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Old 02-05-2011, 12:35 AM   #11
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Doing review of books describing the Hollywood era of "big studios» (Janine Basinger: Star Machine; Mark Norman: What Happens Next: A History of American Screenwriting - Janine Basinger "machine for the production of" stars, Mark Norman, " ; What next? act of American Writers "), film critic for the magazine Atlantic» (The Atlantic) Schwartz, Benjamin (Benjamin Schwarz) wrote many films three decades - since the late 1920's at the end of the 50-ies - were ( along with jazz), then the best cultural products of America. all the same movies that have become "the Hollywood classic" and acquire knowledge lko its share of recognition, but its share of vilification: Products Industry, headed by five large companies were the subject of heated and angry debate: on the relationship between art and commerce between tradition and innovation, between the achievements of individual and collective, between the administrative pressure and creative freedom. on both new books is quite material to the indictment: the big studios were diabolical machines dushivshimi creative people and talent. Therefore, the essence (and rather unexpected) sense of new books is that many in Hollywood "Golden Age" were never left unhappy. in the first place - the stars. In the heyday of the "classic Hollywood" every room let out a movie each week! on the state of studios have been dozens of "readers" (ie, people reading a new book without a break and periodicals in search of stories that are suitable for film adaptation), where there were staff writers, cameramen, photographers, experts in the film, designers, editors, directors and actors - that is, an army of highly paid, highly skilled, talented professionals who have worked with incredible tension, and always - fast. Above them reigned the executive producer in charge of hiring actors and directors and for the editing of the film. they all affect to the result, but the main driving force behind the industry were the actors star: viewers have dreamed about them, were equal to them and copy them. studio could not leave unattended for the development of such important industries as being "stars." Therefore, they skillfully and methodically made as an expensive product. They were subjected to dental and plastic surgery. They are prescribed diet, the order of the day, sport. pending on how to process each image and the spectrum of roles, they were forced to amuse small roles in films of different genres in order to test the response of the audience and teach the actor for camera set up. Clark Gable, the first three years, has played such tiny role in the 1917 films, and got about as much as Cary Grant. then those cash investments studio could not afford to lose my work, so with the "stars" was to the infamous "optatsionny contract, for which the actor must He had to work for this studio is not less than seven years - as the biblical Jacob for Laban. In this room itself had no response obligations. if the actor refused the proposed role of the studio, during his prolonged rents. This client continued until 1945, when a lawsuit actress Olivia De Haviland for her studio was imposed penalties for violating the old law forbidding the "bondage" in America. besides a professional level of Hollywood, only to enslave than the actors - the writers. moviemaker Jack Warner gave a Hollywood screenwriter name nhotya Disch - "Schmuck with Underwood ", meaning" simpleton with Underwood. "Only about young careerists aktrves said:" It gratuitously inexperienced as sleep even with the writer. "The history of this profession and sees Mark Norman in his book" What's next? act of American writers. " on the Rights of the expected, Norman examines the fate of talented writers whose gift to Hollywood sadistically trying to squeeze in a bait populist framework. Because of this irreconcilability literature from the most successful Hollywood screenwriter were not writers, and journalists - such as Robert Benchley or Ben Hecht, who wrote the scripts for dozens of movies (from "A Farewell to Arms" to "persons with a scar). The journalists had less ambition than about writers, and they saw how much their business - more craft than art. They could work in the shortest possible time and, more importantly, they understood the Hollywood movie business. only this, of course, was a business. on the book by Norman are cases in which the writers kogdhotya simultaneously provide good luck movie. For example, a New York-based writer Howard Koch, who was invited edit the script for the film "Casablanca", persuaded the producers to enter into the film aspect of civic opposition to fascism. Similarly, this turn, diluting the sweet romanticism of the original script, has made "Casablanca" for what it was. In general, however, think Niya and Norman, and the reviewer Shvortsa, fine films with a claim for the importance and seriousness, movies with civil overtones "worse only managed to Hollywood screenwriters. Their specialization for the expression Shvortsa -" elegant entertainment. " just curious, how many in both the list of new books to Hollywood completes a series of unhappy themselves movie tycoon - studio owners. Even this stubborn with them - the owner of the studio Columbia »(Columbia Pictures) Harry Cohn (Harry Cohn) - wrote in his memoirs: Every Friday, doors open , and I shoot forth to Gower Street new film. to sell at a vesnastoyaschemu good picture a year, I have to appease distributors dozen blondes, a dozen low-budget westerns and all the other garbage that I make. So every day I run the pipeline again. It is interesting that as the objection was that as in private "Golden Age" Hollywood produced many musorhotya make miserable your employees? turns out - as a spectator ... Janine Basinger " machine for the manufacture of the stars " Mark Norman" What's next? acts of American Writers »Similar records:
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