The most comprehensive and useful book ever created for filmmakers seeking both independence and success in the marketplace, this guide is loaded with insider tips on idea development, writing a mission statement, marketing and pitching a production, and much more. 30+ illustrations & photos.

Nordic National Cinemas explores the film histories and cultures of Denmark, Finland, Iceland, Norway and Sweden and Challenges prevailing notions of Nordic cinema. Taking issue with the identification of Nordic cinemas with such internationally famed directors as Bergman and Dreyer, the authors examine each country's domestic film production, social and political context and domestic audiences.
Nordic National Cinemas traces the development of the cinema in the Nordic countries, from its origins in the early years of this century and the golden years of film making in the 1920s and 1930s, through the film production and censorship during the war year, the new-realism in the 1950s and 1960s, the influence of American cinema and the commercial and critical success of films in recent years. The authors not only explore the work of figures such as the early Hollywood directors Mauritz Stiller and Victor Sjostrom and the internationally renowned Carl Dreyer and Ingmar Bergman, directors of such classics as Vampyr, Ordet, Wild Strawberries and Cries and Whispers, but also nationally important filmmakers such as August Blom, Bodil Ipsen, Lau Lauritzen and Nils Malmros and contemporary film makers as Gabriel Axel, director of Babette's Feast the Kaurismaki brothers, directors of The Match Factory Girl and The Leningrad Cowboys and the recently acclaimed Lars von Trier, director of Breaking the Waves.
The authors examine the phenomenon of Nordic cinema and, despite the similarities and collaborations between the countries, stress that Nordic cinema is the cinema of five particular traditions. Each chapter discusses the history and film culture of the individual country and considers three specific questions: state control and support of film production; the cultural characteristics of Nordic film which both unify and define peculiarities of each each country; film production, content and form. In a final chapter, the authors assess the direction and future of the Nordic cinemas.

American motion pictures still dominate the world market with an impact that is difficult to measure. Their role in American culture has been a powerful one since the 1930s and is a hallmark of our culture today. Though much has been written about the film industry, there has been very little systematic attention paid to the ideology of its creative elite. How does the outlook of that elite impact on the portrayals of America that appear on the screen? How do their views interact with the demands of the market and the structure of the industry to determine the product that is seen by mass audiences?"Hollywood's America" is a marvelously rich and careful discussion of these questions. It combines a meticulous systematic content analysis of fifty years of top-grossing films with a history of the changing structure of the industry. To that mixture it adds an in-depth survey of Hollywood's creative elite, comparing them to other leadership groups. The result is a balanced discussion of unique breadth and depth on a subject of national importance.Placing the film industry in the context of American society as a whole, the authors point out that Hollywood's creative leadership impacts the larger society even as it is influenced by that society. The creators of films cannot remove themselves too far from the values of the audiences that they serve. However, the fact that films are made by a relatively small number of people, who, as the authors demonstrate, tend to share a common outlook, means that, over time, motion pictures have had an undeniable impact on the beliefs, lifestyles, and action of Americans.This study contributes to the debate over the role and influence of those who create and distribute the products of mass culture in the United States.The book also contains a devastating critique of the poststructuralist theories that currently dominate academic film criticism, demonstrating how they fail in their attempt to explain the political significance of motion pictures.

Producing for the Screen is a collection of essays written by and interviews with working producers, directors, writers, and professors, exploring the business side of producing for film and television. In this book, over 30 industry professionals dispel myths about the industry and provide practical advice on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure. Readers will also learn about the entrepreneurial expectations in relation to marketing, strategies for contending with the emotional highs and lows of producing, and money management while pursuing producing as a profession. Written for undergraduates and graduates studying filmmaking, aspiring producers, and working producers looking to reinvent themselves, Producing for the Screen provides readers with a wealth of first-hand information that will help them create their own opportunities and pursue a career in film and television.

studio bau:ton, the practice founded by Swiss architect Peter Gruneisen, designs buildings rooted in the sphere of imagination and creativity. The practice's main clients are in the music and film production industry in Los Angeles, for whom it designs private houses and work spaces. The focus is on the combination of high-tech entertainment design with glamorous, exclusive architecture. On the occasion of its 30th anniversary, the Los Angeles-based architectural practice nonzero\architecture is publishing the second monograph. The book includes conversations with well known clients including Hans Zimmer, David Lynch, Bruce Botnik, and Paul Lieberstein. The completed projects include residences, mixed residential/work spaces, through to recording studios and public buildings.

