Visual Arts and Film Studies Tests. Changes in exhibition from the early 1900s through the 1940s - Assignment Example

a. What is the “cinema of attractions”? Cinema of attraction defines a term used by Tom Gunning to describe the relationship between the early films with the audience. Gunning defines the term cinema of attraction as a cinema that exhibits its visibility with great willingness to shatter a self-enclosed fictional world for an opportunity to implore the attention of the spectator. This means that a film is not entirely meant for entertainment but to present something exclusive and unique to the spectators. Moreover, cinema of attraction is based on shock, spectacle, and sensation. According to Gunning, cinema of attraction greatly differs with the contemporary narrative cinema that solicits a voyeuristic spectatorial gaze. It is an early exhibition where the spectators become overtly acknowledged, and invited to look. b. What is the PCA? In order to regulate morality and politics within films, the PCA (Production Code Administration), patrolled major issues that came about in the movies, moral barricades and the politics involved in movie productions. The government decided that wartime movies were very delicate to be left to the moviemakers thus the PCA, the Office of War Information, policing morality, and guarding politics made sure that the American screen was tightly regulated like no any other time in history. The PCA and its associated groups worked towards improvement in the film content in outright falsifications in others and evasions. c. What is a “star vehicle”? A ‘star vehicle refers to a movie, television show, or a play fabricated mainly to enhance a star’s career. The main aim of a star vehicle revolves around promoting a performer with the anticipation of inducting a bankable star. For instance, a bankable star compels the spectators to watch either the television show, play or even the film since he/she is featured in the project. Any successful star vehicle portrays unique talents exhibited y the star being promoted. In addition, a star vehicle can be created to showcase a star shifting from one genre to another. In a star vehicle, the young or inexperienced actor signs a long-term contract with a major studio. However, in some cases, the actor may produce for himself or herself a vehicle thus resulting to a form of self-promotion (Lewis, 2002). d. What does Jane Feuer mean when she refers to the “dual diegesis” of the backstage musical? Modernist cinema in association with Hollywood musical, use dual in the world of films in order to reflect the relationship of the spectator to the film. Dual diegesis in this sense parallels the use of internal audience. In other cases, dual diegesis calls attention to the discrepancy between reality and fiction, or history and fiction. According to Jane, Hollywood musicals are built upon a base of dual registers with the contrast between number and narrative defining musical comedy as a form. In the backstage, musical dual levels are apparent in contrast between the show or film and the backstage plot within the film, between the world offstage and world onstage. e. How was the production of Casablanca affected by U.S. entry into World War II? Scholarly research depicts that one of the main argument was that the government collaborated with the Hollywood industry to use film as propaganda during the Second World War. Due to the stigma that surrounded Hollywood in the early 20’s, directors and actors were convicted of outrage that led to public accusation of immorality within the film industry. Moreover, the government worked directly with Hollywood by using its films as a powerful tool to enhance the war. It was during t5his period that Casablanca was greatly affected. These films displayed anti-Japanese propaganda, grim images, and the sacrifices made by the American soldiers. Even after the war, the films continued to portray skewed sights of the war with glorifying efforts made by the soldiers to show the sacrifices they made were quite worthwhile. 2. What changes in exhibition took place from the early 1900s through the 1940s? For decades now, scholars have categorized the film industry as one of the ever-evolving industry. Known for its tremendous changes therefore, it is arguable that many of the ancient movies remain out-dated irrespective of the fashion during their time of exhibition. Worth noting also, the diversity of the industry has seen many films exhibitions and themes become a controversial issue to scholars, policy makers and the society (Harvey, 1980). As a result, the mode of exhibition has kept changing from time to time. Believed to be a retail branch of the industry, exhibition involves the public screening of the movies. This leaves behind the mode of production and the manner in which the films are distributed. It is therefore arguable that the exhibitor sells the experience of a film. As such, exhibitors control the programming, promotion, and presentation of such films to the public. They thus ultimately influence considerably the final success of the film more precisely their reception. In the early 1900s and 1940s, there was a notable change in exhibition of films due to a number of reasons. Although scholars document that the history of films dates back in 1980s, when the movie camera was first invented, the 19000 marks the periods of great changes in exhibition. Before this time, films were exhibited as a novelty in certain designed venues (Schartz, 1999:216). This trend did not last for long, since exhibition fast started taking place in programmed theatres and by mobile theatres facilitated by showmen. This mobile exhibition mainly took place across the fairs in specific towns. Before 1910, the companies that produced these movies took the initiative to start a program of selling print outright to those involved in the exhibition. These prices did not consider the subject of the movies since their main aim was to protect their productions. However, during this time, the produces were few; the most know being American Mutoscope and the Biograph Company. These companies did not sell their movies, but made sure that they solely did the exploitation by having their own locations of exhibition. During this time, “The Nickeloden” was documented as the theatre that seemed permanent and most successful. It began its first operation in 1905 at Pittsburgh. During these times, long films were now being produced and availed. Though they were exhibited for nearly a week in the shows, local audience demanded for new films when they felt bore by the available exhibitions. On