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The pioneering story of AustraliaOCOs own Hollywood. Hollywood films and television programs are watched by a global audience. While many of these productions are still made in southern California, the last twenty years have seen new production centers emerge in the US, Canada and other locations worldwide. Global Hollywood has been made possible by this growing number of Local Hollywoods: locations equipped with the requisite facilities, resources and labor, as well as the political will and tax incentives, to attract and retain high-budget, Hollywood-standard projects. This new book gives an unprecedented insight into how the Gold Coast became the first outpost of Hollywood in Australia. When a combination of forces drove Hollywood studios and producers to work outside California, the Gold CoastOCOs unique blend of government tax support, innovative entrepreneurs and diverse natural settings made it a perfect choice to host Hollywood productions. "Local Hollywood" makes an essential contribution to the field of film and media studies, as well as giving film buffs a behind-the-scenes tour of the film industry.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Early in the twenty-first century, Louisiana, one of the poorest states in the United States, redirected millions in tax dollars from the public coffers in an effort to become the top location site globally for the production of Hollywood films and television series. Why would lawmakers support such a policy? Why would citizens accept the policy’s uncomfortable effects on their economy and culture? Almost Hollywood, Nearly New Orleans addresses these questions through a study of the local and everyday experiences of the film economy in New Orleans, Louisiana—a city that has twice pursued the goal of becoming a movie production capital. From the silent era to today’s Hollywood South, Vicki Mayer explains that the aura of a film economy is inseparable from a prevailing sense of home, even as it changes that place irrevocably.
Hollywood in the Neighborhood presents a vivid new picture of how movies entered the American heartland—the thousands of smaller cities, towns, and villages far from the East and West Coast film centers. Using a broad range of research sources, essays from scholars including Richard Abel, Robert Allen, Kathryn Fuller-Seeley, Terry Lindvall, and Greg Waller examine in detail the social and cultural changes this new form of entertainment brought to towns from Gastonia, North Carolina to Placerville, California, and from Norfolk, Virginia to rural Ontario and beyond. Emphasizing the roles of local exhibitors, neighborhood audiences, regional cultures, and the growing national mass media, their essays chart how motion pictures so quickly and successfully moved into old opera houses and glittering new picture palaces on Main Streets across America.
The pioneering story of Australia's own Hollywood. Hollywood films and television programs are watched by a global audience. While many of these productions are still made in southern California, the last twenty years have seen new production centers emerge in the US, Canada and other locations worldwide. Global Hollywood has been made possible by this growing number of Local Hollywoods: locations equipped with the requisite facilities, resources and labor, as well as the political will and tax incentives, to attract and retain high-budget, Hollywood-standard projects. This new book gives an unprecedented insight into how the Gold Coast became the first outpost of Hollywood in Australia. When a combination of forces drove Hollywood studios and producers to work outside California, the Gold Coast's unique blend of government tax support, innovative entrepreneurs and diverse natural settings made it a perfect choice to host Hollywood productions. "Local Hollywood" makes an essential contribution to the field of film and media studies, as well as giving film buffs a behind-the-scenes tour of the film industry.
In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city's downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood's "Cine Hispano." The papers presented in this two-day symposium are collected and revised here. This is a joint publication of FIAF and UCLA Film & Television Archive.
The technical crafts of sound in classical Hollywood cinema have, until recently, remained largely 'unsung' by histories of the studio era. Yet film sound – voice, music and sound effects – is a crucial aspect of film style and has been key to engaging and holding audiences since the transition to sound by Hollywood's major studios in 1929. This innovative new text restores sound technicians to Hollywood's creative history. Exploring a range of films from the early sound period (1931) through to the late studio period (1948), and drawing on a wide range of archival sources, the book reveals how Hollywood's sound designers worked and why they worked in the ways that they did. The book demonstrates how sound technicians developed conventions designed to tell stories through sound, placing them within the production cultures of studio era filmmaking, and uncovering a history of collective and collaborative creativity. In doing so, it traces the emergence of a body of highly skilled sound personnel, able to apply expert technical knowledge in the science of sound to the creation of cinematic soundscapes that are alive with mood and sensation.
Winner - 2022 Richard Wall Memorial Award, Theatre Library Association Beginning in the 1920s, audiences around the globe were seduced not only by Hollywood films but also by lavish movie theaters that were owned and operated by the major American film companies. These theaters aimed to provide a quintessentially “American” experience. Outfitted with American technology and accoutrements, they allowed local audiences to watch American films in an American-owned cinema in a distinctly American way. In a history that stretches from Buenos Aires and Tokyo to Johannesburg and Cairo, Ross Melnick considers these movie houses as cultural embassies. He examines how the exhibition of Hollywood films became a constant flow of political and consumerist messaging, selling American ideas, products, and power, especially during fractious eras. Melnick demonstrates that while Hollywood’s marketing of luxury and consumption often struck a chord with local audiences, it was also frequently tone-deaf to new social, cultural, racial, and political movements. He argues that the story of Hollywood’s global cinemas is not a simple narrative of cultural and industrial indoctrination and colonization. Instead, it is one of negotiation, booms and busts, successes and failures, adoptions and rejections, and a precursor to later conflicts over the spread of American consumer culture. A truly global account, Hollywood’s Embassies shows how the entanglement of worldwide movie theaters with American empire offers a new way of understanding film history and the history of U.S. soft power.
Hollywood Unions is a unique collection that tells the stories of the unions and guilds that have organized motion picture and television labor: IATSE, the DGA, SAG-AFTRA, and the WGA. The Hollywood unions represent a wide swath of the workers making media: from directors and stars to grips and makeup artists. People today know some of these organizations from their glitzy annual awards celebrations, but the unions’ actual importance is in bargaining with the Association of Motion Picture and Television Producers (AMPTP) on behalf of 331,000 workers in the motion picture and television industry. The Hollywood unions are not neutral institutions but rather have long histories of jurisdictional battles, competitions with rival unions, and industry-altering strikes. They have supported the industry’s workers through the Great Depression, World War II, the McCarthy era, the collapse of the studio system, the rise of television, runaway production, fights for gender parity, the digital revolution, and a global pandemic. The history of these unions has contributed to making media work sustainable in the long term and helped shape the conditions and production cultures of Hollywood.
In an era when many businesses have come under scrutiny for their environmental impact, the film industry has for the most part escaped criticism and regulation. Its practices are more diffuse; its final product, less tangible; and Hollywood has adopted public-relations strategies that portray it as environmentally conscious. In Hollywood’s Dirtiest Secret, Hunter Vaughan offers a new history of the movies from an environmental perspective, arguing that how we make and consume films has serious ecological consequences. Bringing together environmental humanities, science communication, and social ethics, Hollywood’s Dirtiest Secret is a pathbreaking consideration of the film industry’s environmental impact that examines how our cultural prioritization of spectacle has distracted us from its material consequences and natural-resource use. Vaughan examines the environmental effects of filmmaking from Hollywood classics to the digital era, considering how popular screen media shapes and reflects our understanding of the natural world. He recounts the production histories of major blockbusters—Gone with the Wind, Singin’ in the Rain, Twister, and Avatar—situating them in the contexts of the development of the film industry, popular environmentalism, and the proliferation of digital technologies. Emphasizing the materiality of media, Vaughan interweaves details of the hidden environmental consequences of specific filmmaking practices, from water use to server farms, within a larger critical portrait of social perceptions and valuations of the natural world.