Podcasts about Studio system

Louis B. Mayer (1884–1957) and Irving Thalberg (1899–1936) were unlikely partners in one of the most significant collaborations in movie history.Join us with film critic Kenneth Turan, author of the new biography Louis B. Mayer and Irving Thalberg: The Whole Equation, as we explore their extraordinary partnership and role in creating the film industry as we know it.

Elizabeth Taylor: From Child Star to Independent Woman - The Early Years Join Queens Podcast as we explore the early life and career of Elizabeth Taylor. Yes, you may know her as an icon, but do you know how she got there? Today we're bringing baby Elizabeth from London to Hollywood and all the drama in between. Cheers! 00:00 Introduction and Content Warning by That Wasn't In My Textbook 02:13 Introducing Elizabeth Taylor 2:46 Cocktail 13:35 Elizabeth's Move to Hollywood 18:02 Elizabeth's First Acting Contract 18:42 The Studio System in the 1940s 22:51 Landing the Role in Lassie 25:18 The Breakthrough Role: National Velvet 32:07 The Dark Side of Hollywood 37:01 Confronting MGM's Louis B. Mayer 44:09 A Tumultuous Marriage with Nicky Hilton 55:39 Elizabeth Taylor's Independence and Career Growth Sources: Elizabeth Taylor's Birthchart Elizabeth the First podcast Elizabeth Taylor discusses childhood abuse LA Times article about her divorce About her friendship with Montgomery Clift Queens podcast is part of Airwave Media podcast network. Please contact advertising@airwavemedia.com if you would like to advertise on our podcast.Want more Queens? Head to our Patreon, check out our merch store and follow us on Instagram! Learn more about your ad choices. Visit megaphone.fm/adchoices

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

During the heyday of Hollywood's studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman's new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood's best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood's patriarchal structure. Through extensive, original archival research, Independent Stardom: Freelance Women in the Hollywood Studio System (U Texas Press, 2016) uncovers this hidden history of women's labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I spoke with author Foster Hirsch about his book "Hollywood and the Movies of the Fifties: The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher - Television".  A fascinating look at Hollywood's most turbulent decade and the demise of the studio system—set against the boom of the post-World War II years, the Cold War, and the atomic age—and the movies that reflected the seismic shifts.His website is www.fosterhirsch.inkHome - FOSTER HIRSCHFoster Hirsch's latest book, Hollywood and the Movies of the Fifties, has been called "the definitive book on 1950s Hollywood." Foster Hirsch will be presenting a number of films at NYC's Film Forum five-week series, 50 from the 50s, October 13 - November 16, 2023.www.fosterhirsch.ink

Hello, Hello!   In this episode, Chris talks with Actor Sara Antonio. They discuss her acting journey and experiences in television and film, sharing insights into scene study techniques, audition strategies, and mental wellness in the industry. Sara also reflects on memorable roles and working alongside icons like Louis Gossett Jr., offering advice he imparted to younger performers.   We also talk about:   Sara's role on the ABC/Hulu series Will Trent and her approach to character development  Inspiration drawn from performances of Tatiana Maslany and Alison Brie Working with icons like Dolly Parton and upcoming projects Tactics for dealing with rejection in the industry and maintaining confidence Tips for fostering empathy in storytelling and audiences      Enjoy!   Indie Artist Spotlight   Artist: Goodvibes Sound   Track: I've Been Here Before   Goodvibes Sound are Alex and Angus, two friends who live in London and record out of their basement studio in a former corner shop. They make disco-infused indie pop, with lyrical themes touching on love, mindfulness, and modern life in the city. "I've Been Here Before" explores this back-and-forth that we all experience throughout life. While the lyrics discuss feelings of isolation and loneliness, the contrast between mellow verses and catchy high-energy choruses evokes this repetitive cycle.   https://www.thegoodvibesinstitute.com/   https://www.instagram.com/goodvibesinstitute/   https://www.tiktok.com/@goodvibesinstitute   Support our work - every subscriber, rating, and review matters! #MAKEIT   All Links: https://beacons.ai/themakeitpodcast Apple Podcasts: https://link.chtbl.com/makeit Spotify:  https://link.chtbl.com/makeitonspotify Subscribe to our newsletter at: www.bonsai.film/subscribe YouTube: https://link.chtbl.com/makeitonyoutube?at=1406156285

Mark Forstater and Nathan Neuman are co-Founders of Dreambird the new Web3 powered filmmaking and streaming platform. In this episode, they discuss the pitfalls and structural problems associated with the current film financing model and outline their vision for Dreambird as a marketplace designed to foster creators' collaboration, decision-making, and project participation. In a wide ranging conversation - that draws on Mark's rich experience as a producer (including Monty Python and the Holy Grail no less!) - we also explore generative AI, NFTs, interactive storytelling and the history - and future - of the industry. About Mark Forstater Mark Forstater is a highly experienced producer with over 40 years in the film and television industry and a pioneer of independent British films. He has extensive credits including cult classics like "Monty Python & The Holy Grail" and "XTRO,". His recent films, "Swipe Fever" and "The Lullaby Killer," highlight his continued commitment to pushing boundaries and film production. About Nathan Neuman Entrepreneur and filmmaker with a background in music and post-production, Nathan has managed production companies and talent agencies in the UK and US, while also working as a producer for global corporations in music, advertising, fashion, and technology. Nathan directed the feature film "Swipe Fever" and designed the game "Viral Survival."

The Bancroft Bros Save the Studio System!  What is going on with Hollywood? Layoffs, union strikes, prices are rising, and work is being outsourced!  What happened?  The Bancroft twins sit with their good friend, Director/Producer/ Entertainment expert John Schafer to figure out what's wrong with the studio system and even suggest- a solution?  Yep, we're fixing the big studios in this episode!  Listen and tell us if you agree! 

