Download The Hidden Art of Hollywood: In Defense of the Studio Era by John Fawell PDF

By John Fawell

Although we have a tendency to accord our optimum compliment to motion pictures with robust messages, Hollywood is resolutely unserious in its targets, and nearer might be to song than to literature during this regard. hence, in an effort to savor Hollywood's vintage videos, we need to comprehend them because the results of a method of filmmaking that justifies itself during the grace and sweetness of its shape. This good looks, whilst visible, demanding situations our thought of movie because the poorer cousin of the excessive arts, or as precious in basic terms while it serves a social goal. The Hidden artwork of Hollywood attracts from an enormous fund of recorded interviews with the administrators, writers, cinematographers, set designers, manufacturers, and actors who have been part of the studio method, with a view to supply the filmmakers themselves the opportunity to provide an explanation for a truly elusive phenomenon: the glancing fantastic thing about the Hollywood film.

While the greatness of the vintage Hollywood movie is, for plenty of folks, settled enterprise, there also are a superb quantity who've hassle knowing why those films—which can usually look dated and unrealistic in comparison to sleek fare—are taken as heavily as they're. even if we have a tendency to accord our optimum compliment to movies with robust and sometimes didactic messages, Hollywood is resolutely unserious in its pursuits, and nearer might be to song than to literature during this regard. therefore, so as to have fun with vintage American video clips, we need to comprehend them because the results of a mode of filmmaking that justifies itself now not via principles or social relevance, yet in the course of the grace and wonder of its form.

The fantastic thing about the Hollywood movie demanding situations our concept of movie because the poorer cousin of the excessive arts, or as useful purely whilst it serves a social goal. In his attempt to respond to the numerous questions that vintage American cinema indicates, writer John Fawell considers past feedback of Hollywood, but additionally attracts from an immense fund of recorded interviews with the administrators, writers, cinematographers, set designers, manufacturers, and actors who have been part of the studio strategy, as a way to supply the filmmakers themselves the opportunity to provide an explanation for a really elusive phenomenon: the glancing fantastic thing about the Hollywood movie. the movies of sure nice auteurs, together with Charlie Chaplin, Ernst Lubitsch, Preston Sturges, Alfred Hitchcock, Billy Wilder, John Ford, and Orson Welles, obtain specific cognizance the following, yet this e-book is equipped by means of principles instead of motion pictures or artists, and it attracts from a big selection of Hollywood motion pictures, either successes and screw ups, to make its points.

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Additional resources for The Hidden Art of Hollywood: In Defense of the Studio Era Film

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12 It is striking how important it was to the best directors to express a creed in which they consulted everybody on the set, right down to the lowliest technician. And it is equally striking how their devotion to that creed is supported by the technicians themselves, who, time and time again, report being consulted for their opinion. Being a successful director represented a balancing act in which one strove for as much independence as possible from the studio while, at the same time, taking advantage of the enormous resources the studio offered.

They argued that there was more life in Hollywood films, despite their commercial aims, than in “tradition of quality” French films that aimed for a more artistic flair but, in the end, only made film look like second-rate literature. French film criticism of the fifties represents one of the most fertile periods in Hollywood criticism, because it appreciated Hollywood not for its sociological relevance or for its pale reflection of the other arts but for its own aesthetics, its own rhythms and structures.

The most famous example of this gap between the French intellectual and the average American filmgoer is the case of Jerry Lewis. The French appreciation of Jerry Lewis has been so often remarked upon that it has become one of the reference points for a certain lazy tendency that has developed in American culture in the last 20 years or so to denigrate the French character in general. The French, particularly the critics at Positif, saw in Lewis’s first five or six directorial efforts a wonderful send-up of the materialism and worship of technology in American culture in the early 1960s.

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