest Hollywood: Cinema and Apartheid.;In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema." American Anthropologist 100, no. 4 (December 1998): 1018–21. http://dx.doi.org/10.1525/aa.1998.100.4.1018.

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Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (January 26, 2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.

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Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were released. Certain films kill humans with a deadly virus and turn them into zombies emphasizing and pushing forward to a cinema of genre its entertainment features, such as I Am Legend (2007), Train to Busan (2016), or Blood Quantum (2020). However, they also use horror, science fiction, and fantasy genres to portray a realistic compelling family drama or discuss structural racism and systemic colonialism against America’s indigenous peoples. In all these films, scientific ambition, political greed, and economic power intermingle, becoming the unknown forces and real detractors behind these catastrophes. Whether or not the end of the world is an appropriate story for entertainment attracts most viewers to Hollywood cinema. Conventional postapocalyptic tropes create a film riddled with relevant political concerns. Every year, hundreds of films transpose to the screen compelling narratives related to pandemics and their effects. In Coronavirus’s times, I analyze and contextualize several of Hollywood’s viral outbreaks to situate their narratives to current political subjects and understand how disaster and pandemic films have become entertaining. Keywords Hollywood cinema, Film Genres, Pandemics, Coronavirus, Racism, Indigenous, Covid19, Politics, Film Aesthetic, Disaster Films.

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O’Malley, Hayley. "Another Cinema." James Baldwin Review 7, no. 1 (September 28, 2021): 90–114. http://dx.doi.org/10.7227/jbr.7.6.

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James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently penned scenes of filmgoing in which he could, in effect, direct his own movies. Secondly, I show that starting in the 1960s, Baldwin took a more direct route to making movies, as he composed screenplays, formed several production companies, and attempted to work in both Hollywood and the independent film scene in Europe. Finally, I explore how Baldwin sought to change cinema as a performer himself, in particular during his collaboration on Dick Fontaine and Pat Hartley’s documentary I Heard It Through the Grapevine (1982). This little-known film follows Baldwin as he revisits key sites from the civil rights movement and reconnects with activist friends as he endeavors to construct a revisionist history of race in America and to develop a media practice capable of honoring Black communities.

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Carrega, Jorge Manuel Neves. "Gêneros populares e cinema transnacional na Europa mediterrânea." Tríade: Revista de Comunicação, Cultura e Mídia 8, no. 19 (December 29, 2020): 159–76. http://dx.doi.org/10.22484/2318-5694.2020v8n19p159-176.

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A aposta na coprodução cinematográfica entre os países da Europa mediterrânea permitiu, entre meados das décadas de 1950 e 1970, o florescimento de gêneros populares como o peplum, o filme de cape et d’épeé e o spaghetti western. Frequentemente analisados numa perspetiva puramente nacional, estes filmes representam, contudo, um exemplo paradigmático do desenvolvimento de um cinema transnacional da Europa Mediterrânea, que permitiu às indústrias cinematográficas italiana, francesa e espanhola (por vezes com a participação minoritária de produtores das antigas Jugoslávia e RFA), combater a hegemonia comercial do cinema de Hollywood. Um dos maiores sucessos do chamado filme de cape et d’épée, Le Bossu/O Corcunda (A. Hunebelle, 1959), constitui um bom caso de estudo para melhor compreender as principais características do cinema transnacional da Europa mediterrânea e a sua relação com o cinema de Hollywood.

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Mennel, Barbara. "The New Paradigms of German Film Studies." German Politics and Society 22, no. 1 (March 1, 2004): 53–62. http://dx.doi.org/10.3167/104503004782353302.

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Tim Bergfelder, Erica Carter, and Deniz Göktürk, eds., The German Cinema Book (London: British Film Institute, 2002)Lutz Koepnick, The Dark Mirror: German Cinema between Hitler and Hollywood (Berkeley: University of California Press, 2002)

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Barrenechea, Antonio. "Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA." Review of International American Studies 13, no. 1 (August 16, 2020): 259–77. http://dx.doi.org/10.31261/rias.8908.

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My essay explores the vampire cinema of Hollywood and Mexico. In particular, I trace the relationship between Universal Pictures as the progenitor of horror during the Great Depression and Cinematográfica ABSA's "mexploitation" practices. The latter resulted in the first vampire film in Latin America--"El vampiro" (1957). Rather than strengthening separatist national cinemas, the unintended consequences of genre film production make this a case of inter-American scope.