It's the finale of our Rob Zombie retrospective and wouldn't it be fitting to be talking about Halloween on Halloween. Chase (@ratbot) and I (@aerosoulpro) are taking a look at Zombie's studio work. Halloween (2007) Halloween 2 (2009) and The Munsters (2022). open.spotify.com/artist/0H7DvcwVPDp5oV7ih8krQp Follow Chase on Letterboxd @RatBot Follow the show in Instagram @electricmonsterpod or myself @aerosoulpro Thanks for Listening! --- Send in a voice message: https://podcasters.spotify.com/pod/show/electricmonster/message

What's it like to hold the reins of producing authority in the highly unpredictable and thrilling world of show business? Join us as we learn about  the transition from the Studio System to indie producing with film industry heavyweight, Sid Ganis. This episode is a treasure trove of insights as Sid describes his journey from a humble office boy to the President of the Academy. As we reminisce the transformation of the entertainment industry of the last 30 years, Sid brings to light the importance of championing creative storytellers and the evolving dynamics of producing projects, both big and small. A big part of championing a project from idea to screen is  in the heart of decision-making, where Sid reveals the secret behind his success - the power of intuition and a trusted opinion, specifically his wife Nancy's.  There are trials and victories to be experience when it comes to believing in a unique vision, and we discuss  the example of the making one of the many critically and commercially acclaimed films that Sid sheperded,  "Akelah and the Bee". This conversation is a testament to the importance of trusting your gut, and the magic that can unfold when you do.We also have a candid conversation of the ongoing industry strike, underlining the significance of direct negotiation. Sid throws light on the significance of clear communication channels, rejecting the reliance on social media and trade publications. This is a timely reminder of the necessity of valuing and compensating people for their work. So, sit back, tune in, and let's embark on this fascinating journey of show business together.Connect with Sid Ganis:IMDbLet's Connect!Alexia Melocchi - WebsiteThe Heart of Show Business - WebsiteLittle Studio Films - WebsiteShop Our Merchandise!TwitterInstagramFacebookLinkedIn

In this episode, I spoke with author Lesley Coffin regarding her book "Hitchcock's Stars: Alfred Hitchcock and the Hollywood Studio System". Although he was a visual stylist who once referred to actors as cattle, Alfred Hitchcock also had a remarkable talent for innovative and creative casting choices. The director launched the careers of several actors and completely changed the trajectory of others, many of whom created some of the most iconic screen performances in history

In today's episode I wanted to talk to you about creating my studio system playbook. I've has massive growth over the past 12 months and with that has been a massive leap for my team and our systems. As we grew, at times I felt somethings were missed mistakenly as roles were ever changing and I felt the need to start an overhaul of my studio systems hence the creating of my studio playbook. Let's talk through the benefits of having studio systems in place & how you can start your own today. Don't forget to join me for my next masterclass! Tuesday 1st August 9.30 - 10.30am AEST - Dance Studio Systems Masterclass: Unlocking Success through Comprehensive Studio Manuals https://assembledancestudiocoaching.com/masterclass/ Join me in August for a transformative masterclass designed exclusively for dance studio owners seeking organisation and efficiency. In this empowering session, I will guide you through the essential steps of creating a dance studio 'manual' or 'playbook,' a comprehensive resource that encompasses everything you need to successfully run your dance studio. Discover the indispensable value of having a well-structured manual in place and gain insights into why it is a game-changer for studio owners. I will dive into my personal journey of creating a studio manual, sharing valuable tips and strategies for its development.Learn how to establish effective systems across all aspects of your dance studio, from administration and finances to curriculum planning and marketing. Don't miss this opportunity to level up your studio's operations and unlock the key to sustained success.

The dominance of giant streaming services like Netflix and Disney Plus has led to the current strike by television writers, who say their ubiquity has led to lower pay, shakier job security, and perhaps even worse writing. In order to understand our current media moment, historian Peter Labuza directs us to a pivotal time for the film industry, when the government successfully broke up the major studios that ruled Hollywood in the 1930s and ‘40s. Earlier this year, OTM correspondent Micah Loewinger asked Labuza about how independent film flourished in the aftermath, and the lessons that apply to media in 2023.

The dominance of giant streaming services like Netflix and Disney Plus has led to the current strike by television writers, who say their ubiquity has led to lower pay, shakier job security, and perhaps even worse writing. In order to understand our current media moment, historian Peter Labuza directs us to a pivotal time for the film industry, when the government successfully broke up the major studios that ruled Hollywood in the 1930s and ‘40s. Earlier this year, OTM correspondent Micah Loewinger asked Labuza about how independent film flourished in the aftermath, and the lessons that apply to media in 2023.

How the first African American movie star created roles for himself in some of the earliest Black-produced films made for Black audiences. But he rose to mainstream notoriety playing characters of nearly every race but his own.  Guests: Dara Jaffe, Associate Curator at the Academy Museum; Cara Caddoo, Associate Professor, Department of History and Media School, Indiana University Bloomington. Academy Museum digital engagement platforms, including this podcast, are sponsored by Bloomberg Philanthropies. Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live. This program is made possible in part by the Corporation for Public Broadcasting, a private corporation funded by the American people.

The author of the new film and TV book The Male Gazed (who also penned the 33 1/3 volume on Judy at Carnegie Hall) joins us to celebrate that great icon of gay culture, Judy Garland, in the barn-burning role that should have won her an Oscar. Then, the gang gets quizzed on the similarities between the four different versions of A Star Is Born ('37, '54, '76, and 2018).What's GoodAlonso - Hi Honey, I'm Homo by Matt BaumDrea - Bentonville Film Festival and the premiere of A View of the World from Fifth AvenueManuel - ShopQueer.co and their mobile queer libraryIfy - Juneteenth Minifest at VidiotsITIDICGolden Globes Purchased by Dick Clark ProductionsIs the IP Era's “Venture Capital” Philosophy Poisoning Movies?Oregon Man Found Guilty After Setting up Indiana Jones-inspired Booby Traps for the FedsStaff PicksAlonso - Miss JuneteenthDrea - The Philadelphia StoryManuel - The Fifth ElementIfy - JudyPick up Manuel's new book, The Male GazedVarious takes of “The Man That Got Away”With:Ify NwadiweDrea ClarkAlonso DuraldeManuel BetancourtProduced by Marissa FlaxbartSr. Producer Laura Swisher 

New SBF Indictment Exposes How Washington Really Works. Plus, Investigative Reporter Lee Fang In-Studio! | SYSTEM UPDATE #45 Learn more about your ad choices. Visit megaphone.fm/adchoices

Marilyn Monroe: Hollywood icon, timeless sex symbol, and…film producer responsible for upending the entire movie industry? Yep, you read that right. Spend Valentine's Day with us as Sarah explains how Marilyn Monroe changed Hollywood forever. Follow us on Instagram & Twitter for extra content and updates! We're @FantasticHPod Email us with questions/suggestions at FantasticHistoryPod@gmail.com Fantastic History Stickers available Here! and 'Y2K Compliant' stickers Here Please subscribe and leave a review! Music: Order by ComaStudio (royalty free) Find out more at https://fantastic-history.pinecast.co This podcast is powered by Pinecast.

