Intended to be kept at a screenwriter's fingertips, The Hollywood Standard provides what even the best script software can't: clear, concise instructions and hundreds of examples to take the guesswork out of a multitude of formatting questions that perplex even seasoned screenwriters.Contents include:* When a new scene heading is appropriate and when it isn't* How to format shot headings, dialogue, direction and transitions* How to control pace with formatting* How to make a script page visually inviting to the reader* What to capitalize and why* How to get into and out of a POV shot* How to handle text messages and Zoom meetings* How Hollywood's most innovative screenwriters are pushing the boundaries of format* How format for animation differs from live action formatsSimply put, Riley knows more about script format than anyone in Hollywood and shares it all in this indispensable guide.
Contents include: - When a new scene heading is appropriate and when it isn't - How to format shot headings, dialogue, direction and transitions - How to control pace with formatting - How to make a script page visually inviting to the ...
Author: Christopher Riley Christopher
Robert B. Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways. Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?
Television, however, by indiscriminately reviving old movies (including many clearly intended as disposable), exposed the weakest versions of the standard myths and damaged even passable examples by resurrecting them into a new, ...
Author: Robert B. Ray
Publisher: Princeton University Press
Category: Performing Arts
Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs an historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman's filmmaking history and profile-lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate upon their sanctioned practices and aims. We misunderstand Altman's work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
A survey of the International Harvester films held by the Wisconsin Historical Society suggests that Calvin films, though certainly not the least technically proficient in the industry, often failed to meet certain technical standards ...
Author: Mark Minett
Publisher: Oxford University Press, USA
Category: Performing Arts
Forensic Science in Court explores the legal implications of forensic science—an increasingly important and complex part of the justice system. Judge Donald Shelton provides an accessible overview of the legal aissues, from the history of evidence in court, to "gatekeeper" judges determining what evidence can be allowed, to the "CSI effect" in juries. The book describes and evaluates various kinds of evidence, including DNA, fingerprints, handwriting, hair, bite marks, tool marks, firearms and bullets, fire and arson investigation, and bloodstain evidence. Assessing the strengths and limitations of each kind of evidence, the author also discusses how they can contribute to identifying the "who," "how," and "whether" questions that arise in criminal prosecutions. Author Donald Shelton draws on the depth of his experiences as courtroom prosecutor, professor, and judge, to provide a well-rounded look at these increasingly critical issues. Case studies throughout help bring the issues to life and show how forensic science has been used, both successfully and not, in real-world situations.
found it to be error, although corrected by a jury instruction, when a prosecutor stated: Nobody is going to fingerprint a little baggie like you see there. ... Do not hold the State of New Jersey to what I call the Hollywood standard.
Author: Hon. Donald Shelton
Publisher: Rowman & Littlefield Publishers
In Hollywood, we hear, it’s all about the money. It’s a ready explanation for why so few black films get made—no crossover appeal, no promise of a big payoff. But what if the money itself is color-coded? What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns? This, Monica Ndounou shows us, is precisely the case. In a work as revealing about the culture of filmmaking as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films. How does history come into it? Hollywood’s reliance on past performance as a measure of potential success virtually guarantees that historically underrepresented, underfunded, and undersold African American films devalue the future prospects of black films. So the cycle continues as it has for nearly a century. Behind the scenes, the numbers are far from neutral. Analyzing the onscreen narratives and off-screen circumstances behind nearly two thousand films featuring African Americans in leading and supporting roles, including such recent productions as Bamboozled, Beloved, and Tyler Perry’s Diary of a Mad Black Woman, Ndounou exposes the cultural and racial constraints that limit not just the production but also the expression and creative freedom of black films. Her wide-ranging analysis reaches into questions of literature, language, speech and dialect, film images and narrative, acting, theater and film business practices, production history and financing, and organizational history. By uncovering the ideology behind profit-driven industry practices that reshape narratives by, about, and for people of color, this provocative work brings to light existing limitations—and possibilities for reworking stories and business practices in theater, literature, and film.
Black film franchises are big business, and those who direct them are important people in Hollywood. Those films that subscribe to the standard screenplay format are especially well poised for success. Studio-affiliated filmmakers such ...
Author: Monica White Ndounou
Publisher: Rutgers University Press
Category: Social Science
Bob Koster was born in Hollywood and worked for 35 years in the movie industry, spanning the time from the Studio System to the current spate of Independent filmmakers. He worked in various phases of production but mainly in the production department as an Assistant Director and a Unit Production Manager. He worked with some of the most famous directors and actors of their time. His insights and comments on these films and the characters involved are fascinating, and told as seen through the eyes of a child of the times. Bob’s father was a famous film director so he was raised in an atmosphere of glamour and drama, but he was also distant enough from it to be able to keep an interesting perspective on the fascinating circus surrounding him. An absorbing read for anyone interested in cinema history and the backstage activities surrounding the great films.
