By Robert C. Sickels
The yank movie has entered a brand new period. American movie within the electronic Age lines the economic alterations considering that 1990 that experience introduced us up to now, particularly: the increase of media conglomerates, the proliferation of pornography via peripheral avenues of mainstream media, the position of megastar actors and administrators in dispensing and publicizing their very own puppy initiatives, the improvement of electronic know-how, and the dying of really self reliant movies. writer Robert Sickels attracts immediately strains from the flicks to tune, DVDs, games, speedy foodstuff, digital-on-demand, and extra, to illustrate how all sorts of media are merging into one. He explores the irony that the luck of self sufficient movies primarily killed autonomous cinema, exhibiting the way it has develop into virtually most unlikely to get a movie published with no the imprimatur of 1 of the massive six media companies—Fox, Viacom, TimeWarner, Disney, common electrical, or CBS. finally, utilizing contemporary, well known movies as examples, he explains not just how we obtained the place we're, yet the place we are most probably headed besides.
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Additional resources for American Film in the Digital Age (New Directions in Media)
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For instance, VCR penetration in the United States had reached 75 percent of television households (Grant and Meadows, 2006 35). 3. These ﬁlms included Doctor Dolittle (Fleischer 1967), Star! (Wise 1968) and Hello Dolly (Kelly 1969), Camelot (Logan 1967), Chitty Chitty Bang Bang (Hughes 1968), Sweet Charity (Fosse 1969), and Paint Your Wagon (Logan 1969). WORKS CITED Bach, Steven. Final Cut: Dreams and Disasters in the Making of Heaven’s Gate. London: Faber and Faber, 1986. Balio, Tino. United Artists: The Company That Changed the Film Industry.
Edinburgh: Edinburgh University Press, 2006. Velvet Light Trap Editors. ” Velvet Light Trap 27 (Spring 1991): 77–88. Weiner, Rex, and Katherine Stalter. ” Weekly Variety, March 17, 1997: 1, 51, 52. Zimmermann, Patricia R. ” In Contemporary Independent American Film: From the Margins to the Mainstream, ed. Chris Holmlund and Justin Wyatt, 245–64. London: Routledge, 2005. This page intentionally left blank Chapter 3 THE GUILLOTINE HAS FALLEN AND THE BEACHES OF MALIBU ARE LITTERED WITH CARCASSES: THE DEATH OF AMERICAN INDEPENDENT MOVIES W hen people think of independent ﬁlms, they often think of Miramax, which is a perfectly reasonable association to make with the indie scene of the past 20 years, even though what we now think of as an independent ﬁlm often isn’t in any way, shape, or form independent.