realizing the advantages of the exhibition, other exhibitors took the initiative in the United States to have the operations in place. As exhibition and acting industry changed in the 1900s, scholars thought that the changes would impact the entire industry. Hollywood movies, which were common between 1910s and 1920s, were loved by most of the audience. A significant early variant of the way the films were exchanged was the model called “states rights”. In this model, the rights to have certain films sold for distribution in a specific territory were controlled by individual states. After the selling, the rights owner gave the exhibitors an opportunity to engage in a contract thus in a position to exhibit the movies. Though the early exhibitors were limited by availability print and financial constraints, they used their latitude considerably to book every film they have interest in and as per the demands of the local audience (Schartz, 1999). In the beginning of 1910s, arrival of the multi-reel feature films changed exhibition of movies. For instance, the “the Birth of a Nation” movie, which was screened in 1915 was the interest of many exhibitors as they used road shows to show the movie to their audience. This shows appeared as touring stage production and thus, the road shows took place mainly during times of certain events, which called for special booking at certain venues. This was not a strategy to cease immediately. In fact, authors document that it remained for 30 years until the late 1920s. Though it ceased to exist, it reappeared in the 1950s and 1960s, during the exhibition of what up to date remains the most expensive and spectaculars production of “Ben-Hur” in 1959. After the road show, another akin exhibition was the “four-walling”. In this model of exhibition, there was the renting of theater and a special screening took place in a fashionable and distinct way that differed completely from the normal motion picture fare. This model of four-walling was common in the 1930s. it was during these years when foreign language films were presented to those immigrants living in the united states. Though it started in the late 1920s after the extinction of the road shows, it went up to 1950s. It was used as a sensational exhibition strategy to exploit films that carried special themes. For instance lessons on childbirth and drug addiction, which was common in the united states then were taught in films using this model. Further still, sexually transmitted diseases, which were on the increase due to the increased prostitution were also screened (Schartz, 1999). Critics believed that these two models of exhibition were lucrative since they majorly concentrated on the sale of individual films. As such, film exhibition business crux is owned and daily operated by movie theaters. Due to this therefore, there is need for a steady supply of products, which must be booked with the consent of film distributers. In reference to the minimal start-up cost, it was a dedication of the initiators of theaters to offer to their audience pictures in motion as their primary initiative. As years went by, and before the1950s, exhibitors it has an economic sense to adopt vaudeville theaters as well as penny arcades, which increased the possibility of operating several theaters under a single company. It is during this initiative that the theater chain emerged in the nickelodeon era. A chain, which means a circuit of theaters, might means up to or even more than 100 venues. However, the numbers of venues were dictated by the town within which the chain was situated (Feuer, 1982). For example, by 1930, the Stanley Company situated as Philadelphia had approximately 250 theaters throughout the East Coast. During this time, successful entrepreneurs in exhibition emerged who gave hope to one day shape the existing Hollywood studio system. A good example was Marcus Loew, whose career began after he initiated arcades and nickelodeons in the city of New York. Marcus wanted to ensure that there was a constant supply of films in all his theaters for exhibition. Therefore, he took the initiative to acquire for himself companies for production and distribution. Further, in his initiative also, he owned and ran a circuit of first-run theaters in the most renowned metropolitans. As an entrepreneur therefore, he controlled a notable part of the exhibition market, winning a significant market share. From statistics, the weekly attendance in these exhibitions increased tremendously to almost 22 million before 1930 (Lewis, 2002).. The number continued increasing to appoint that before the end of a decade; the number had increased by approximately 58 million. Before 1940, the competition of exhibition was increasing thus independent exhibitors were left with no option other than selling out their films to owners of chain, invest heavily in the expensive equipment necessary for sound film, or eventually come to a close down point (Schartz, 1999). At some point, it appeared as though the major studios were becoming monopolistic in their exhibition. This is because they nearly took control of the entre industry. From this, the major studios were given the opportunity to have full control of the films they produced. This system provided a guaranteed to have film circulated through out the region and reach every audience. To achieve this, the regions were geographically divided to ensure that as a certain region viewed a certain movie the other viewed a different until a point when the audience was bored hence changed the films. In conclusion, the film industry underwent tremendous change between the 1900s and the 1940s. Although some other modes of exhibitions remain outdated, three are some, which remain relevant today. However, the industry is today experiencing many challenges that come from the different and technologies present today. It is important that exhibitors remain updated on the possible changes that might occur to remain relevant in the industry. Bibliography Schartz, T 1999, 'Wartime stars, genres, and production trends', in Boom and bust : American cinema in the 1940s, University of California Press, Berkeley, Calif., pp. 203-206; 217-221; 232-252. Harvey, S 1980, 'Women's place : the absent family of film noir', in Kaplan, E, Women in film noir, BFI Publishing, London, pp. 22-34. Feuer, J 1982, 'Dream world and dream stages', in The Hollywood musical, Indiana University Press, Bloomington, pp. 67-85. Lewis, J 2002, 'Appendix', in Hollywood v. hard core : how the struggle over censorship created the modern film industry, New York University Press, United States, pp. 301-307. Read More