Established in 1919 by Hollywood's top talent United Artists has had an illustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives - ranging from Joseph Schenck to Paula Wagner and Tom Cruise - and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven's Gate, Cruising, and Hot Tub Time Machine). The second volume in the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm's history and legacy, perfect for students and researchers of cinema and film history, media industries, and Hollywood.

Established in 1919 by Hollywood's top talent United Artists has had an illustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives - ranging from Joseph Schenck to Paula Wagner and Tom Cruise - and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven's Gate, Cruising, and Hot Tub Time Machine). The second volume in the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm's history and legacy, perfect for students and researchers of cinema and film history, media industries, and Hollywood.

In 1947, the Cold War came to Hollywood. Over nine tumultuous days in October, the House Un-American Activities Committee held a notorious round of hearings into alleged Communist subversion in the movie industry. The blowback was profound: the major studios pledged to never again employ a known Communist or unrepentant fellow traveler. The declaration marked the onset of the blacklist era, a time when political allegiances, real or suspected, determined employment opportunities in the entertainment industry. Hundreds of artists were shown the door-or had it shut in their faces. In Show Trial, Thomas Doherty takes us behind the scenes at the first full-on media-political spectacle of the postwar era. He details the theatrical elements of a proceeding that bridged the realms of entertainment and politics, a courtroom drama starring glamorous actors, colorful moguls, on-the-make congressmen, high-priced lawyers, single-minded investigators, and recalcitrant screenwriters, all recorded by newsreel cameras and broadcast over radio. Doherty tells the story of the Hollywood Ten and the other witnesses, friendly and unfriendly, who testified, and chronicles the implementation of the postwar blacklist. Show Trial is a rich, character-driven inquiry into how the HUAC hearings ignited the anti-Communist crackdown in Hollywood, providing a gripping cultural history of one of the most transformative events of the postwar era.

Written for working and aspiring filmmakers, directors, producers and screenwriters, The Marketing Edge for Filmmakers walks through every stage of the marketing process - from concept to post-production - and illustrates how creative decisions at each stage will impact the marketability of a film. In this book, marketing experts Schwartz and MacDonald welcome you behind the curtain into the inner workings of Marketing department at both the studios and independents. They also track films of different budgets (studio, genre, independent and documentary) through the marketing process, examining how each discipline will approach your film. Featuring interviews with both marketers and filmmakers throughout, an extensive glossary and end-of-chapter exercises, The Marketing Edge for Filmmakers offers a unique introduction to film marketing and a practical guide for understanding the impact of marketing on your film.

Using in-depth analysis of film, TV, news and online productions, Understanding Media Production shows how media theory helps aspiring producers understand good practice in media production. With detailed contemporary examples, including Pirates of The Caribbean, Game of Thrones, Love Island and PewDiePie's "letsplay" videos, Dwyer highlights similarities and differences in the production strategies and styles used for a wide range of media products. The book tracks the evolution of these entertainment formats and the emergence of the media businesses which produce them. Chapters describe the key production practices associated with each format, including single and multi-camera filming, news reporting, three-point lighting and gameplay animation. They also explain the development of the production roles associated with these content forms; directors, producers, reporters, correspondents etc. The book goes on to explain how media businesses have used new technologies and production innovations to reduce costs and increase profits, resulting in dramatic changes to established production practices and roles. By comparing media production across media industries, in the UK and US, and illustrating the links between economic, sociopolitical and cultural influences on production, Understanding Media Production opens up a constructive debate between media practitioners and theorists about key questions of creativity and innovation in production.

This book appeals to buyers of Jenna Jameson's bestselling "How to make Love like a Porn Star". It includes hundreds of amazing celebrity stories featuring both porn stars and mainstream. It features: reviews in film magazines eg "The Word", "Empire"; reviews in men's magazines eg "GQ", "Esquire". Everyone knows the adult film industry is a multimillion pound business. What most people don't know is how the porn industry got started with a $22,000 Mafia investment in a film called "Deep Throat" or how it mushroomed over the next quarter-century despite efforts by politicians, the FBI, and others to bring it down. "The Other Hollywood" tells that story, through hundreds of interviews by the people who lived through it. In the riveting oral-history format that made his first book, "Please Kill Me", one of the most memorable accounts of 1970s underground culture, Legs McNeil now pulls back the grimy satin sheets on one of the most astounding success stories in the history of business. Careening back and forth between two groups, the actresses, directors, and others who made the films and the shady underworld figures who financed them, "The Other Hollywood" offers scores of never-before-told stories.

