By Edward Jay Epstein
Through the heyday of the studio procedure spanning the Nineteen Thirties, ‘40s, and ‘50s, almost the entire American movie industry’s cash, strength, and status got here from a unmarried task: promoting tickets on the field workplace. this day, the motion picture enterprise is simply a small, hugely noticeable outpost in a media universe managed through six corporations–Sony, Time Warner, NBC common, Viacom, Disney, and NewsCorporation. those conglomerates view motion pictures as a part of a tremendous, synergistic, vertically built-in money-making undefined.
In The mammoth Picture, acclaimed author Edward Jay Epstein provides an remarkable, sweeping, and punctiliously unique account of the genuine magic in the back of moviemaking: how the studios make their cash. Epstein exhibits how, in Hollywood, the one artwork that concerns is the paintings of the deal: significant movies flip large gains, now not from the flicks themselves yet via myriad different firms, akin to video-game spin-offs, fast-food tie-ins, soundtracks, or even theme-park rides.
The studios could compete with each other for stars, exposure, box-office
receipts, and Oscars; their company mom and dad, even if, make fortunes
from cooperation (and collusion) with each other in much less glamorous markets, similar to cable, domestic video, and pay-TV.
But funds is simply a part of the Hollywood tale; the social and political milieus–power, status, and status–tell the remainder. along striking monetary revelations, the massive photo is stuffed with eye-opening actual Hollywood insider tales. We learn the way the promise of unfastened cowboy boots for a manufacturer behind schedule an important movie’s taking pictures time table; why stars by no means practice their very own stunts, regardless of what the grocery store tabloids declare; how video clips deliberately form political sensibilities, either in the United States and out of the country; and why fifteen-year-olds dictate the type of low-grade fare that has flooded monitors around the state.
Epstein additionally deals incisive profiles of the pioneers, together with Louis B. Mayer, who helped construct Hollywood, and introduces us to the visionaries–Walt Disney, Akio Morita, Rupert Murdoch, Steve Ross, Sumner Redstone, David Sarnoff–power agents who, by way of dint of innovation and deception, created and keep watch over the media that mildew our lives. when you are attracted to Hollywood this present day and the complicated and interesting method it has advanced to be able to live on, you haven’t noticeable the massive photograph until eventually you’ve learn The massive Picture.
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Extra info for The Big Picture: The New Logic of Money and Power in Hollywood
Leroi-Gourhan, André. 1948. ” Revue de Geographie Humaine et d’Ethnologie, no. 3. The Situation and Tendencies of the Cinema in Africa The cinema began to take hold in Africa from the first years that followed its invention. In South Africa, for example, as early as 1896, cinema was introduced by a vaudeville magician who had stolen a “theatregraph” from the Alhambra Palace in London. And today, the word “bioscope,” used from the turn of the century by “Warwick bioscope” projectors, is still the usual word for cinema in South Africa.
La Fontaine). And if the ciné-voyeur of his own society will always be able to justify himself by this particular militarism, what reason can we, anthropologists, give when we pin our subjects up against the wall? This question is obviously addressed to all anthropologists, but anthropological writing has never been contested the way anthropological film has. ” Film is the only means I have to show someone else how I see him. For me, after the pleasure of the ciné-trance in shooting and editing, my first public is the other, those whom I’ve filmed.
Undoubtedly, when Flaherty developed those rushes in his cabin, no one realized that he was condemning to death more than 90 percent of film documents that would follow. No one realized that they would have to wait some forty years before someone would follow the still-new example of the old master of 1921. For Dziga Vertov, at the same period of time, it was a question of filming the revolution. It was no longer an issue of staging, or adventures, but of recording little patches of reality. ” I am the ciné-eye, I am the mechanical eye, I am the machine that shows you the world as only a machine can see it.