... for being temperamental and eccentric. I found her to be professional in every respect, worked well with the crew, and generally belied all the rumors. Good actress, too. Bill Daniels, the cameraman, was a Hollywood standard.
Author: Bob Koster
Publisher: BearManor Media
Category: Performing Arts
In the mid-1990s Turkish cinema experienced a remarkable revival. However, what is particularly unusual about this revival is the emergence of a new representational form: silent, inaudible characters. Equally unusual is the fact that this new on-screen silence had a gender(ed/ing) aspect, since, for the most part, the mute(d) characters were female. This book focuses on these newly emergent silent female characters in the new cinema of Turkey, and explores the relationship between the ‘new’ female representational form, the ‘new’ cinema of Turkey, and the ‘new’ socio-political climate in Turkey after the September 12, 1980 military coup. It investigates two central questions: what are the functions, formations and operations of these silent female characters, and why did this female representational form emerge specifically in this timeframe? Bearing a cinematic function of instrumentality and exposing, one way or another, a close association between point of view and discursive authority in the films studied, the silent female representational form in the new cinema of Turkey is a cinematic symptom of the on-going struggle over the disrupted orders of gender, nation and national memory due to an increase in thus-far silenced or marginalized voices in Turkey. The silent form not only functions as a cinematic instrument to reveal crises in hegemonic power positions, but also becomes a battleground within a struggle for (re)obtaining a position of discursive authority in the realms of gender, nation and past. The silent form in itself becomes an instrument on the discursive level, which enables a response to Turkey’s crises in these three interconnected realms in the post-1980s.
Accordingly, the revival of “Turkish” cinema occurred through the films' enormous domestic box office success due to a formula reflecting Hollywood standards. As Higson argues, for a cinema to appeal to local audiences, it must achieve ...
Author: Özlem Güçlü
Publisher: Cambridge Scholars Publishing
Category: Performing Arts
The Imaginary Geography of Hollywood Cinema 1960–2000 combines digital cartography with close readings of representative films from 1960 to 2000. Christian B. Long offers a unique history of twentieth-century Hollywood narrative cinema, one that is focused on the intersection of the geographies of narrative location, production, consumption and taste in the era before the rise of digital cinema. Long redraws the boundaries of film history, both literally and figuratively, by cataloging films’ narrative locations on digital maps in order to illustrate where Hollywood actually locates its narratives over time. A PDF version of this book is available for free in open access via the OAPEN Library platform:The Imaginary Geography of Hollywood Cinema. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.
But rather than imagine what a revolutionary Under Fire would look like, I want to consider the film's Hollywood-standard narrative of incremental change that, as I argue, clearly registers and critiques US policy in Central America.
Author: Christian Long
Publisher: Intellect Books
Category: Performing Arts
The screenplay is currently the focus of extensive critical re-evaluation, however, as yet there has been no comprehensive study of its historical development. International in scope and placing emphasis on the development and variety of screenplay texts themselves, this book will be an important and innovative addition to the current literature.
Raynauld, Isabelle, 'Written Scenarios of Early French Cinema: Screenwriting Practices in the First Twenty Years', Film History 9.3 (1997), pp. 257–68. Riley, Christopher, The Hollywood Standard: The Complete and Authoritative Guide to ...
Author: S. Price
Category: Performing Arts
First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
In order to understand Hollywood's conversion to sound we must grasp the many ways in which Hollywood attempted to model cinema sound on other existing uses of sound . If we want to understand Hollywood's standard representational ...
Author: Robert B. Altman
Publisher: Psychology Press
Category: Performing Arts
The pioneering story of AustraliaOCOs own Hollywood. Hollywood films and television programs are watched by a global audience. While many of these productions are still made in southern California, the last twenty years have seen new production centers emerge in the US, Canada and other locations worldwide. Global Hollywood has been made possible by this growing number of Local Hollywoods: locations equipped with the requisite facilities, resources and labor, as well as the political will and tax incentives, to attract and retain high-budget, Hollywood-standard projects. This new book gives an unprecedented insight into how the Gold Coast became the first outpost of Hollywood in Australia. When a combination of forces drove Hollywood studios and producers to work outside California, the Gold CoastOCOs unique blend of government tax support, innovative entrepreneurs and diverse natural settings made it a perfect choice to host Hollywood productions. "Local Hollywood" makes an essential contribution to the field of film and media studies, as well as giving film buffs a behind-the-scenes tour of the film industry.
