Classical Hollywood Narrative active agent goaloriented protagonist psychologisch
- Slides: 37
Classical Hollywood Narrative ¡ active agent /goal-oriented protagonist ¡ psychologisch motivierte Figuren ¡ Zwei Handlungsstränge § Suspense § Love Story ¡ Zufall/Deus ex machina nicht erwünscht ¡ Deadlines PD Mag. Dr. Claus Tieber 1
Ton und Musik im Stummfilm • Versuche der technischen Synchronisierung • Erzähler • Klavier • Salonorchester • gr. Orchester
Stummfilmmusik • Mechanische Musik • „Improvisation“ • Cue Sheets • Handbücher, Sammlungen • Scores
Musik im Stummfilm • • • populäre Songs und Tunes populäre Stücke/Melodien aus dem klassischen Repertoire oft textgebunden
RKO • David Sarnoff • RCA (Radio Corporation of America) • sound on film • Photophone • Film Booking Office • Keith-Albee-Orpheum vaudeville houses • Radio-Keith-Orpheum - RKO
Big Five Agreement • MGM • Universal • First National • Paramount • Producers Distributing Corporation • act together in adopting sound systems • Western Electric sound on disc vs. RCA sound on film
Vitaphone • Vitaphone Shorts • Don Juan 1926 • 6. 10. 1927: Jazz Singer • The Lights of New York
Pre-Code Era bis 1934 • Black Friday 1929 Beginn der Wirtschaftskrise • 1933 Wahl FD Roosevelts, Beginn New Deal • Ende der Prohibition 1933
Umbrüche in der Filmindustrie • Finanzierung durch Wall Street • Producer Unit System • neue Drehbuchautoren • Production Code ab 1934
Big Five • Paramount • Loew‘s/MGM • 20 th Century Fox • Warner Bros. • RKO
Little Three • Universal • Columbia • United Artists
Independents • Samuel Goldwyn • David O. Selznick
National Industrial Recovery Act (NIRA) • Codes of Fair Competition • Gewerkschaften • Motion Picture Code • Zoning • wird 1935 aufgehoben, anti-Trust Kampagne folgt
Kinobesuch 1930 • 23. 000 Kinos • 400 Movie Palaces in cities of 50. 000 or more • these cities contained 35 % of the population or 43 million people • mainly in the large eastern states and in California • double feature • A picture ca. $ 400. 000 (Herstellungskosten) • B picture $ 50. 000 - 200. 000
B Pictures • 1930: 10% of theaters played double features • 1935: 75 % (at least part of the week) • 40 % exclusively
Foreign Markets • 1930 Hollywood 75 -80% • $200 mill in film rentals (275 total annual gross) • Subtitling • Dubbing • Foreign language versions
Genre • Produktion • Analyse • Rezeption
Altman: Film/Genre If it is not defined by the industry and recognized by the mass audience, then it can not be a genre, because film genres are by definition not just scientifically derived or theoretically constructed categories, but are always industrially certified and publicly shared. Altman, 16 18
Altman cont. Films often gain genre identity from similar detects and failures rather than from qualities and triumphs. The early history of film genres is characterized (…) not by a purposeful borrowing from a single pre-existing non-film parent genre, but by apparently incidental borrowing from several unrelated genres. 19
Altman cont. Even when a genre already exist in other media, the film genre of the same name cannot simply be borrowed from non-film sources, it must be recreated. Films are always available for redefinition 20
Altman Genres begin as reading positions established by studio personnel acting as critics Creation of a reading position – reinforcement – broad industry acceptance of the proposed reading position and genre 21
Altman By assaying and imitating the money-making qualities of their most lucrative films, studios seek to initiate film cycles that will provide successful, easily exploitable models associated with a single studio. Cycle – genre Genrefication as process: new material, new approach 22
Wulff Sets kultureller Konventionen zur Routine gewordene Erzählstrategien im Umgang mit "ideologischen Spannungen" und Konflikten breites Spektrum ideologischer Funktionen ökonomisches Prinzip und zugleich film-kulturelle Größe Serialisierung 23
Wulff Standardisierung kommunikative Versprechen jeweils spezifischen Erwartungshorizont bestimmte Rezeptionshaltung feste Verabredung oder Übereinkunft zwischen Produzent und Rezipient zu verstehen Flexibilität 24
Wulff Spiel mit Klischees, Mustern und Stereotypisierungen Genre ist ein offen-texturiertes Konzept und erweist sich gerade in dieser Unbestimmtheit im Sprechen über Film als nützlich 25
Genres 1930 er Jahre • Musical • Gangsterfilm • Screwball Comedy • Social Problem Films
Musical • 1928: 60 Filmmusicals • 1929: one in four films in production
Musical Backstage Musical (42 nd Street) • • Operetta Musical (The Love Parade) • Integrated Musical • fairy tale • Show Musical • Folk Musical
Jazz Singer
Busby Berkeley: 42 nd Street
operetta musicals
Social Problem Films I Was a Fugitive from a Chain Gang (1932)
Gangsterfilm: Little Caesar, Public Enemy, Scarface
Universal Horror
Screwball Comedy It Happend One Night (1934)
Screwball Comedy • Freizeit; die meisten der Figuren sieht man nicht bei der Arbeit • Kindhaftigkeit der Charaktere • urbane Spielorte • apolitische Figuren • Frustration der männlichen Hauptfigur. Oppositionen.
Prestige Picture • big budget • based in presold property • top stars • special effects
- Continuity editing definition
- Classical hollywood cinema characteristics
- Oxidizing vs reducing agent
- Peas for interactive english tutor
- Electrode potential table
- Reducing agent vs oxidizing agent
- Agent function vs agent program
- Capital of hollywood
- Etds universal studios hollywood
- Where is the hollywood sign
- West hollywood rso
- Hollywood
- Hollywood music genre
- Hollywood 1977
- Benzedrine inhaler history
- Dream factory hollywood
- Hollywood versus bollywood
- The hollywood studio system in the 1930s and 1940s
- Prensa rosa española
- Hollywood africans
- Inhalt des films
- Movie capital of the world
- St helen’s smelting co v tipping (1865)
- Golden age of hollywood 1930s
- How was the hollywood ten affected by the accusations
- Hollywood vs history
- Hollywood renaissance films
- Hollywood
- And or boolean
- Primary active transport and secondary active transport
- Primary active transport vs secondary active transport
- Fictional narrative writing
- Difference between narrative and story
- Dynamic chracter
- Inference in the most dangerous game
- Mr.jones animal farm
- Protagonist antagonist
- Hills like white elephants full text doc