hollywood in transition not the same old game in town 1946-1965

Hollywood in Transition

Not the same old game in town

1946-1965

U.S. vs. Paramount Pictures, Inc.

U.S. Monopoly laws cause legal intervention that required studios to sell their theatres.

No longer: producer, distributor, exhibitor

Television

Until 1956, no Hollywood film could appear on television

Dramatic change in box office receipts. People preferred to stay home and watch

TV. Movies were not offering anything different

than what was acceptable on television.

Other developments

House on Un-American Activities Committee (HUAC) investigated Hollywood directors,writers, actors for possible Communist affiliation.

BLACKLIST

Bars anyone so named from working in Hollywood.

Hollywood Response

Bad publicity and low box office

Forced to lay off personnel

Sell off land and properties

Studios create subsidiaries to produce programs for television (Columbia’s Screen Gems)

Gimmicks to attract audience back to theatres

3-D Fun initially but costly to theatre owners and novelty soon wore off

Cinerama: Three cameras created a wrap-around screen that helped to involve the audience in the action. Modern version is OMNI VISION or IMAX

Cinemascope: Widened the screen without cumbersome or expensive technology. The only “gimmick” to last.

Color

Hollywood needed color to fight black and white TV. TV networks did not go “full color” until 1964.

Cooperation

Hollywood decides to work with TV.

Sold its old movies and more studios began to produce TV series and commercials.

1962 ALL TIME LOW BOX OFFICE

Hollywood needed to find a new audience

The old one was watching television

Content of Films

Fought back with SPECTACULARSBen HurTen CommandmentsSpartacus etc.

Publicity: elaborate trailers to pull audience to movies

Age of Adaptations

Pre-sold works that were popular books or playsCaine MutinyExodusMy Fair Lady

Miracle Case

Case settled in mid 50’s but took some time to be reflected in film content

A foreign film, The Miracle, attempted distribution in the U.S.without Motion Picture Association of America’s Seal of Approval. Italian director, Roberto Rossellini sued

Supreme Court said that film was protected by the First Amendment as part of the nation’s press and thereby granted freedom of speech protection.

Rossellini’s 1948 controversial short film (c. 40 mins.) Il Miracolo (or “The Miracle” in English) as a case study. The Miracle is actually the second part of a film entitled L’Amore.

A simple woman sleeps with a bum, portrayed by Fellini, under the impression that he is Saint Joseph. She then makes plans to give birth to Jesus Christ and is greeted by derision by the people of her village.

Adult Material

Code loosened up and many exceptions made for adult material.

Real changes came after 1965