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Since the earliest days of cinema the law has influenced the
conditions in which Hollywood films are made, sold, circulated or
presented - from the talent contracts that enable a film to go into
production, to the copyright laws that govern its distribution and
the censorship laws that may block exhibition. Equally, Hollywood
has left its own impression on the American legal system by
lobbying to expand the duration of copyright, providing a highly
visible stage for contract disputes and representing the legal
system on screen. In this comprehensive collection, international
experts offer chapters on key topics, including copyright,
trademark, piracy, antitrust, censorship, international exhibition,
contracts, labour and tax. Drawing on historical and contemporary
case studies, Hollywood and the Law provides readers with a wide
range of perspectives on how legal frameworks shape the culture and
commerce of popular film.
A free open access ebook is available upon publication. Learn more
at www.luminosoa.org. For the first half of the twentieth century,
no American industry boasted a more motley and prolific trade press
than the movie business-a cutthroat landscape that set the stage
for battle by ink. In 1930, Martin Quigley, publisher of Exhibitors
Herald, conspired with Hollywood studios to eliminate all competing
trade papers, yet this attempt and each one thereafter collapsed.
Exploring the communities of exhibitors and creative workers that
constituted key subscribers, Ink-Stained Hollywood tells the story
of how a heterogeneous trade press triumphed by appealing to the
foundational aspects of industry culture-taste, vanity,
partisanship, and exclusivity. In captivating detail, Eric Hoyt
chronicles the histories of well-known trade papers (Variety,
Motion Picture Herald) alongside important yet forgotten
publications (Film Spectator, Film Mercury, and Camera!), and
challenges the canon of film periodicals, offering new
interpretative frameworks for understanding print journalism's
relationship with the motion picture industry and its continued
impact on creative industries today.
"Hollywood Vault" is the story of how the business of film
libraries emerged and evolved, spanning the silent era to the sale
of feature libraries to television. Eric Hoyt argues that film
libraries became valuable not because of the introduction of new
technologies but because of the emergence and growth of new
markets, and suggests that studying the history of film libraries
leads to insights about their role in the contemporary digital
marketplace.
The history begins in the mid-1910s, when the star system and
other developments enabled a market for old films that featured
current stars. After the transition to films with sound, the
reissue market declined but the studios used their libraries for
the production of remakes and other derivatives. The turning point
in the history of studio libraries occurred during the mid to late
1940s, when changes in American culture and an industry-wide
recession convinced the studios to employ their libraries as profit
centers through the use of theatrical reissues. In the 1950s,
intermediary distributors used the growing market of television to
harness libraries aggressively as foundations for cross-media
expansion, a trend that continues today. By the late 1960s, the
television marketplace and the exploitation of film libraries
became so lucrative that they prompted conglomerates to acquire the
studios.
The first book to discuss film libraries as an important and often
underestimated part of Hollywood history, "Hollywood Vault"
presents a fascinating trajectory that incorporates cultural,
legal, and industrial history.
"Hollywood Vault" is the story of how the business of film
libraries emerged and evolved, spanning the silent era to the sale
of feature libraries to television. Eric Hoyt argues that film
libraries became valuable not because of the introduction of new
technologies but because of the emergence and growth of new
markets, and suggests that studying the history of film libraries
leads to insights about their role in the contemporary digital
marketplace.
The history begins in the mid-1910s, when the star system and
other developments enabled a market for old films that featured
current stars. After the transition to films with sound, the
reissue market declined but the studios used their libraries for
the production of remakes and other derivatives. The turning point
in the history of studio libraries occurred during the mid to late
1940s, when changes in American culture and an industry-wide
recession convinced the studios to employ their libraries as profit
centers through the use of theatrical reissues. In the 1950s,
intermediary distributors used the growing market of television to
harness libraries aggressively as foundations for cross-media
expansion, a trend that continues today. By the late 1960s, the
television marketplace and the exploitation of film libraries
became so lucrative that they prompted conglomerates to acquire the
studios.
The first book to discuss film libraries as an important and often
underestimated part of Hollywood history, "Hollywood Vault"
presents a fascinating trajectory that incorporates cultural,
legal, and industrial history.
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