For over a century a vicious business war has been waged in Hollywood between studios and exhibitors. At stake, shares in what has now become a multi-billion-dollar business. Both sides were poor losers, exhibitors bringing down the wrath of law on studios via various Consent Decrees, studios fighting back by more tightly controlling output. At the heart of this battle lay distribution: how films should be released; where, when and at what speed. In the silent era few prints were made, movies running for a week or less, working their way down a hierarchial ranking of theaters, taking a year or more to get round America. This is the untold story of how the few became the many, of the contraction of the release cycle, of the maximizing of the marketing dollar, and of the democratization of consumer access, until these days instant wide release worldwide is taken for granted. The Jazz Singer (1927) was one trigger for change, another the growth of world premieres held in tiny towns in far-flung states on the back of the location filming boom in the 1930s that in turn led to the regional wide release. Sci-fi/horror pictures that would be quickly condemned by negative word-of-mouth in the 1950s spurred Hollywood to get them into as many theaters as possible as quickly as possible. As movie budgets ballooned in the 1970s and 1980s, it became necessary to stop releasing major movies in relatively small numbers of theaters, and as movies become only one part of a longer ancillary tail essential to open them in many thousands of theaters. This book explodes myths relating to wide release patterns employed for Duel in the Sun in the 1940s, Elvis Presley and Hercules in the 1950s, Jaws and Star Wars in the 1970s and shows that, contrary to current thinking, movies were instantly released in as many as 500 theaters in the 1930s and over 1,000 in the 1950s.

The role of the film marketer is both vital and challenging. Promotion is one of the industry's biggest costs, with the campaign of a large film costing up to half its production budget. Box office results, however, are wildly unpredictable: relatively few films a year make a profit. These market conditions make this a unique industry and film marketing a specific and demanding skill set that requires attention early in the career of any marketing student looking to progress in the industry. This new edition of Film Marketing is a thorough update of the first textbook in film promotion. Like in the first edition, Kerrigan takes a socio-cultural, as well as a business view of film marketing and its impact, covering different approaches to promotion according to different aims and audiences internally and externally, and across the world. This book addresses all areas of film marketing from the rigorous perspective of someone with first-hand knowledge of the trade. This new edition also includes: Additional pedagogy and visual examples to reinforce key points A more international range of cases and coverage of non-Western markets to give a global overview of film marketing across the world New and expanded sections on social media, digital promotion, transmedia and crowdfunding This is the original film marketing text which no engaged film or marketing student should be without.

Money is Hollywood's great theme-but money laundered into something else, something more. Money can be given a particular occasion and career, as box office receipts, casino winnings, tax credits, stock prices, lotteries, inheritances. Or money can become number, and numbers can be anything: pixels, batting averages, votes, likes. Through explorations of all these and more, J.D. Connor's Hollywood Math and Aftermath provides a stimulating and original take on "the equation of pictures," the relationship between Hollywood and economics since the 1970s. Touched off by an engagement with the work of Gilles Deleuze, Connor demonstrates the centrality of the economic image to Hollywood narrative. More than just a thematic study, this is a conceptual history of the industry that stretches from the dawn of the neoclassical era through the Great Recession and beyond. Along the way, Connor explores new concepts for cinema studies: precession and recession, pervasion and staking, ostension and deritualization. Enlivened by a wealth of case studies-from The Big Short and The Wolf of Wall Street to Equity and Blackhat, from Moneyball to 12 Years a Slave, Titanic to Lost, The Exorcist to WALLE, Deja Vu to Upstream Color, Contagion to The Untouchables, Ferris Bueller to Pacific Rim, The Avengers to The Village-Hollywood Math and Aftermath is a bravura portrait of the industry coming to terms with its own numerical underpinnings.

Tapping experts in an industry experiencing major disruptions, The Movie Business Book is the authoritative, comprehensive sourcebook, covering online micro-budget movies to theatrical tentpoles. This book pulls back the veil of secrecy on producing, marketing, and distributing films, including business models, dealmaking, release windows, revenue streams, studio accounting, DIY online self-distribution and more. First-hand insider accounts serve as primary references involving negotiations, management decisions, workflow, intuition and instinct. The Movie Business Book is an essential guide for those launching or advancing careers in the global media marketplace.

African Film Studies is an accessible and engaging introduction to African cinemas, showcasing the diverse cinematic expressions across the continent. Bringing African cinemas out of the margins and into mainstream film studies, the book provides a succinct overview of the history, aesthetics, and theory of sub-Saharan African cinematic productions.

