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Conflicts among Hollywood studios and exhibitors have been going on for years. At their heart are questions about how films should be released--where, when and at what speed. Both sides of this disagreement are losers, with exhibitors using the law via various Consent Decrees and studios retaliating by tightly controlling output. In the Silent Era, movies were not released nearly as widely as they are now. This book tells the story of how the few became the many. It explores the contraction of the release cycle, the maximization of the marketing dollar, and the democratization of consumer access. It also offers a comprehensive list of wide releases and rebuts much of what previous scholars have found.
In the Silent Era, film reissues were a battle between rival studios--every Mary Pickford new release in 1914 was met with a Pickford re-release. For 50 years after the Silent Era, reissues were a battle between the studios, who considered old movies "found money," and cinema owners, who often saw audiences reject former box office hits. In the mid-1960s, the return of The Bridge on the River Kwai (1957)--the second biggest reissue of all time--altered industry perceptions, and James Bond double features pushed the revival market to new heights. In the digital age, reissues have continued to confound the critics. This is the untold hundred-year story of how old movies saved new Hollywood. Covering the booms and busts of a recycling business that became its own industry, the author describes how the likes of Charlie Chaplin, Humphrey Bogart and Alfred Hitchcock won over new generations of audiences, and explores the lasting appeal of films like Napoleon (1927), Gone with the Wind (1939), The Rocky Horror Show (1975) and Blade Runner (1982).
Locates the origins of the mass audience and the emergence of everyday moviegoing in the culture of cities.
AMONG ALL the convictions formed in my “common presence” during my responsible, peculiarly composed life, there is one unshakable conviction that people—whatever the degree of development of their understanding and whatever the form taken by the factors present in their individuality for engendering all kinds of ideals—always and everywhere on the Earth feel the imperative need, on beginning anything new, to pronounce aloud, or if not aloud at least mentally, that particular invocation understandable to even the most ignorant person, which has been formulated in different ways in different epochs, and in our day is expressed in the following words “In the name of the Father and of the Son and of the Holy Ghost Amen.” That is why I now also, in setting forth on this venture quite new for me, namely authorship, begin by pronouncing this invocation, and pronounce it not only aloud but even very distinctly and, as the ancient Toulousites used to say, with a “fully manifested intonation”—of course only to the extent permitted by data already formed in my whole presence and thoroughly rooted in it for such a manifestation, data, by the way, which are generally formed in man’s nature during his preparatory years, and which later, during his responsible life, determine the character and vivifyingness of such an intonation. Having begun thus, I can now be quite at ease and should even, according to contemporary notions of “religious morality,” be completely assured that from now on everything in this new venture of mine will proceed, as is said, “like a pianola.” In any case, this is the way I have begun, and how the rest will go I can only say, as the blind man put it, “we shall see.” First and foremost, I shall place my hand, moreover the right one, which— although at the moment it is slightly injured due to an accident that recently befell me—is nevertheless really my own, and has never once failed me in all my life, on my heart, of course also my own—but on the constancy or inconstancy of this part of my whole I see no need to expatiate here—and frankly confess that I myself have not the slightest wish to write, but am constrained to do so by circumstances quite independent of me, though whether these circumstances arose accidentally or were created intentionally by extraneous forces I do not yet know I only know that these circumstances bid me write not just some trifle for reading oneself to sleep, but thick and weighty tomes.
This book introduces the concepts of theater planning, and provides a detailed guide to the process and the technical requirements particular to theater buildings. Part I is a guide to the concepts and practices of architecture and construction, as applied to performing arts buildings. Part II is a guide to the design of performing arts buildings, with detailed descriptions of the unique requirements of these buildings. Each concept is illustrated with line drawings and examples from the author’s extensive professional practice. This book is written for students in Theatre Planning courses, along with working practitioners.
This book is the first to explore the roofed theater sites of classical antiquity. George Izenour, one of the most distinguished modern experts on theater design, engineering, and acoustics, examines the archeological remains of twenty-four Greek, Greco-Hellenistic, and Roman buildings. He provides detailed architectural drawings of their probable original appearance and discusses how these huge spaces were spanned and what the precise effects might have been on sound, lighting, and ventilation. Basing his discussion on the principles of classical architecture and on his observations and site photographs of ancient theater ruins, Izenour explores the structure and design of classical roofing systems, seating systems, sight lines to the stage, lighting, and acoustics. He also offers a succinct comparison of ancient and modern roofed theater design. In eight useful appendixes he addresses subjects that range from the remodeling of Greco-Hellenistic outdoor theaters to the drop-curtain-movable-painted-scenery controversy in the Roman theater.