The Warner Brothers—Harry, Albert, Sam, and Jack—arrived in America as unschooled Jewish immigrants, yet they founded a movie studio that became the smartest, toughest, and most radical in all of Hollywood.Join us with celebrated film critic David Thomson, author of Warner Bros.: The Making of an American Movie Studio, as we explore how four immigrant brothers transformed themselves into the moguls and masters of American fantasy.

For the inaugural episode, I dive into Frank Capra's populist classic, It Happened One Night (1934), starring Clark Gable and Claudette Colbert.Works Cited:Elizabeth Kendall, The Runaway Bride: Hollywood Romantic Comedy of the 1930s (New York: Cooper Square Press, 2002).Richard Maltby, "It Happened One Night: The Recreation of the Patriarch," in Frank Capra: Authorship and the Studio System, eds. Robert Sklar and Vito Zagarrio (Philadelphia: Temple University Press, 1998), 130-63.Joseph McBride, Frank Capra: The Catastrophe of Success (Jackson: University Press of Mississippi, 2011).Linda Mizejewski, It Happened One Night (New York: Wiley-Blackwell, 2009).Giuliana Muscio, "Roosevelt, Arnold, and Capra (or) the Federalist-Populist Paradox," in Frank Capra: Authorship and the Studio System, eds. Robert Sklar and Vito Zagarrio (Philadelphia: Temple University Press, 1998), 164-89. Hosted on Acast. See acast.com/privacy for more information.

Is gaming creating its own Hollywood-style ‘Studio System'? This and much more's discussed, inc. @BoxBounding's Prodeus, upcoming Hollow Knight: Silksong & the latest Destiny 2 content, The Witch Queen. SHOWNOTES: 00:00:09 - Intro 00:02:48 - Prodeus 00:08:30 - Hollow Knight 00:17:35 - Destiny 2: The Witch Queen 00:24:40 - IP, streaming & the studio system 00:27:39 - Gaming Hardware & its future  

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

From scandals, to Hollywood "fixers",...we talk about it all in this episode.

This episode was written using the following references:American Film Institute. (2010, February 5). Frank Capra Accepts the 10th AFI Life Achievement Award in 1982 [Video file]. Retrieved from https://www.youtube.com/watch?v=t746ZVw09P4Balio, T. (1993). Grand design : Hollywood as a modern business enterprise, 1930-1939. New York: Scribner.Capra, F. (1971). The name above the title : an autobiography. New York: Macmillan.Tzioumakis Y. (2006) American independent cinema, an introduction. Edinburgh: Edinburgh University Press.Mizejewski, L. (2010). It happened one night. Chichester, U.K. ;: Wiley-Blackwell.Hollywoodism: Jews, Movies and the American Dream (1998) dirs. Simcha Jacobovici and Stuart Samuels.Muscio, G. (1998). Roosevelt, Arnold, and Capra, (or) the Federalist-Populist Paradox. In Sklar, R. & Zagarrio, V. (eds.) Frank Capra: Authorship and the Studio System (pp. 164-189). Philadelphia: Temple University Press.Carney, R. (1996). American vision : the films of Frank Capra. Hanover, N.H. ;: Wesleyan University Press.Poague, L. (1994). Another Frank Capra. Cambridge: Cambridge University Press.

We're kicking off 2022 (and dry January) with...a nice tall glass of water as we start this month's series with a crash course on the iconic, dark, glamorous, and revolutionary Hollywood Studio System - the American film industry model that effectively created the Golden Age of Hollywood. We're discussing this fascinating moment in film history from the peak of Studio power to the hubristic downfall. What are our thoughts on screwball comedies and biblical epics, you ask? Spoiler: love the former, hate the latter. Listen all month for unfiltered opinions on individual films that contributed to the rise and fall of the Studio System. Cheers! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

If you enjoy this podcast, please rate this show and leave a review! Even a few words can help. Just go to ratethispodcast.com/openloopsTo catch Open Loops LIVE, make sure you follow our YouTube Channel: https://www.youtube.com/channel/UClAn8jOF8PDkCxZXhiL3lIg and Facebook page: https://www.facebook.com/OpenLoopsPodDonald Jeffries is exactly the guest Greg wanted and hadn't been able to find until now!  Sure, Hollywood had its Golden Age. There's a cultural reverence for the Studio System.  Greg loves those movies. Turner Classics, anything Black-and-White or MGM. Author and Researcher Donald Jeffries loves those movies, too.  But what was happening with the flawed human beings of classic cinema when the set wasn't so hot? The stars, the starlets, the Producers, Directors, Marilyn Monroe, Alfred Hitchcock, Walt Disney, Jimmy Stewart, Gary Grant, John Lennon, Natalie Wood, Judy Garland?  Sex, the CIA, murder, DRUGGING, suicides, the mafia, underpaid actors, the casting couch...In his new book, "On Borrowed Fame: Money, Mysteries, and Corruption in the Entertainment World," as well as on this episode, Donald sits down with Greg to shatter the mythology of Golden Era Hollywood and drown out Greg's nostalgia with pure darkness. Here's looking at you, kid. But don't look too hard or Spencer Tracy will punch you out. Donald's Links: His Book: On Borrowed Fame: Money, Mysteries, and Corruption in the Entertainment World by Donald Jeffries https://www.amazon.com/Borrowed-Fame-Mysteries-Corruption-Entertainment/dp/1629338079/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=Donald's Twitter: https://twitter.com/DonJeffriesSubstack Writings: https://substack.com/profile/2150057-donald-jeffries