The film, co- produced with the Hollywood independent production company Davis Entertainment, provided an opportunity to showcase the newly expanded Warner Roadshow ... It conferred kudos on the studios, and as a Hollywood-standard ...
Author: Ben Goldsmith
Publisher: Univ. of Queensland Press
From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multilocal process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through transregional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood’s fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach, a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
Through the Prism of Shanghai, Hong Kong, and Hollywood Yiman Wang ... Higson reasons that to achieve the “international scope,” peripheral national cinemas must strive to reproduce the Hollywood standard, with the result of ...
Author: Yiman Wang
Publisher: Hong Kong University Press
Category: Film remakes
Don has lots of opinions: On being a buffoon: I hate being a buffoon, but it seems like I'm always messing up. Not long ago I got in the car with my wife to run some errands. I took the TV remote with me just in case I had to make a cell phone call. Nancy made fun of me, and I tried to use the mute button on her, but it didn't work. On his 37th Anniversary: "We returned home and wandered off to bed at 10:00. Nancy donned her "Born to Sleep" PJs and I was asleep before my head hit the pillow. When we were newly married this is not the way we would have anticipated our 37th anniversary ending, but in 2004 it was just fine. So much for romance. It's still there; it's just different. On fasting: Fasting is a fundamental Christian practice, and it is mentioned 33 times in the Bible. Now, let me ask a question. When was the last time you heard a sermon on the subject of fasting? You'll hear a hundred sermons on eschatology, a thousand on tithing or how many angels you can stack on the head of a pin before a preacher will suggest a Christian forego his or her staple of donuts, fried chicken or baked beans. Actually, I don't mind fasting; it's just the hunger I object to. On remodeling the house: "What on earth do we need a new toilet for?" I protested. Nancy's response was: "The old toilet was the wrong shade of white." The wrong shade of white?! You got to be kidding me! Our 401K is in the toilet due to the economy, and now I'm spending my kid's inheritance replacing a toilet that is the improper shade of white!!
define short as less than 5'6” and asserted that being short, on average means that the individual will make $600 per year per ... Anyone not measuring up to the Hollywood standard is subject to ridicule or becomes the object of jokes ...
Author: Don Waddell
Publisher: Xulon Press
This collection explores how the role of cinematography will evolve in an ever-increasing digitized industry in a transnational context. Contributors aim to bridge conversations about critical film studies and technical film practices while proposing that cinema has always been at the foreground of transnational culture.
While the standard lens and f-stop at Toho studio, where Kurosawa was contracted, were 50mm and f:4 in the mid-1950s, ... whose ASA was 64, which was not very sensitive compared to the Hollywood standard.41 If that was the case, ...
Author: Lindsay Coleman
Publisher: Lexington Books
Category: Language Arts & Disciplines
Although the blockbuster is the most popular and commercially successful type of filmmaking, it has yet to be studied seriously from a formalist standpoint. This is in opposition to classical Hollywood cinema and International Art cinema, whose form has been analyzed and deconstructed in great detail. Directed By Steven Spielberg fills this gap by examining the distinctive form of the blockbuster. The book focuses on Spielberg's blockbusters, because he is the most consistent and successful director of this type of film - he defines the standard by which other Hollywood blockbusters are judged and compared. But how did Spielberg attain this position? Film critics and scholars generally agree that Spielberg's blockbusters have a unique look and use visual storytelling techniques to their utmost effectiveness. In this book, Warren Buckland examines Spielberg's distinct manipulation of film form, and his singular use of stylistic and narrative techniques. The book demonstrates the aesthetic options available to Spielberg, and particularly the choices he makes in structuring his blockbusters. Buckland emphasizes the director's activity in making a film (particularly such a powerful director as Spielberg), including: visualizing the scene on paper via storyboards; staging and blocking the scene; selecting camera placement and movement; determining the progression or flow of the film from shot to shot; and deciding how to narrate the story to the spectator. Directed By Steven Spielberg combines film studies scholarship with the approach taken by many filmmaking manuals. The unique value of the book lies in its grounding of formal film analysis in filmmaking.
This is why the Hollywood film industry was subject to antimonopoly action ( called the Paramount antitrust suit ) in ... into creating fewer films , resulting in the blockbuster becoming contemporary Hollywood's standard movie format .
Author: Warren Buckland
Publisher: A&C Black
Category: Performing Arts
This text provides an inter-disciplinary critique of the new global economy and information society, tracing its roots in the infrastructures of Canada's development from the canoes and ships of the fur trade, through the railways and telegraph of industrialization, to mass-print media, radio, television and film distribution. It draws on the works of four key thinkers-Ursula Franklin, George Grant, Harold Innis, and Marshall McLuhan-to frame contributions from Pat Armstrong, Ellen Balka, Robert Babe, Pam Colorado, James Carey, and many others.