Updated throughout, this new edition includes new chapters on Nollywood, Ethiopian cinema, Streaming, and the rise of televisual series, which serve to complement the book’s main themes:

Overview of African cinema(s): Questions assumptions and defines the characteristics of African cinemas across linguistic, geographic, and filmic divides

History of African cinemas: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’, the rise of Nollywood and local TV series to streaming, as well as building connections with the development of African American cinema

Aesthetics: Introduces new research on previously under-explored aesthetic dimensions such as cinematography, animation, and film music

Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinemas

Traditions and practices in African screen media: Features Ethiopian cinema, Nollywood, Local Televisual Series in Burkina Faso and South Africa, and the Streaming rush for Africa

All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge, with no prior knowledge of African cinemas required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.

Table of Contents



Introduction Chapter 1: What Is African Cinema? Case Study: Aristotle’s Plot (Jean-Pierre Bekolo, 1996) PART I: HISTORY OF AFRICAN CINEMAS Chapter 2: History of African Cinemas Case Study: Sanders of the River (Zoltan Korda, 1935): Celebration of the British Empire Chapter 3: Parallel Movement: African Cinemas and African American Cinema Case Study: Black Is King (Beyoncé, 2020) PART II: AESTHETICS IN AFRICAN CINEMAS Chapter 4: Cinematography: Space, Time, and Rhythm Case Study: Yaaba (Idrissa Ouédraogo, 1989) Chapter 5: The African Animated Film Case Study: Prince Loseno (Jean-Michel Kibushi Ndajte Wooto, 2004) Chapter 6: Introductory Study of African Film Scores Case Study: Non-diegetic Music: Space and Time Dimensions of Film Music in La Noire de…  (Black Girl) (Ousmane Sembène, 1966) PART III: AFRICAN FILM CRITICISM Chapter 7: Critical Reading Lenses in the Study of African Cinemas Case Study: Atlantics (Mati Diop, 2019): Migration in a Polygeneric Film PART IV: TRADITIONS AND PRACTICES IN AFRICAN SCREEN MEDIA Chapter 8: Ethiopian Cinema. By Steven W. Thomas Case Studies: Haile Gerima’s Teza (2008) and La Borena (Belay Getaneh, 2013) Chapter 9: Nollywood: A Popular and Commercial Cinema Case Study: The Wedding Party (Kemi Adetiba, 2017) Chapter 10: The Rise of Local African TV Serials: The Case of Burkina Faso and South Africa Course Proposal: African Televisual Seriality PART V: NOTES ON STREAMING Chapter 11: The Streaming Rush for Africa Conclusion: Film and New Media Education

Updated collections of recent interviews with filmmakers whose works represent trends in the film industries of Central Asia and the Middle East, these two new geospecific editions expand upon the earlier volume "Cinemas of the Other: A Personal Journey with Film-Makers from the Middle East and Central Asia." Following an introduction delineating the histories of the film industries of the countries that make up the Middle East and Central Asia--including Iran, Turkey, and the Central Asian republics of Kazakhstan, Kyrgyzstan, Tajikstan, Turkmenistan, and Uzbekistan--both books contain interviews stretching over a decade, which position the filmmakers and their creative concerns within the social or political context of their respective countries. The striking variety of approaches toward each interview creates a rich diversity of tone and opens the door to a better understanding of images of "otherness" in film. In addition to transcripts of the interviews, each chapter also includes stills from important films discussed, biographical information about the filmmakers, and filmographies of their works. Gonul Donmez-Colin offers in these expanded editions a carefully researched and richly detailed firsthand account of the developments and trends in these regional film industries that is sure to be appreciated by film scholars and researchers of the Middle East and Central Asia.

Finalist, Celebrate 350 Award in American Jewish Studies Tells the remarkable story of the Jewish moguls in Hollywood who established the first anti-Nazi Jewish resistance organization in the country in the 1930s In April 1939, Warner Brothers studios released the first Hollywood film to confront the Nazi threat in the United States. Confessions of a Nazi Spy, starring Edward G. Robinson, told the story of German agents in New York City working to overthrow the U.S. government. The film alerted Americans to the dangers of Nazism at home and encouraged them to defend against it. Confessions of a Nazi Spy may have been the first cinematic shot fired by Hollywood against Nazis in America, but it by no means marked the political awakening of the film industry's Jewish executives to the problem. Hollywood's Spies tells the remarkable story of the Jewish moguls in Hollywood who paid private investigators to infiltrate Nazi groups operating in Los Angeles, establishing the first anti-Nazi Jewish resistance organization in the country-the Los Angeles Jewish Community Committee (LAJCC). Drawing on more than 15,000 pages of archival documents, Laura B. Rosenzweig offers a compelling narrative illuminating the role that Jewish Americans played in combating insurgent Nazism in the United States in the 1930s. Forced undercover by the anti-Semitic climate of the decade, the LAJCC partnered with organizations whose Americanism was unimpeachable, such as the American Legion, to channel information regarding seditious Nazi plots to Congress, the Justice Department, the FBI and the Los Angeles Police Department. Hollywood's Spies corrects the decades-long belief that American Jews lacked the political organization and leadership to assert their political interests during this period in our history and reveals that the LAJCC was one of many covert "fact finding" operations funded by Jewish Americans designed to root out Nazism in the United States.

