Cinema of the United States
From The Art and Popular Culture Encyclopedia
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| - | "In many ways [[Roger Corman]] is to [[Cinema of the United States |American cinema]] what [[Jesús Franco|Jess Franco]] is to [[Cinema of Europe|European cinema]]. They both directed low budget, [[B movie]] style films that attracted minority cultures in the United States and Europe respectively." --[[Sholem Stein]] | + | "That public’s craving for a nonstop [[movie-star]] [[titillation]] fix was mainlined and bylined day by day by that syndicated, sob-sister, mutant, deadlining hunt-and-pecker: the Hollywood [[Gossip]] Columnist."--''[[Hollywood Babylon]]'' (1959) by Kenneth Anger |
| <hr> | <hr> | ||
| - | News: "[[Ari Aster]] (born July 15, 1986) is an [[American director]] and screenwriter, best known for writing and directing the horror films ''[[Hereditary (film)|Hereditary]]'' (2018) and ''[[Midsommar (film)|Midsommar]]'' (2019), as well as the short film ''[[The Strange Thing About the Johnsons]]'' (2011)." --Sholem Stein, 30/7/2019 | + | "In many ways [[Roger Corman]] is to [[Cinema of the United States |American cinema]] what [[Jesús Franco|Jess Franco]] is to [[Cinema of Europe|European cinema]]. They both directed low budget, [[B movie]] style films that attracted minority cultures." --[[Sholem Stein]] |
| + | <hr> | ||
| + | "''[[They Live]]'' is definitely one of the forgotten masterpieces of the [[Cinema of the United States|Hollywood]] [[Left-wing politics|Left]]. ... The sunglasses function like a critique of [[ideology]]. They allow you to see the [[real]] message beneath all the [[propaganda]], [[glitz]], [[poster]]s and so on. ... When you put the sunglasses on you see the dictatorship in democracy, the invisible order which sustains your apparent freedom." --''[[The Pervert's Guide to Ideology]]'' (2012) by Slavoj Žižek | ||
| + | <hr> | ||
| + | "One of the glories of [[Los Angeles architecture|Los Angeles is its modernist residential architecture]], but [[Cinema of the United States|Hollywood movies]] have almost systematically denigrated this heritage by casting many of these houses as the residences of [[movie villains]]."--''[[Los Angeles Plays Itself]]'' (2003) by Thom Andersen | ||
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| '''Hollywood''' is practicaly [[metonym]]ous with the '''Cinema of the United States'''. This was perhaps different in the [[Pre-Code]] era, and certainly different after the 1948 [[Hollywood Antitrust Case]] led to the break-up of the [[Hollywood]] [[studio system]] and the development of [[arthouse]] and [[grindhouse]] movie theatres. | '''Hollywood''' is practicaly [[metonym]]ous with the '''Cinema of the United States'''. This was perhaps different in the [[Pre-Code]] era, and certainly different after the 1948 [[Hollywood Antitrust Case]] led to the break-up of the [[Hollywood]] [[studio system]] and the development of [[arthouse]] and [[grindhouse]] movie theatres. | ||
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| + | It is said to be the opposite of [[world cinema]]. | ||
| ===Rise of the home video market=== | ===Rise of the home video market=== | ||
| The 1980s and 1990s saw another significant development. The full acceptance of [[home video]] by studios opened a vast new business to exploit. Films such as ''[[The Secret of NIMH]]'' and ''[[The Shawshank Redemption]]'', which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as [[Quentin Tarantino]] and [[P.T. Anderson]] had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. | The 1980s and 1990s saw another significant development. The full acceptance of [[home video]] by studios opened a vast new business to exploit. Films such as ''[[The Secret of NIMH]]'' and ''[[The Shawshank Redemption]]'', which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as [[Quentin Tarantino]] and [[P.T. Anderson]] had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. | ||
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| * [[Pre-Code Hollywood]] | * [[Pre-Code Hollywood]] | ||
| * [[World cinema]] | * [[World cinema]] | ||
| - | '''General:''' | + | *''[[Stranger Than Paradise: Maverick Film-makers in Recent American Cinema]]'' (1998) by Geoff Andrew |
| - | * [[List of cinema of the world]] | + | |
| - | ** [[Cinema of North America]] | + | |
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Current revision
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"That public’s craving for a nonstop movie-star titillation fix was mainlined and bylined day by day by that syndicated, sob-sister, mutant, deadlining hunt-and-pecker: the Hollywood Gossip Columnist."--Hollywood Babylon (1959) by Kenneth Anger "In many ways Roger Corman is to American cinema what Jess Franco is to European cinema. They both directed low budget, B movie style films that attracted minority cultures." --Sholem Stein "They Live is definitely one of the forgotten masterpieces of the Hollywood Left. ... The sunglasses function like a critique of ideology. They allow you to see the real message beneath all the propaganda, glitz, posters and so on. ... When you put the sunglasses on you see the dictatorship in democracy, the invisible order which sustains your apparent freedom." --The Pervert's Guide to Ideology (2012) by Slavoj Žižek "One of the glories of Los Angeles is its modernist residential architecture, but Hollywood movies have almost systematically denigrated this heritage by casting many of these houses as the residences of movie villains."--Los Angeles Plays Itself (2003) by Thom Andersen |
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Hollywood is practicaly metonymous with the Cinema of the United States. This was perhaps different in the Pre-Code era, and certainly different after the 1948 Hollywood Antitrust Case led to the break-up of the Hollywood studio system and the development of arthouse and grindhouse movie theatres.
It is said to be the opposite of world cinema.
Rise of the home video market
The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as The Secret of NIMH and The Shawshank Redemption, which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as Quentin Tarantino and P.T. Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources.
With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.
Research interests
See also
- Academy Awards
- Indiewood
- American Film Institute
- History of film
- Hollywood vs independent film
- Jahsonic's American film canon (1996-2007)
- List of films in the public domain in the United States
- Motion Picture Association of America film rating system
- Movie ranches
- National Film Registry
- Pre-Code Hollywood
- World cinema
- Stranger Than Paradise: Maverick Film-makers in Recent American Cinema (1998) by Geoff Andrew