Im zweiten Teil von Episode 36 widmen wir uns einem rasanten Musical mit unvergessenen Tanzszenen, blättern in einem Buch, das nicht nur US-Soldaten im 2. WK berührt hat, erfahren, warum Bücher ohnehin eine wichtige Rolle im Kampf gegen die Nazis gespielt haben, lauschen den Klängen einer Singer/Songwriter-Ikone, erfreuen uns an einem weiteren Musical-Klassiker, erleben die Geburt eines Superhelden und erfahren am Ende, was es mit dem Studio System in Hollywood auf sich hatte. Strom-Werbung "Einheitstarif" 1940er https://www.youtube.com/watch?v=5K8r_HSyiRQ Signed First Edition of A Tree Grows in Brooklyn by Betty Smith https://www.youtube.com/watch?v=gmw8WS7nIzg Hellzapoppin' Trailer https://www.youtube.com/watch?v=AHJHTVsuDcc Hellzapoppin' - Ganzer Film https://www.youtube.com/watch?v=c2TOriWWSLE&t=5s Norma Miller from ‚Hellzapoppin‘ - Interview https://www.youtube.com/watch?v=19_OT3aXELU Whiteys Lindy Hoppers - Hellzapoppin' https://www.youtube.com/watch?v=ahoJReiCaPk&t=73s MSNBC Interview - Molly Guptill Manning - When Books Went To War https://www.youtube.com/watch?v=TRjMXDhlRU4 Kitty Kellen - It's been a long long time https://www.youtube.com/watch?v=iP0tHmoc1rs Woody Guthrie's Legacy https://www.youtube.com/watch?v=qC1jBWIwZs4 Woody Guthrie - This Land Is Your Land https://www.youtube.com/watch?v=XaI5IRuS2aE Billy Bragg & Wilco - California Stars https://www.youtube.com/watch?v=gxzMbAMO73k Meet Me in St. Louis Opening Scene https://www.youtube.com/watch?v=70T47mC-jxY The Trolley Song https://www.youtube.com/watch?v=hwP6kNIDg30 Have Yourself a Merry Little Christmas - Judy Garland https://www.youtube.com/watch?v=jxxTHzERTsk History Of Captain America https://www.youtube.com/watch?v=u6djLCaSPxo A Tribute To Captain America https://www.youtube.com/watch?v=hmFvWXg4ZQA Frank Sinatra - All Or Nothing At All https://www.youtube.com/watch?v=IAN_jLnD_Q8 Bette Davis talks about Judy Garland and the pressures of Hollywood https://www.youtube.com/watch?v=7SaAKp5BIsM How Has Hollywood Taken Over the World? https://www.youtube.com/watch?v=32Xuo5q4Yxw Berlin im Juli 45 (in Farbe) https://www.youtube.com/watch?v=R5i9k7s9X_A Edith Piaf - La Vie En Rose https://www.youtube.com/watch?v=kFzViYkZAz4

On today's palaver: Toxic Relationships with Pets, Quarantine Friends, Tiger King, Class Action Park, Woody Allen, The Adoption Process, Bathtime Go Time, Obsessed with Macaroni, The Harder They Fall(with spoilers), My Name is My Name , Avo's and Cado's, Florida and Ohio, California Weather, VS New York Weather, Expectations of Los Angeles, The Studio System, David Fincher guessing game, Don't Be Weird!!!!, The Bare Minimum, Talking to JP, Facebook got Meta, Instagram at work, Get The Joke, Jamaica. Benjy's Social Media IG@Gobencoco IG@Teamcapeless Twitter @westsideBENJY IG @Kirstendaddio Capeless Heroes… On Apple Music, Spotify, Google Music, and Anchor!!!! Subscribe, Like, Review, Donate all that jazz!!! Shout out to Macaroni Mac Macklemore: First of His Name; First In My Heart --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/benjy-morgan0/message Support this podcast: https://anchor.fm/benjy-morgan0/support

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Luci Marzola's book Engineering Hollywood: Technology, Technicians, and the Science of Building Studio System (Oxford University Press, 2021) tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.  Using extensive archival research, Marzola's book examines the role of technicians, engineers, and trade organizations in creating a stable technological infrastructure on which the studio system rested for decades. Here, the studio system is seen as a technology-dependent business with connections to the larger American industrial world. By focusing on the role played by technology, we see a new map of the studio system beyond the backlots of Los Angeles and the front offices in New York. In this study, Hollywood includes the labs of industrial manufacturers, the sales routes of independent firms, the garages of tinkerers, and the clubhouses of technicians' societies. Rather than focusing on the technical improvements in any particular motion picture tool, this book centers on the larger systems and infrastructures for dealing with technology in this creative industry. Engineering Hollywood argues that the American industry was stabilized and able to dominate the motion picture field for decades through collaboration over technologies of everyday use. Hollywood's relationship to its essential technology was fundamentally one of interdependence and cooperation-with manufacturers, trade organizations, and the competing studios. As such, Hollywood could be defined as an industry by participation in a closed system of cooperation that allowed a select group of producers and manufacturers to dominate the motion picture business for decades. Luci Marzola is a film and media historian who writes about the technology, labor, and infrastructure of the American film industry in the silent and classical eras. She teaches in the Department of Film and Media Studies at University of California Irvine and at Chapman University's Dodge College of Film and Media Arts. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne.

In this weeks Take Over Tuesday episode DJ touches on a whole bunch of great Home Theater Listener comments from the past week as well as a bunch of great listener Recommendations. Push Play and join the conversationPODCAST Time StampsListener Comments-  00:30Recommendations- 29:52To Help Support the Podcast you can sign up for a Monthly Donation HERE to become a Patreon Member

In this weeks Take Over Tuesday episode DJ touches on a whole bunch of great Home Theater Listener comments from the past week as well as a bunch of great listener Recommendations. Push Play and join the conversationPODCAST Time StampsListener Comments-  00:30Recommendations- 29:52To Help Support the Podcast you can sign up for a Monthly Donation HERE to become a Patreon Member

In this episode of The Tales We Tell, Clara Cook is joined by the host of The Movie Palace podcast, Carl Sweeney, to discuss Helen O'Hara's book 'Women vs Hollywood.' We examine how women's contribution to early cinema has been almost erased from film history, discuss if the Studio System was actually damaging to actresses and why the Auteur theory is often not applied to female directors. 

In this episode of The Tales We Tell, Clara Cook is joined by the host of The Movie Palace podcast, Carl Sweeney, to discuss Helen O'Hara's book 'Women vs Hollywood.' We examine how women's contribution to early cinema has been almost erased from film history, discuss if the Studio System was actually damaging to actresses and why the Auteur theory is often not applied to female directors. 

Ever wondered what it is like screenwriting inside the Marvel and Studio machine? Wonder no further, today we have screenwriter and director Joe Cornish.

Creating a music studio system might sound like a boring endeavor. But if you do it right – if you make a model studio – it can be exciting. It can change your whole game.