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Eddarif, Hajar. "The “Innocent” Other: Hollywood’s Post 9/11 Muslim Child and Childhood." IAFOR Journal of Cultural Studies 8, no. 1 (July 5, 2023): 65–79. http://dx.doi.org/10.22492/ijcs.8.1.04.

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The present article interrogates the ways in which Hollywood cinema articulates the exclusion of the Muslim child from popular discourses of childhood and how such exclusion continues to condition the cultural identity of children and most importantly how it defines the notion of childhood. This paper opts for a textual and discursive analysis of Hollywood’s post-9/11 film through a cultural and postcolonial studies’ lens. The main purpose behind this is to scrutinize Hollywood’s cultural conceptualization of children, how it represents different childhoods, in what way it categorizes children and who is perceived as a child.

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Khan, Mahek. "REFLECTIONS ON THE INTERFACE WITH REALITIES AND IDEAS: AN OVERVIEW OF IRANIAN CINEMA." Rashhat-e-Qalam 2, no. 2 (September 15, 2022): 60–78. http://dx.doi.org/10.56765/rq.v2i2.72.

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Cinema has been playing one of the most significant influences in our modern life. A lot of countries are involved in filmmaking, so the Iranian has been actively involved in cinema which has become famous across the world. Iranian cinema offers a fascinating even astonishing masterwork; it gives an artistic sophistication, mesmerisation, and passionate significance to humanism. While Hollywood, dominated by flashy fantasies, has put up many national cinemas out of business, Iran's filmmakers have still continued to influence the world audience with their unique and notable formal ingenuity and adherence to real-life people and their problems. In the international arena, Iranian cinema inspired successive generations. There has never been a bit of a moment in the history of Iranian cinema when it remained restricted to its current domains or boundary. Iranian cinema is huge and heterogeneous in its character, as are the historical-cultural, political, and social aspects of Iran itself. 'Realism' in Iranian films can be elucidated through different models or patterns, which has been attempted to deal with in this paper.

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Zhabskiy, Mikhail I. "Cinema and Globalization." Journal of Flm Arts and Film Studies 9, no. 1 (March 15, 2017): 8–18. http://dx.doi.org/10.17816/vgik918-18.

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Conditioned by globalization, the process of the planetary integration of humanity is contradictory. Ideally, globalization contains enormous positive possibilities for every society, it contributes to the true international ization of the cinema process therein. But as its actual results are determined with the mechanisms of the world film market monopolized by Hollywood, globalization predominantly takes the form of Americanization. Instead of the internalization of the cinematic life of specific societies, something opposite is occurring: its deinternationalization.

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Pogrebniak, Galyna P., Iryna A. Gavran, Serhii M. Honcharuk, Volodymyr Ya Mykhalov, and Halyna M. Kot. "Author's cinematograph of new Hollywood." Linguistics and Culture Review 5, S4 (November 19, 2021): 1098–113. http://dx.doi.org/10.21744/lingcure.v5ns4.1739.

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The paper is devoted to the problems of director's self-fulfilment in the cinematograph of New Hollywood. The study examines such a unique phenomenon of the artistic culture of the 20th century as American author's cinematograph. The relevance of this study is determined by the trends in the development of New Hollywood, which have radically changed the essence of modern cinematograph. The purpose of the study is to identify the specifics of New Hollywood cinema, which resonated in the work of modern Hollywood directors as an influential and competitive area. The main emphasis in this study is placed on the attempts of both historians and film theorists, as well as practitioners themselves to find clear boundaries between American independent and mass Hollywood cinematograph, as well as on the reasons why film critics and culturologists consider a particular American film to be independent, author's, or mass cinema (the so-called mainstream). At the same time, the main areas and trends of American author's cinematograph are studied from the point of view of director's self-fulfilment. Examples from films by American directors and authors were analysed. Methods of scientific analysis, comparison, and generalisation were used in the study of the topic.

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Keating, Patrick. "Style and Storytelling in the Hollywood Aesthetic." Projections 14, no. 2 (June 1, 2020): 81–89. http://dx.doi.org/10.3167/proj.2020.140208.

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In this article, I offer a response to Todd Berliner’s splendid book Hollywood Aesthetic. Although the book is an innovative and well-crafted contribution to the study of Hollywood cinema, I argue that it underestimates the extent to which unity and coherence contribute to the aesthetic value of a film.