The winner of the 2019 Peter C. Rollins Book Award This is the first comprehensive history of MGM from its origins in 1905 to the present. Following a straightforward chronology corresponding to specific periods of film industry history, each chapter describes how successive managements adjusted their production strategies and business practices in response to evolving industrial and market conditions. As the production subsidiary of the Loew's Inc. theatre chain, MGM spent lavishly on its pictures and injected them with plenty of star power. The practice helped sustain MGM's preeminent position during the heyday of Hollywood. But MGM was a conservative company and watched as other studios innovated with sound and widescreen, adjusted to television, and welcomed independent producers. By the 1960s, the company, sans its theatre chain, was in decline and was ripe for a takeover. A defining moment occurred in 1969, when Kirk Kerkorian, a Las Vegas entrepreneur, made a successful bid for the company. There followed a tumultuous thirty-six-year period when Kerkorian bought and sold MGM three times. Meanwhile, MGM never regained its former status and has functioned as a second-tier company to this day. Focusing on MGM's top talent - such as Louis B. Mayer, Irving Thalberg, David O. Selznick, and Arthur Freed; directors King Vidor and Vincente Minnelli; and stars of the screen Greta Garbo, Judy Garland, Clark Gable, and Mickey Rooney - and award-winning films, this book highlights the studio's artistic achievements and status within the industry.

World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples-theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures-into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.

Projecting the Past analyses the ways in which the Hollywood and Italian film industries have resurrected ancient Rome to address present concerns. Through the case studies of Spartacus, Cleopatra, Nero and Pompeii, the book explores cinema's use of the past to excavate present issues of nationhood, colonialism, gender and cinema itself.

Money, power, and celebrity - the stuff of Hollywood is also substance of politics. While Hollywood celebrities such as Susan Sarandon, George Clooney, and Ed Begley Jr. currently attract attention from the media for their involvement in politics, Hollywood has been involved in politics since its earliest days. Hollywood and Politics: A Sourcebook documents the entertainment industry's participation in American politics on both the Left and the Right. From the 1920s through today, this volume provides scholars of history, politics, and film with the controversial history of Hollywood's involvement in American politics. Through twenty-four chapters that begin with Upton Sinclair and take us all the way to the satire of South Park, readers are guided through elections, trials, speeches, and memorandums, many of which have never before been published, providing rare insight into the history of Hollywood activism. From World War II to Iraq, and from Walt Disney to Charlton Heston, Hollywood and Politics lays a historical foundation for anyone interested in how celebrities helped shape our country's policies and culture.

The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional production companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a "big picture" view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today's world.

In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.

Women Filmmakers in Early Hollywood explores when, how, and why the industry accepted women as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the issue in terms of workplace, Karen Ward Mahar not only unravels the mystery of the disappearing female filmmaker but uncovers the complicated relationships among gender, work culture, and business within modern industrial organizations.

"With meticulous scholarship and fluid writing, Mahar tells the story of this golden era of female filmmaking... Women Filmmakers in Early Hollywood is not to be missed." -- Women's Review of Books

"A scrupulously researched and argued analysis of how and why women made great professional and artistic gains in the U.S. film industry from 1906 to the mid-1920s and why they lost most of that ground until the late twentieth century." -- Journal of American History

"Women Filmmakers in Early Hollywood offers convincing evidence of how economic forces shaped women's access to film production and presents a complex and engaging story of the women who took advantage of those opportunities." -- Business History Review

"Mahar views the business of making movies from the inside out, focusing on questions about changing industrial models and work conventions. At her best, she shows how the industry's shifting business history impacted women's opportunities, recasting current understanding about the American film industry's development." -- Reviews in American History

Karen Ward Mahar is an associate professor of history at Siena College, New York.