You guys better get ready for a hell of a ride because our guest today brought a great conversation. We have accomplished screenwriter and director Joe Cornish on the show today. The English comedian and filmmaker burst onto the scene in 2011 with his very successful film directorial debut, Attack The Block, starring John Boyega, who played Moses, a low-level crook, teenage gang leader, an orphan looking for respect around the block. The British sci-fi comedy horror film centers on a teenage street gang who have to defend themselves and their block from predatory alien invaders on Guy Fawkes Night. Commercially, the film did not perform as it was acclaimed critically. It is rated at 90% on Rotten Tomatoes, won the Audience Award for Best Film (Midnights) at SXSW 2011, and many other awards from all major film festivals that year.Cornish and his comedy partner, Adam Buxton form the successful duo, Adam & Joe an ironic pop culture sketch show which gained a lot of success in the UK alongside Cornish’s long-term work in the UK TV entertainment industry. In 2011 he joined iconic directors, Peter Jackson and Steven Spielberg as a writer for the screenplay and story for the 3D animated action-adventure film, The Adventures of Tintin: The Secret of the Unicorn --- co-written alongside Edgar Wright and Steven Moffat.Intrepid reporter Tintin and Captain Haddock set off on a treasure hunt for a sunken ship commanded by Haddock's ancestor.This $135 million budget film grossed $374 million at the box office and received a plethora of nominations including Oscars for Best Original Score, a Golden Globe for Best Animated Feature Film, two BAFTA nominations for Best Animated Film and Best Special Visual Effects.Cornish co-wrote the screenplay for the Marvel Comic character, Ant-Man, along with Wright, Adam McKay, and Paul Rudd in 2015. Rudd, starring as Ant-Man is armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner-hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.  Similar to most Marvel Studio movies, the film carried a big budget of $169.3 million and grossed $519.3 million.His latest film, The Kid Who Would Be King (2019), which I highly recommend everybody to watch, joins a band of kids who embarks on an epic quest to thwart a medieval menace.Joe honestly, was extremely forthcoming and transparent about a lot of things; like what happened behind the scenes of Ant-Man and what it's like to write inside the Marvel machine. And we also discuss his craft, how he is as a director, how he likes to approach his writing and many more.Enjoy this conversation with Joe Cornish.

On this episode of the Additive Insight podcast, Laura Griffiths, TCT Head of Content is joined by Jonah Myerberg, Co-founder and CTO at Desktop Metal. The additive manufacturing company first made a name for itself as a pioneer of office friendly metal 3D printing with its compact Studio System, and, on the other end of the adoption curve, a Production System aimed at, you guessed it, serial production. Since then, Desktop Metal has secured household names like Ford, Google and BMW as customers and expanded its portfolio with more metal platforms, carbon fibre and most recently, polymers, in a huge deal with EnvisionTEC. During our conversation, we discussed how this acquisition fits in with what Desktop Metal is calling Additive Manufacturing 2.0, becoming a publicly listed company, and how 2021 is well positioned to be the year of AM applications.

The Dames are covering the Studio System and the Golden Age of Hollywood this week, including: The Big Five The Paramount Case and anti-trust laws (1948) The 1950s and the further decline of the system into the independent era Important genres: film noir, horror, melodrama, prestige pictures Star personas!  Female filmmakers during the system Some lesser known essentials of the era  

We're sharing history with a special guest. Chicago filmmaker, Cassie Ballschmidt takes the reigns to school us on American screenwriter and director, Frances Marion, just as Frances Marion schooled the whole dang film industry.Frances MarionWFP MAR10-1Follow Cassie Ballschmidt on Instagram: @cassiesstory for more info on her, her work, and her upcoming projects.Follow Shared History on Twitter & Instagram and subscribe wherever you get your podcasts!DYK you can support us on Patreon? Just become a patron of Arcade Audio and let ‘em know you love us.Sources for this story: Time, Columbia University’s Women Film Pioneers Project, The Atlantic, and others (see below for formal citations)Original Theme: Garreth SpinnOriginal Art: Sarah CruzAbout this podcast:Shared History, is a comedy podcast and history podcast in one. Hosted by Chicago comedians, each episode focuses on obscure, overlooked and underrepresented historical events and people.Citations:This Forgotten Female Screenwriter Helped Give Hollywood Its VoiceBY ERIN BLAKEMORE https://time.com/4186886/frances-marion/“Off With Their Heads: A Serio-Comic Tale of Hollywood”Francis Marion*“How to Write and Sell Film Stories”Mariposa Gazette in 1914.*The Women Who Write the Movies (1994)”Marsha McCreadie“Reclaiming the Archive: Feminism and Film History”Vicki Callahan“Shaping the Craft of Screenwriting: Women Screen Writers in Silent Era Hollywood”Donna Casella https://wfpp.columbia.edu/essay/shaping-the-craft-of-screenwriting-women-screen-writers-in-silent-era-hollywood/“Decoration, Discrimination and “the Mysteries of Cinema”: Women and Film Exhibition in Sweden from the Introduction of Film to the Mid-1920s”Ingrid Stigsdotterhttps://wfpp.columbia.edu/essay/*“How Twelve Famous Women Scenario Writers Succeeded,” Photoplay**“Francis Marion interview in 1920 Motion Picture Magazine”Doris Delvigne*“When Hollywood’s Power Players Were Women”NAOMI MCDOUGALL JONEShttps://www.theatlantic.com/culture/archive/2020/02/naomi-mcdougall-jones-wrong-kind-of-women-excerpt/606277/“Women Filmmakers in Early Hollywood”by Karen Ward Maher https://www.jstor.org/stable/25097391?seq=1“Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood” Cari Beauchamp“Script Girls: Women Screenwriters in Hollywood”Lizzie Francke“Virgins, Vamps and Flappers: The American Silent Movie Heroine”Sumiko Higashi“Anonymity: Uncredited and Unknown in Early Cinema”Jane M. GainesHollywood’s Modern Women: Screenwriting, Work Culture, and Feminism, 1910-1940.”Wendy Holliday; Susan Warehttps://www.worldcat.org/title/hollywoods-modern-women-screenwriting-work-culture-and-feminism-1910-1940/oclc/873966777“Blueprints for Feature Films: Hollywood’s Continuity Scripts”Janet Staiger“The American Film Industry”edited by Tino Balio“Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System,” Janet Staiger“Mothering, Feminism and Representation: The Maternal in Melodrama and the Woman’s Film 1910-1940” E. Ann Kaplan“How to Write and Sell Film Stories” Francis Marion*Francis Marion interview with Elizabeth Peltret of Photoplay in 1917*“Frances Marion: Part II, She Wrote the Scripts of Some of the Milestone Movies,” Films in Review XX, no. 3 (March 1969)”De Witt Bodeen“The Women Who Write the Movies”Marsha McCreadie“Screenwriting for the Early Silent Film: Forgotten Pioneers, 1897-1911.” Film History 9, no.3 (September 1997)”Edward Azlant,*As quoted by other source. Could not first hand