The scale of investment also established what has become known as the Hollywood standard in film making : a glit2y product with lots of action , scenery and other sensory riches for audiences to consume . While the average American ...
Author: Heather Menzies
Publisher: McGill-Queen's Press - MQUP
Category: Social Science
A Companion to Spanish Cinema is a bold collection of newly commissioned essays written by top international scholars that thoroughly interrogates Spanish cinema from a variety of thematic, theoretical and historic perspectives. Presents an insightful and provocative collection of newly commissioned essays and original research by top international scholars from a variety of theoretical, disciplinary and geographical perspectives Offers a systematic historical, thematic, and theoretical approach to Spanish cinema, unique in the field Combines a thorough and insightful study of a wide spectrum of topics and issues with in–depth textual analysis of specific films Explores Spanish cinema s cultural, artistic, industrial, theoretical and commercial contexts pre– and post–1975 and the notion of a national cinema Canonical directors and stars are examined alongside understudied directors, screenwriters, editors, and secondary actors Presents original research on image and sound; genre; non–fiction film; institutions, audiences and industry; and relations to other media, as well as a theoretically–driven section designed to stimulate innovative research
The increasing presence in the country throughout the 1950s of stars from Hollywood, Italy, and Mexico as ... Perhaps the only Spanish actor of the 1940s to approach the Hollywood standard of glamour and erotic allure was Alfredo Mayo.
Author: Jo Labanyi
Publisher: John Wiley & Sons
Category: Performing Arts
This is the first comparative consideration of the musical's role within national cinema traditions. While the musical is one cinema's few genuinely international genres, it has often functioned as an explicitly local or national form, drawing upon distinct traditions understood as 'native' rather than 'international'. Simultaneously, musicals from around the world have often imitated Hollywood models, resulting in their easy dismissal as culturally 'impure' and demonstrating the creative and ideological tension between promoting and abandoning traditional cultural forms and styles. This productive tension between local and global elements lies at the heart of international film musicals, which typically acknowledge the dominant Hollywood model while claiming their own cultural specificity.
musical, and in certain cases I will highlight modernist aesthetics within the larger framework of post-modernism. ... The fairy tale and folk musicals, on the other hand, express no more self-reflexivity than Hollywood's standard ...
Author: Corey Creekmur
Publisher: Edinburgh University Press
Category: Performing Arts
Take On Hollywood and Make It as a Television Writer. From mediabistro.com, the media industry’s most well-respected source for jobs, professional development, and community, this inside-the-business guide gives you the knowledge and tools you need to infiltrate Hollywood and land a job as a TV writer. That’s right—Small Screen, Big Picture gives you a competitive edge over millions of other aspiring writers who share your talent, creativity, and determination . . . because after reading these pages, you’ll have the one thing they lack: an understanding of the business of television. This journey into Hollywood’s inner workings not only details how networks, studios, and production companies work together, it teaches you how the process affects the creation and writing of TV series, how shows make money, and—ultimately—how you can use this information to break into the industry. You’ll learn: • What really goes on in the inner sanctum of the writers’ room—and how to be a part of it • How today’s TV business model works—and how rapidly it’s changing • Who has the power to buy a show idea—and how to pitch your own • How new media formats are changing television—and how to use them to your advantage • Which jobs will kick-start your TV writing career—and how to get hired • And much more . . . Armed with this solid foundation of knowledge, you’ll be ready to plan your entry into the industry and begin your successful TV writing career.
A Writer's Guide to the TV Business Chad Gervich ... 344 Hollywood Radio & Television Society , 325 Hollywood Records , 23 The Hollywood Reporter , 78 , 297 , 357 Hollywood Representation Directory 344 The Hollywood Standard ( Riley ) ...
Author: Chad Gervich
Although “entanglement” has become a keyword in recent German history scholarship, entangled studies of the postwar era have largely limited their scope to politics and economics across the two Germanys while giving short shrift to social and cultural phenomena like gender. At the same time, historians of gender in Germany have tended to treat East and West Germany in isolation, with little attention paid to intersections and interrelationships between the two countries. This groundbreaking collection synthesizes the perspectives of entangled history and gender studies, bringing together established as well as upcoming scholars to investigate the ways in which East and West German gender relations were culturally, socially, and politically intertwined.
The text emphasized that these covers show the actress “strapless, with bedroom eyes.” The “Western magazines” use “Marilyn's breasts” as a measure of the “Hollywood standard of beauty.” What is worse, the “star maker” Joe Schenk (the ...
Author: Karen Hagemann
Publisher: Berghahn Books