Relevant bibliographies by topics / In Hollywood (Motion picture)

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Academic literature on the topic 'In Hollywood (Motion picture)'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "In Hollywood (Motion picture)"

1

Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the uni
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Fisher, Morgan. "Standard Gauge." Revista Laika 4, no. 7 (2021): 77–84. http://dx.doi.org/10.11606/issn.2316-4077.v4i7p77-84.

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A frame of frames, a piece of pieces, a length of lengths. Standard gauge on substandard; narrower, yes, but longer. An ECU that’s an ELS. Disjecta membra; Hollywood anthologized. A kind of autobiography of its maker, a kind of history of the institution from whose shards it is composed, the commercial motion picture industry. A mutual interrogation between 35mm and 16mm, the gauge of Hollywood, and the gauge of the amateur and independent.
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Simmon, Scott. "Beyond Hollywood." Boom 1, no. 4 (2011): 69–75. http://dx.doi.org/10.1525/boom.2011.1.4.69.

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California’s forgotten movie heritage is on view in the National Film Preservation Foundation’s Treasures 5: The West, 1898-1938 DVD set. Included among the 40 films are such fictional ones as The Sergeant (1910, the first surviving narrative film shot in Yosemite), Salomy Jane (1914, from the San Francisco-based California Motion Picture Corp.) and Over Silent Paths (1910, shot in the San Fernando Valley when it was still a desert). Even more revealing are the nonfiction types, including Romance of Water (1931, from the L.A. Department of Water and Power), Sunshine Gatherers (1921, from Del M
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Curtin, Michael. "What makes them willing collaborators? The global context of Chinese motion picture co-productions." Media International Australia 159, no. 1 (2016): 63–72. http://dx.doi.org/10.1177/1329878x16638938.

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Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted scep
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Kumar, S. Dinesh, and K. Soundarapandiyan. "The Effectiveness of Product Placement in Tamil movies: A Study with Reference to the State of Tamil Nadu, India." South Asian Journal of Social Sciences and Humanities 3, no. 5 (2022): 28–41. http://dx.doi.org/10.48165/sajssh.2022.3503.

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This study endeavors to enquire the power of item arrangements in Tamil motion pictures. The past surveys are more focused towards Hollywood films, and the majority of the Indian examinations are concentrated towards Hindi motion pictures. Subsequently, there exists a critical hole for this flow exploration to discover the viability of item position and item advancement in the films. The review bargains on Tamil films, VIP support, buyer mentality, corporate believability, brand picture and buy expectation are thought about to foster the speculations. The review was led utilizing an organized
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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.

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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen produc
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Scott, Allen. "Hollywood and the world: the geography of motion-picture distribution and marketing." Review of International Political Economy 11, no. 1 (2004): 33–61. http://dx.doi.org/10.1080/0969229042000179758.

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8

Chahdi, Chadi. "Revisiting Binarism: Hollywood’s Representation of Arabs." International Letters of Social and Humanistic Sciences 83 (August 2018): 19–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.83.19.

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This article throws into relief the tropes by which Hollywood has come to churn out identical Arabs bent on destruction, yet ones that need to be salvaged. However, the salvation process is never complete(d) because the Arabs are not worthy of redemption, which sinks them further into the abyss of darkness. The representation of Arabs in Hollywood movies mostly aims at disseminating a stereotypical image that demeaninglyhomogenizestheir cultures and identities. Hollywood here participates in a process of imperial hegemony. The repetition in producing suchimagined cultureof Arabs and Muslims is
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9

Anselmo, Diana W. "Fire in the Hole." Feminist Media Histories 10, no. 1 (2024): 28–56. http://dx.doi.org/10.1525/fmh.2024.10.1.28.

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Drawing on the letters female fans submitted to Motion Picture Magazine between 1914 and 1918, this article seeks to center negative feelings as a constitutional part of Hollywood reception during the World War I years. Emergent at this time, the language of affective film reception took up a combative tenor reflective of women’s lived experiences: anger, derision, and dissent pervade the first-person writings submitted by self-identified movie-loving “misses” and “girls.” Reading their published correspondence as proto-manifestations of feminist “troublemakers” and “killjoys” helps in histori
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10

Brianton, Kevin. "The Hollywood Motion Picture Blacklist: Seventy-Five Years Later by Larry Ceplair (review)." Film & History: An Interdisciplinary Journal 53, no. 2 (2023): 64–66. http://dx.doi.org/10.1353/flm.2023.a915292.

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