Perceived as something like a disaster during its time, Robert Altman's bizarre realization of E.C. Segar's beloved cartoon sailor with an affinity for spinach is at once a confounding but astonishingly enrapturing collage of comic slapstick humor, Altman-esque naturalism and scale, and a train wreck musical adaptation all packaged into one, not entirely cohesive, film. Robin Williams and Shelley Duvall are some inspired casting decisions for the roles of Popeye and Olive Oyl, and their studious commitments to reveling in the lunacy of live action cartoon antics is one of the reasons Popeye manages to be an endearing mess, as the gravitas of the lavishly designed setting of Sweet Haven clashes with the meandering plot, while simplistic rote musical numbers occasionally pop in to delay the proceedings even further. It's not often we look at a film with such a disparaging reputation as this, but something about Popeye and its wholesale commitment to the quirks and eccentricities of everyone involved in the production makes it a fascinating, and still overall entertaining, venture as a product of the blockbuster boom of the late 1970s swallowing the last vestiges of creative ambition provided to the directorial talents of Altman and his ilk after the collapse of the long-heralded Studio System of Hollywood's Golden Age. Timestamps: 0:00: Calvin is Missing, and bro discusses that other podcast we made 7:22: Genndy Tartakovsky’s Popeye and other works 11:12: Rick & Morty (2013 - Present) 17:15: More Jackie Chan stuff 20:01: RIP Jerry Stiller 22:37: Popeye

Guests Joe Sola and Michael Webster join us for a pro-yammering yammer about their performance collaborative Shakey's, Perfomance Art, adult diapers, Pizza, Spoiler Alerts, Virtual Reality, Star Trek, contemporary cathedrals of software, Samuel Beckett, being manic and cheap and much much more ... Joe Sola is an artist that lives and works in Los Angeles. His exhibition, I Drove to San Francisco and Back is currently up at Honor Fraser Gallery in Culver City, California. He is also in a show at Yuz Museum Shanghai called In Production: Art and the Studio System. Michael Webster is an Artist and musician in Los Angeles. He's also a composer, conductor, performer, and recording artist who has created film scores, albums, art songs, and operas among many other things. Our interstitial music as always is Ocfif by Lewis Keller. And we go out with an excerpt from a project Michael Webster talked about during the show. It's currently a work in progress called ... Untitled Star Trek Episode

On this show Uncle Jim and THE Leslie Hoffman we remember recently lost in the Entertainment Industry  and the Studio System. What is the Studio System, how does it work, and, is it still used today? These questions and much more will be discussed on this episode. Call (646)668-2433 with your questions.

Oral Notes around the American Film Studio System

Is it a classic? Yes. Is it well-written? Ehhhhhhhhh, not as such. Is it worth reading? If you are well-warned for homophobic language, fatophobia, ageism, and ableism.Valley of the Dolls was one of the first Trashy Novels, and like many trashy novels there's more to it than meets the eye. Join Linnea and Jessica as they talk about the dawn of the modern book tour, dolls (pills), Hollywood, shitty men, and wig-snatching scene for the ages.Recommendations and books mentioned:Rich and Pretty by Rumaan AlamMillenium Girl by Coerte FelskeFirst Wives Club and others by Olivia GoldsmithPeyton Place by Grace Metalious

In a more laidback episode, we muse about the announcements at D23, the current flux of the box office, the benefits and downfalls of Disney+ as a platform and as a testament to the current state of the industry. We also spend roughly twenty minutes having a mental breakdown over Holiday Inn and White Christmas being separate movies and NOT just the same film. Enjoy!

On this week episode, Online Editor, Patrick Hao, talks to film critic, podcaster and Ph.D. candidate in Cinema and Media Studies at the University of Southern California, Peter Labuza. They discuss Hollywood legal history and the role entertainment lawyers had, through contracts, shifted the way Hollywood Film Studios produced movies and affected the art. Peter Labuza is a Ph.D. Candidate in Cinema and Media Studies at the University of Southern California and a John E. Rovensky Fellow in US Business and Economic History. His research interests include Hollywood and media industry historiography, legal history, political economy, art cinema, and cinephilia. His dissertation explores the rise of the legal profession in Hollywood and its contribution to the organizational business reforms and cultural discourse of art within the industry after World War II. He has published in The Velvet Light Trap, Film Quarterly, Mediascape, Sight & Sound, and The Los Angeles Review of Books, and he currently serves as Assistant Book Review Editor for the Journal of Cinema and Media Studies (formerly Cinema Journal). He has also published as a film critic for Variety, The Village Voice, and Filmmaker Magazine among others, and hosts The Cinephiliacs podcast. Previously, Labuza earned both his BA and MA in Film Studies from Columbia University. Sources Mentioned: Peter Labuza, Putting Penn to Paper: Warner Bros.’s Contract Governance and the Transition to New Hollywood, 80 The Velvet Light Trap 4 (2017).   Janet Staiger, "Tame" Authors and the Corporate Laboratory: Stories, Writers, and Scenarios in Hollywood, 8:4 Q. Rev. of Film Stud. 33 (1983). Mark Garrett Cooper, Universal Women: Filmmaking and Institutional Change in Early Hollywood (Champaign: Univ. of Illinois Press, 2010). Karen Ward Mahar, Women Filmmakers in Early Hollywood (Johns Hopkins Univ. Press, 2006). Emily Carman, Independent Stardom: Freelance Women in the Hollywood Studio System (Univ. of Texas Press 2016). Eric Hoyt, Hollywood and the Income Tax, 1929—1955, 22 Film Hist. 5 (2010). Vanessa Schwartz, It's So French!: Hollywood, Paris, and the Making of Cosmopolitan Film Culture (Univ. of Chicago Press 2007). Catherine L. Fisk, Working Knowledge: Employee Innovation and the Rise of Corporate Intellectual Property, 1800-1930 (Univ. of North Carolina Press 2009). Catherine L. Fisk, Writing for Hire: Unions, Hollywood, and Madison Avenue (Harvard Univ. Press 2016). Favorite Piece of IP of the Week: Something Good-Negro Kiss (Short Film) Our theme song is Roller Blades by Otis McDonald. Subscribe to us on Apple Podcasts and leave us a review! Website: www.fordhamiplj.org Twitter: @FordhamIPLJ Instagram: @Fordhamiplj Facebook: www.facebook.com/FordhamIPLJ Patreon: www.patreon.com/fordhamiplj

