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Going Hollywood MGM Showgirl in Hollywood First National

In 1930 alone, one year after the stock market crash, no fewer than seventy musicals were filmed in Hollywood. Dispirited Depression audiences were hungry for an escape from the meanness of everyday life. The fantasy worlds and fairy-tale plots of Hollywood musicals provided a much-needed diversion. Showgirl in Hollywood is one version of this story.

Scripting Modern American History

The final text insert occurs in 1930, when Sabra, now a congress-woman at a political banquet, again echoes Yancey's overblown expansionist rhetoric as a historical explanation for Oklahoma's past. However, she radicalizes her speech by emphasizing female pioneers, noting at the beginning of her address The women of Oklahoma have helped build a prairie wilderness into the state of today. This feminist tone came at a time when traditional values and the authority of the pioneer patriarch were in dispute. By 1930, the citizens of Oklahoma were some of the first Americans to experience the pinch of the Great Depression. Month by month, the reality of unemployment and poverty materialized, but Estabrook and Ruggles made no direct allusion to the crisis. Perhaps in omitting defeat, Cimarron ultimately resolves its conflicted early history and sanctions a myth of American progress. One could also speculate that when Ferber wrote Cimarron in 1929, the Depression had not happened, and that...

International Film Festivals

As one of the baselines that allow one to reconstruct the dynamics that today govern the production, distribution and reception of independent films, the festival circuits hold the keys to all forms of cinema not bound into the global Hollywood network. But one can go further the festival circuit is also a crucial interface with Hollywood itself, because taken together, the festivals constitute (like Hollywood) a global platform, but one which (unlike Hollywood) is at one and the same time a marketplace (though perhaps more like bazaar than a stock exchange), a cultural showcase (comparable to music or theatre festivals), a competitive venue (like the Olympic Games), and a world body (an ad-hoc United Nations, a parliament of national cinemas, or cinematic NGO's, considering some of the various festivals' political agendas). In other words, festivals cluster a combination of economic, cultural, political, artistic and personality-based factors, which communicate with and irrigate each...

The Economics Of B Movies

It took some time for the stock market crash of 1929 and the Great Depression to have an effect on the motion picture business in the United States, but when the economic tailspin hit, it hit hard. Between 1930 and 1933 attendance dropped by almost one-third, forcing exhibitors to scramble to hang onto as many ticket buyers as possible. Price cuts and gimmicks like ''dish night'' created a sense of value and brought some moviegoers

Stylistic Not Emotional Orientation

The difference is colossal with due regard for the technician of public sentiment -ascertaining what was the basic emotion of the mass that was just making heroic progress with construction - the hosing sequence is elaborated as illustration, logically, as a technical analysis of the combination of bodies and rushing water. On the whole, that is how The Strike (or more accurately an illustration of the strike )was constructed. The Odessa Steps sequence appeared at the time of an emerging flood of emotionalism Thecontinuityfrom The Strike to Potemkin lies in the development of a pathos emerging dialectically in The Strike that is based on the principle of abstraction and logical technicism.15

Kittens Griffith and the Child at Play

These sequences are anchored by the emotional spectacle of a child in danger, thus providing the unifying emotion in a way that other sequences in Strike lack. When Eisenstein described the scene of the crowd being blasted with water from a hose as a technical analysis of the combination of bodies and rushing water, he noted that this sequence lacks what he called the new psychologism that injects the material with emotionalism. 18 He compared the hosing sequence to the Odessa Steps sequence in Potemkin, which he argued is an example of the new psychologism. He did not, however, discuss a point of comparison that seems both too obvious to miss and too bourgeois for him to note that portions of the Odessa Steps crowd sequence are organized around endangered children, whereas there is no similar emotional mini story to provide an emotional anchor for Strikes story of crowds being buffeted by pressured water. This new psychologism that differentiates Strike's hosing sequence and...

The Depression And Industry Finances

The economic downturn of the Depression was precipitated by a rapid decline in values of stock at the New York Stock Exchange in the fall of 1929. Black Thursday (24 October) and Black Tuesday (29 October) were key moments in the collapse. Overall, the Dow Jones Industrial Average dropped from a high of 381 on 3 September to a low of 198 before the end of the year. The economy continued to decline through 1932, when the Dow Jones industrial average bottomed out at 41. Between 1929 and 1933, when Franklin Delano Roosevelt (1882-1945) assumed the presidency, consumption had At the time of the stock market crash the film industry was organized by a studio system, and most of the important films produced in Hollywood in the 1930s were made by five studios that owned theater chains and three smaller studios that did not. The ''Big Five'' that owned theaters faced particularly pronounced strains following the crash because of the investments they had made in building theaters in the 1920s....

To View This Figure Please Refer To The Printed Edition

By 1930 a different set of rules governed the look of Hollywood film sets, for a wide variety of economic, political and cultural reasons. From October 1929 the Stock Market Crash deeply affected all aspects of American commercial life the era of conspicuous consumption and art deco extravagance was over. The film industry itself was maturing and, in an attempt to assuage middle-class critics, a Production Code was agreed in 1930 by the industry, particularly to control the excesses of the 'gold digger' and 'fallen woman' pictures. In Our Blushing Brides (1929), Crawford plays an honest and hard-working shop assistant rather than the rich and idle party-girl of previous years. It is interesting to note that the chief motivation behind the introduction of the Production Code was the perceived need for the cultural elite to safeguard standards. As Balio has observed 'An increasingly insecure Protestant provincial middle class sought to defend its cultural hegemony from the incursions of...