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Kherbache, Chafik, Brahim Touahria, and Rima Aïda Hassani. "L’image de l’Arabe dans la Série Netflix Messiah : analyse dialogique." Traduction et Langues 22, no. 2 (December 31, 2023): 206–31. http://dx.doi.org/10.52919/translang.v22i2.958.

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The Image of The Arab in Netflix Series Messiah: Dialogical analysis This study falls within the purview of discourse analysis and seeks to propose nuanced interpretations regarding the portrayal of Arabs in Hollywood cinema. Initially characterized by negative stereotypes, this image undergoes a partial rehabilitation in the Netflix series Messiah. The investigation aims to scrutinize both representations by analyzing specific sequences from the series, which premiered on the Netflix platform on January 1, 2020. The series revolves around the return of the Messiah, linked to eschatology, portraying him as a savior in conflict zones addressing desperate people in Arabic, notably in Syria, West Bank, and the Al-Aqsa Mosque. The doctrinal theme of the Messiah's return sparks significant impact in spirituality and theology, eliciting diverse discussions and interpretations. Employing a qualitative approach rooted in the principles of nominational dialogism, this study identifies stereotypical representations often ingrained in Hollywood's conventional beliefs. It achieves this by scrutinizing parameters of categorization and enunciation in interactions involving Arab characters such as Jibril Hassan, Samer, Sheikh Zaid, the Imam, and others.The study results shed light on two contrasting images of Arabs. Firstly, Sheikh Zaid embodies the stereotype of an extremist and violent Arab, perpetuating long- standing clichés. Secondly, Jibril Hassan represents the image of a vulnerable and easily manipulable Arab, adding a layer of complexity to the overall representation. By delving into these subtleties, this research seeks to challenge and transcend the conventional depictions of Arabs in Hollywood cinema. Its objective is to foster a deeper understanding of the intricacies associated with these characters, moving beyond the limiting and one-dimensional portrayals often disseminated by mainstream media. The ultimate aspiration is to contribute meaningfully to the ongoing dialogue regarding the representation of diverse cultures and identities in popular entertainment, such as Hollywood, which wields significant influence over public perceptions. Drawing on Jullien's perspective on alterity, the study advocates understanding others through their unique viewpoints rather than imposing our own. Applied to Hollywood's portrayal of Arabs, this approach encourages a shift beyond stereotypes toward a nuanced appreciation of Arab identity and cultural richness. Such an approach promotes deeper cultural empathy and challenges prevailing, simplistic narratives in global cinema and media.

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Virginás, Andrea. "Female stardom in contemporary Romanian new wave cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 76–95. http://dx.doi.org/10.33178/alpha.10.05.

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This article analyses film roles, red-carpet appearances and nonfilmic performances of three of the most well-known and admired actresses of the Romanian New Wave (Luminița Gheorghiu, Maria Popistașu and Anamaria Marinca). Their unglamorous female stardom is paradoxical if considered from the standpoint of mainstream/dominant cinema and the tradition described by Jackie Stacey as “[t]he ‘visual pleasure’ offered by the glamour and sexual appeal of Hollywood stars” (159). Aspects such as the major contradiction between screen role and screen persona, or the lack of ideal(istic) images offered to the audience are theorised on the basis of Christine Gledhill’s and Richard Dyer’s models, Anne Morey’s term of “the elegiac female grotesque” and Ana Salzberg’s concept of narcissistic Hollywood female stardom and embodied experience (107). The coherence of unglamorous female stardom as a real-life discursive construct emerges in the article through the consideration of Romanian New Wave cinema–similarly to 1970s-1980s New Indian Cinema in which unglamorous female stars existed (Gandhy-Thomas)–as a peripheral cinematic formation defined by a specific relation to glamour and consumption (Dyer, Gundle). Furthermore, the article suggests that this coherence is dependent on considering the production context of the Romanian New Wave in the framework of small national European cinemas (Hjort and Petrie, Soila), while emphasising the lack of integrated studio background (Haskell) and the fact that its female stars have been conditioned by postcommunist possibilities to articulate female public identities (Pasca Harsanyi, Roman).

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Bayer, Gerd. "Hollywood Utopia: Ecology in Contemporary American Cinema." Utopian Studies 17, no. 3 (January 1, 2006): 537–41. http://dx.doi.org/10.2307/20718861.

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Bayer, Gerd. "Hollywood Utopia: Ecology in Contemporary American Cinema." Utopian Studies 17, no. 3 (January 1, 2006): 537–41. http://dx.doi.org/10.5325/utopianstudies.17.3.0537.

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