Rodrigo Chips is has been making games in (and out of) Brazil since 2007 in development studios. His career is a great way to chart the changes and challenges of developing games in Brazil in the studio system and not in the hot new indie ways. From having to build engines from the ground up, doing asset work for Xbox games to creating a huge franchise like Starlit Adventures (the first Brazilian f2p game on PS4) Chips has done it all!

Michael Greenholt has been working in animation for some time and has lately become a sought-after Animation Supervisor among the bigger studios. His career path is fascinating, and in this episode Mike shares some very helpful words of wisdom from someone who has worked his way through the ranks in LA. This is the second part of my conversation with Mike. SHOW NOTES Michael Greenholt's website Instagram: mikegreenholt Ringling College of Art and Design FOLLOW SHAFFER CREATIVE WEBSITE: www.shaffercreative.studio INSTAGRAM: www.instagram.com/shaffercreative/ FACEBOOK: www.facebook.com/ShafferCreative6/ TWITTER: twitter.com/shaffercreativ

Director Jason Carvey exposes how part of the studio system has helped to destroy the American Independent film movement! At one time THINKFilm was a mini-major studio that had created films like the academy award winning Taxi to the Dark Side, Half Nelson (starring Ryan Gosling) and hundreds of other films. Jason Carvey who is a writer/director of the film A New Wave starring John Krasinski gives us the rarely heard first hand story of how predatory distribution practices by certain large film studios have helped to destroy the American independent film movement.     Spotify Twitch  Stitcher Radio  iTunes Twitter  Google App! Podbean   InstagramFacebook  Youtube  Bandcamp  Player FM  Microguide   Blubrry

In this episode, I'm joined again with Josh Boyer and also Toronto-based producer, Gordon Weiske. I apologize for the crummy audio in the beginning! We talk about the lack of great story-telling in the Hollywood studio system today compared to movies that were made only decades ago. I talk about character over characteristics and that I believe it's not the writer's fault, the studio system is imploding. Ryan McCoy is a writer first, filmmaker second, entrepreneur third. He has written and produced two feature films, and is beginning to expand out to give talks and share his experience with the next generation of young filmmakers. --- Support this podcast: https://anchor.fm/rynoryder/support

Jonah Myerberg, co-founder and CTO of Desktop Metal (desktopmetal.com), discusses the current state of technology in 3D printing and how it is revolutionizing engineering and manufacturing. Myerberg oversees the technical direction of Desktop Metal's 3D printing solutions. He founded Boston Impact, an engineering consulting firm, in 2013, and has worked at the top level of many successful businesses focused on high-performance battery development, including Renovo Auto and A123Systems.  During his tenure with A123Systems, Myerberg helmed the motorsports business unit that focused primarily on the development of high-performance batteries that were later adopted by many leading Formula One teams such as McLaren, Force India, Mercedes Benz, and Red Bull. Additionally, he was a race engineer for Porsche on their 919 teams and also for Mahindra Racing on the Formula E team. Myerberg has a bachelor's degree in mechanical engineering from Lehigh University, as well as a master's degree in mechanical engineering and manufacturing from the prestigious Johns Hopkins University. Myerberg states that his primary goal is to make metal 3D printing more accessible to manufacturers and engineers. Myerberg's company, Desktop Metal, specializes in bringing new capabilities to the world's first office-friendly, metal 3D printing solution. They provide high-resolution printing that can be in-house and built to exact specifications and scale. Desktop Metal's Studio System abandons the traditional lasers and loose powders typically associated with metal 3D printing, which allows for higher safety standards. And businesses appreciate that power and an internet connection can get them going, simply and efficiently, without third-party equipment.  Myerberg compares and contrasts plastics 3D printing and metal 3D printing and details the variables with both, outlining polymer printing techniques for plastics versus the solid-state techniques needed for metal printing. He explains how his company has taken advantage of polymer techniques to bring that technology to the office environment for metal 3D printing. The 3D printing and engineering specialist expounds upon the technical manufacturing knowledge that is needed in the mechanical engineering world. He discusses the new tools that are being utilized specifically for 3D printing, such as Desktop Metal's Live Parts, which is proprietary software they developed that allows engineers to input their specifications and constraints in order to allow the software to actually grow the part between the holding points, establishing the geometry via the software. This saves time and creates a very efficient process as engineers can spend more of their day on engineering tasks, and less time on solving parts problems.  Myerberg lists some of the many advantages of 3D metal printing, such as reduction of total number of parts by streamlining the geometry, and significant decreases in the weight of parts overall by utilizing layer construction and other methods. And Myerberg provides his insight into the future of 3D metal printing. He gives examples of some of the companies they work with who are helping to drive the technology forward as they collaborate.

In this episode, Matt discusses the new Solo: A Star Wars Story teaser and his expectations for the new movie. In the writing realm, he discusses the Kindle Scout program and his book, The Studio System. Learn more about him at mattadamswriter.com

Hollywood's Golden Age was built on a particular set of conditions. Studios owned the entire chain of production, distribution, and exhibition; and what they couldn't own, they used their influence to control. The dream factory made miracles, but it had a terrible appetite. Why are B-movies emulated, when their original purpose was to provide cheap thrills and fill holes in the schedule? What is the real price of stardom? What happens when you make art, and sell it like hog feed? Links! Supreme Court decision in United States v. Paramount Pictures Inc Hollywood Renegades Archive, a site anout the SIMPP HollywoodsGoldenAge.com Shush Ninjas Movie Montage; We Bare Bears Please remember: Our next episode is in 4 weeks time, instead of the usual two. Thank you for understanding, and we'll see you in January! Please help our show succeed by sharing it. Send a link to someone you know and tell them what you enjoy about History Honeys. Rate and review us on iTunes, Stitcher, or whatever other platform you use to hear us. It helps so very much and we do appreciate it. You can connect with us on Facebook, Twitter, Instagram, or by emailing us at historyhoneyspodcast at gmail. The episode 42 prompt is: favorite thing in 2017!   Logo by Marah Music by Thylacinus Censor beep by Frank West of The FPlus

If you have not yet purchased "Dusk & Dreamland EP", you might be out of luck finding it in traditional record stores. This ep, which is more like a mini album, is not an attempt to copy the sonical aspects of the 80s, it's a carefully designed emotional throwback that does something to you. That mood transforming feeling every serious music lover on this planet is hunting for. System Olympia visits us to talk about the music and moments that have inspired this.