The Movies Of Precode Hollywood

The period from the 1929 stock market crash until the establishment of the Production Code Administration in June 1934 has been called ''pre-code Hollywood.'' Although film historians have argued about how different pre-code films were from films made later in the decade, a solid argument can be made that there was a distinctive difference. Andrew Bergman suggests in We're in the Money that the popular cycles of pre-code Hollywood such as gangster films, fallen-women films, backstage musicals, social-problem films, and ''anarchic'' comedies were distinctly connected to the economic distress of the early 1930s and the social-psychological anxieties it produced. Robert Sklar extends this argument in Movie-Made America, labeling the early 1930s the ''golden age of turbulence'' and the post-code Depression films the ''golden age of order.'' Although Richard Maltby has usefully suggested that the majority of films in pre-code Hollywood were tamer and more conventional than the films...

France

Production Cinemondial and Cineromans black and white, 35mm, silent length 5344 meters, running time 195 minutes. Released 10 January 1929. Filmed in Francouer studios at Joinville exteriors shot at La Bourse, Place de l'Opera, the Paris Stock Exchange, and Le Bourget cost more than 3 million francs.

Staying Focused

If your desire is to make a quick buck, go play the stock market, suggests Rob Hardy of Rainforest Films in Atlanta, Georgia. Filmmaking is a labor of love and that's what sustains you during difficult periods. You have to be a risk-taker because no one's going to take a risk on you but you. You can complain all you want about opportunities passing you by, but the only way they will really happen is if you create them for yourself.

Rko Radio Pictures

The history of RKO (aka Radio-Keith-Orpheum, aka RKO Radio Pictures) is utterly unique among the Hollywood studios, particularly the Big Five integrated majors. It was the last of the major studios to be created and the first (and only) studio to expire, with its corporate lifespan bracketed and defined by two epochal events, the coming of sound and the coming of television events that circumscribed not only RKO's history but classical Hollywood's as well. Moreover, because it was created in October 1928, one year before the stock market crash that preceded the Depression, RKO was plagued by economic hardships early on, including bankruptcy in the early 1930s, from which it never fully recovered. Thus the studio lacked the resources, the stable production operations, and the consistent management and business practices that characterized the other majors. As RKO historian Richard Jewell writes ''RKO existed in a perpetual state of transition from one regime to another, from one set of...

Great Depression

The Great Depression refers to that period of American history between the stock market crash of October 1929 and the US entry into World War II following the Japanese bombing of Pearl Harbor on 7 December 1941. Although the United States had experienced other significant depressions before the periods between 1839 and 1843, 1873 and 1879, and 1893 and 1896 offer three examples the Great Depression was particularly sustained and persistent. The only major depression to take place after the movies were firmly established as an industry and popular art form in the United States, it generated considerable economic strain on the industry especially in the early 1930s eroding the audience and encouraging the industry to win back its audience in a variety of ways, some of which led to tensions between the industry and certain segments of American society. The film industry responded to its critics, and as the decade wore on, a resurgent national confidence in the system coincided with some...

The Flower Thief i

Step, in his sport shoes, no hurry, no urgent business, no stock markets to crash, no telephones to answer. He walks across the garbage cities of Western civilization with his mind pure and beautiful, primeval, unspoiled, sane, a noble idiot, classless, eternal. I image Diogenes very much like Taylor Mead, sitting there in his old barrel, enjoying the sun. Jonas Mekas, 7 19 62

Ideas about society

The coming of sound was closely followed by shattering world events. In October 1929, the U.S. stock market crash signaled the onset of the Great Depression. Political instability led to the rise of Fascist governments in Italy and Germany. The aftereffects of World War I undermined British and French society. The United States maintained an isolationist position. The period, then, was unpredictable and unstable. The documentary films of this time searched for a stability and strength not present in the real world. The efforts of these filmmakers to find positive reinterpretations of society were the earliest efforts to communicate particular ideas about their respective societies. Grierson was interested in using film to bring society together. Working during the Depression, a fracturing event, he and others wanted to use film to heal society. In this sense he was an early propagandist.

Context

What must not be ignored in explaining the success of the studio system is the context within which the films were made and consumed. It must be remembered that between the years 1929 and 1949 the United States underwent a series of traumas the Wall Street Crash of 1929, the Great Depression, and the Second World War. In 1929 the Stock Market crashed, plunging millions of Americans into poverty. Banks were closed, farms were ruined, and many lost their jobs in the subsequent depression, the likes of which had never been witnessed in American history. The Depression felt even worse because it came immediately after the prosperity and consumer boom of the 1920s, which many have labelled 'the Jazz Age'. During this time of despair and stress, the movies provided a means of escape from the harsh realities of American life and Hollywood films, with a few exceptions, tended to downplay the worst aspects of the Depression. In part, this was due to the strictures of

Tough Guys

The collapse of the stock market in 1929 lit the match to the tough-guy fuse by sparking a national depression marked by soaring unemployment and widespread despair over the value of public policy and the institutions of government, finance, and the law. When police officers appeared increasingly as enforcers of rich men's law, banks either foreclosed on delinquent mortgages or failed their depositors, and Washington seemed powerless to alleviate the nation's sufferings, audiences turned toward strong heroes who offered them the hope of taking charge of their own future self-made entrepreneurs in direct sales (albeit the illegal sale of liquor) like Tom Powers in The Public Enemy and Tony Camonte in Scarface. At the same time, the arrival of synchronized sound, as Jonathan Munby has noted, turned the suddenly speaking gangster from a deracinated outlaw to a member of a specific marginal ethnic group whose accent frames his desire for success within a history of struggle over national...

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