Hollywood in Transition Not the same old game in town

U.S. vs. Paramount Pictures, Inc. U.S. Monopoly laws cause legal intervention that required studios to sell their theatres. No longer: producer, distributor, exhibitor

Television Until 1956, no Hollywood film could appear on television Dramatic change in box office receipts. People preferred to stay home and watch TV. Movies were not offering anything different than what was acceptable on television.

Other developments House on Un-American Activities Committee (HUAC) investigated Hollywood directors,writers, actors for possible Communist affiliation.

BLACKLIST Bars anyone so named from working in Hollywood.

Hollywood Response Bad publicity and low box office Forced to lay off personnel Sell off land and properties Studios create subsidiaries to produce programs for television (Columbia’s Screen Gems)

Gimmicks to attract audience back to theatres 3-D Fun initially but costly to theatre owners and novelty soon wore off

Cinerama: Three cameras created a wrap-around screen that helped to involve the audience in the action. Modern version is OMNI VISION or IMAX

Cinemascope: Widened the screen without cumbersome or expensive technology. The only “gimmick” to last.

Color Hollywood needed color to fight black and white TV. TV networks did not go “full color” until 1964.

Cooperation Hollywood decides to work with TV. Sold its old movies and more studios began to produce TV series and commercials.

1962 ALL TIME LOW BOX OFFICE Hollywood needed to find a new audience The old one was watching television

Content of Films Fought back with SPECTACULARS Ben Hur Ten Commandments Spartacus etc. Publicity: elaborate trailers to pull audience to movies

Age of Adaptations Pre-sold works that were popular books or plays Caine Mutiny Exodus My Fair Lady

Miracle Case Case settled in mid 50’s but took some time to be reflected in film content A foreign film, The Miracle, attempted distribution in the U.S.without Motion Picture Association of America’s Seal of Approval. Italian director, Roberto Rossellini sued Supreme Court said that film was protected by the First Amendment as part of the nation’s press and thereby granted freedom of speech protection.

Rossellini’s 1948 controversial short film (c. 40 mins.) Il Miracolo (or “The Miracle” in English) as a case study. The Miracle is actually the second part of a film entitled L’Amore. A simple woman sleeps with a bum, portrayed by Fellini, under the impression that he is Saint Joseph. She then makes plans to give birth to Jesus Christ and is greeted by derision by the people of her village.

Adult Material Code loosened up and many exceptions made for adult material. Real changes came after 1965