We've reached the final entry in our first Bette Davis series (first of many if Lady P has anything to say about it). Our previous 'All About Bette' episodes covered Davis' turns in All About Eve (1950) and The Little Foxes (1941). Rounding out this glorious trifecta is the sister act that would come to define the latter, post-Studio System, half of Bette's career: What Ever Happened to Baby Jane? (1962).  Largely due to the infamous feud between the film's two larger than life stars, Bette Davis and Joan Crawford, Baby Jane is now primarily remembered as a campy novelty film. We at Flixwise are certainly no strangers to the art of playful exaggeration (See our Johnny Guitar episode). However, in the case of Baby Jane, we want to make sure that film's reputation as drag queen fodder, hasn't overshadowed the abject terror and sadness at the heart of the story. We also want to highlight the film's great formal achievements. Director/referee Robert Aldrich does a masterful job creating a sense of claustrophobia and dread, while also guiding two of Hollywood's biggest leading ladies through performances that would, for better or for worse, cement their respective personas for future generations. For our previous 'All About Bette' entries Kristen Sales and Anne Marie Kelly gave pitches for why their favorite Davis film should be included in the Flixwise canon. Now it's Lady P's turn to convince skeptics, Kristen and Anne Marie that this perennial horror classic is worthy of the Flixwise Favorite's list. Will she succeed? Pull up a chair and give it listen to find out.

Episode 37: Indie Directors Take on Hollywood Marvel Studios President Kevin Feige talks about Why He Loves Indie Directors http://www.indiewire.com/article/marvel-kevin-feige-indie-directors-joe-anthony-russo-20160425 What Happens When Indie Directors Take on Big Franchises in Hollywood? http://io9.gizmodo.com/what-happens-when-indie-directors-take-on-big-franchise-159999022 Can Indie Directors Avoid Disappearing into the Studio System? http://filmschoolrejects.com/features/indie-directors-disappearing-into-studio-system.php#ixzz476yH6c9j 12 Indie Directors Who Jumped to Blockbuster Movies http://blogs.indiewire.com/theplaylist/12-indie-directors-who-jumped-to-blockbuster-budgets-20140326 How Marvel Found it's Indie Director for "Thor: Ragnarok"  http://www.usatoday.com/story/life/movies/2016/01/26/meet-thor-director-taika-waititi-hunt-for-the-wilderpeople/79331974/

Julius Onah is a Nigerian-American filmmaker, who was raised in Arlington, VA and Washington D.C. after having lived in the Philippines, Nigeria, Togo, and the United Kingdom. He currently resides in Los Angeles, CA. In the summer of 2010 he was selected as one of Filmmaker Magazine's 25 New Faces of Independent Film and in 2013 as one of Studio System's 10 Up and Up Feature Directors.  Onah's films include "The Girl is in Trouble" with executive producer Spike Lee. He is currently in development on "The God Particle" with producer J.J. Abrams and Paramount Pictures. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Play Babz Buzz 031In this edition Babz talks about: Pitches Jeanne Bowerman Ed Beach Vince Flynn * Babz apologizes for saying Vince Vaughn. Mitch Rapp Writing action Protecting your rights Getting Paid Agents Studio System Marketing Story structure Visual Screenwriting Winning the lottery Microbudget Discuss this show here. Joining Writer Arena is free and easy. You can use Facebook, Twitter, Google+ or LinkedIn for easy registering and login. If you are having trouble registering please contact me. Check out the current scripts Babz is looking for here.  Like Babz on Facebook or Follow Babz on Twitter. Creative Commons license: Attribution-Noncommercial-No Derivative Works 3.0 Music provided by Incompetech Babz Buzz is produced by Michael Cornetto

This week, Zach gets a schooling on the history of script formats and how one lead to the rise of the Studio System. Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future!

This week, Zach gets a schooling on the history of script formats and how one lead to the rise of the Studio System. Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future!

Você sabe qual é a função de um produtor cinematográfico? Para tirar esta dúvida, estreamos a série Profissões do Cinema com este tema, onde iremos conversar sobre as principais áreas profissionais do mundo do cinema. Muito além de uma cartilha, você irá conhecer nessa edição que um produtor é muito além do que um captador de recursos para um projeto. Jurandir Filho (Juras), Maurício Saldanha (Mau), Thiago Siqueira (Siqueira) e Fábio Barreto (Barreto) conversaram sobre as diferentes maneiras de um produtor se envolver em determinado projeto. Ele pode dar pitaco na direção? Pode alterar a história do filme? Pode demitir quem quiser? Por que não existe incentivo ao cinema independente por parte dos produtores? Mas que diabos é Studio System? Por que a quebra deste modelo foi responsável pela descentralização do poder dos produtores e uma distribuição de cargos? Saiba tudo aqui nesta edição.

Você sabe qual é a função de um produtor cinematográfico? Para tirar esta dúvida, estreamos a série Profissões do Cinema com este tema, onde iremos conversar sobre as principais áreas profissionais do mundo do cinema. Muito além de uma cartilha, você irá conhecer nessa edição que um produtor é muito além do que um captador de recursos para um projeto. Jurandir Filho (Juras), Maurício Saldanha (Mau), Thiago Siqueira (Siqueira) e Fábio Barreto (Barreto) conversaram sobre as diferentes maneiras de um produtor se envolver em determinado projeto. Ele pode dar pitaco na direção? Pode alterar a história do filme? Pode demitir quem quiser? Por que não existe incentivo ao cinema independente por parte dos produtores? Mas que diabos é Studio System? Por que a quebra deste modelo foi responsável pela descentralização do poder dos produtores e uma distribuição de cargos? Saiba tudo aqui nesta edição.