Causes of Hollywood System Decline - Coursework Example

Details Q1. What are some of the causes of Hollywood system decline and how did Hollywood respond to this decline in the decades that immediately followed the breakup of the system Causes of Hollywood system decline. During the emergence of the studio system in Hollywood, there were only three minor studios and five major ones that dominated the film industry. The Golden age of the holy wood system could however not last forever. One of the major causes of the Hollywood studio system was the restriction by the Supreme Court on block booking practice by the five major studios (Tvtroppes 40). The decision did not only outlaw block keeping but it also enforced the major studios to sell give out the rights to their theater chains. The implication of this move was that the major studios could no longer able to dump their yearly movies on theatres and had to be quite selective on their production. The rise of the freelance filmmakers and independent production along with the increasing popularity of television also contributed to the decline of the Hollywood studio system which dominated the classical holly wood era (Axs Entertainment Movies 43). How Hollywood respondent to the studio system decline The birth of the television in1948 marked the progressive decline of the studio system. Hollywood could not compete. Something had to be done as quickly as possible. The executive producers in Hollywood then realized that rather than competing they could invest in television. The universal pictures was the first company to venture in television with the long running television show. Other followed suit (Axs Entertainment Movies 47). The end of the holly wood studio system had both its advantages and disadvantages. It was better because it opened the door or set the pace for independent cinemas which do not follow the genre qualification but instead focus on mixing styles and approaching subjects that Hollywood does not consider bankable. The end of the studio system was for worse because the thrill or magic of the studio is gone. Hollywood is no longer a concept in cinema, but just a location. Q2. Drawing upon and citing one of the articles from our reading this semester, explain Argentinian cinema in terms of how it intersect with culture, historical or political aspect of the country. Cinema arrived in Argentina soon after being launched in Paris. The country inhibited some of the world class pioneers in animation and scientific movies. However the true Argentinian industry started in 1933 with the establishment of sound film. The good times, when the Argentina movies were watched all over only lasted until the Early 1950s. Afterwards, the growth of television, the gradual closure of the big studio, the auteur cinema imposed other rules and stagnation of popular cinema (Vila 139). The emerging popularity of the United State Cinema, increased pressure from the Catholic Church and domineering censorship during the presidency of Peron limited the growth of the Film industry in Argentina. This occurred because of the harassment of some of the prominent actors such as Libertad lamarque. The cinema of Argentine began to lose popularity as foreign films like the United State acquired increased foothold in the country’s film market. Heavily censored film industry in the late 70’s forced the film makers to limit the scope of the film that they produced especially those that touched on the government. The path that was laid out by Birri’s as well as that of filmmakers Glauber Rocha in Brazil and Santiago Alvarez in Cuba, had a great impact over Latin America. A militant cinema was created by a number of documentary filmmakers to oppose the foreign imperialism / colonialism and the dictatorship of the military that was running the country. Solanas and Getino, working from 1966 to 1968, created one of the works of Latin America documentary cinema: la hora los hornos (the hour of the furnace) (Vila 142). This four and a half hour trilogy was a direct attack and a manifesto attack against the military dictatorship together with the first world nations that supported and benefited from it. It was considered treason for anyone to attend to attend the screening of the movie. The film was often projected at community halls and community center and the film makers would regularly interrupt the projection of the film to open the floor for a discussion about the ides and content of the film (Vila 143). 1976 was a period of militant documentary and cinematic innovation that was violently raptured by the disappearance of the three documentary filmmakers by the military of Argentina: Pablo Szir, Enrique Juarez and Geyser. The other filmmakers survived the disappearance by going into exile. Argentine filmmaking was highly censored and under the control of government, and documentary production was limited to those film that proudly spoke of the nation (Bordwell and Thompson 34). Establishing documentary in Argentina was a struggle that took place over many years. However currently, two major factors have defined the explosion of the Argentina cinema. The first has been the digital technology had the first access and immediacy it offers. The second factor has been the countries economic crash between 2001 and 2002. Similarly, popular Argentine culture had its influence on the country’s cinema. The film I “I don’t owe you forever” (Cien veces no debo) focused on a typical Argentine home. Similarly other movies such as “the day Maradona met Gardel, 1996” (Paglierre’s El dia que Maradona conocio a Gardel) are some of the works that shows the standards of the culture of Argentina (Vila 145). Buffeted by encroachment of the domestic film market by foreign companies such as the US and improved economic situations, the Argentine Cinema begun to flourish. The true industrial arose after the introduction of democracy in the country where by the country started to sell it cinematic phase to the rest of the world. The Argentine film still continues to be politically active by basing their production on hard subjects such as abducted children, economic crisis and the dehumanization of people by solder. Some of the film that touches on this subject include the Illuminados por el Fuego (trial by fire), memorials Del saqueo (Memories of the riot) and Los Pasos Perdidos (Lost Steps). Works Cited Axs Entertainment Movies. "The Decline of the Hollywood Studio system or the End of a magic Concept." Examinar (2011): 46-50. Bordwell, David and Kristen Thompson. Film History. New York: Mc Graw - Hill company, 2003. Tvtroppes. "Fall of the Studio System." Tvtropes (2012): 34-50. Vila, Laura. "Five Faces of Contemporary Argentine Cinema." Culture Trip (2013): 138 -148. Read More