By Janet Wasko
This can be a publication in regards to the US movie - its constitution and rules, its operations and practices. It appears on the methods which are keen on turning uncooked fabrics and hard work into characteristic movies. It describes the method of movie construction, distribution, exhibition and retail - a technique that consists of diversified markets the place fabrics, hard work and items are obtained and offered. In different phrases, it is a publication approximately how Hollywood works - as an industry.
How Hollywood Works:
- deals an updated survey of the rules and constitution of the USA movie industry
- appears on the dating among the movie and different media industries
- examines the position of the foremost studios and the opposite 'players' - together with, legislations corporations, expertise brokers, and alternate unions and guilds
- presents entry to hard-to-find statistical details at the
While many books describe the movie construction and advertising and marketing technique, and they achieve this from an standpoint and few examine Hollywood severely from inside a extra common fiscal, political and social context. by means of delivering simply this sort of critique, Janet Wasko's textual content offers a well timed and crucial research of ways Hollywood works for all scholars of movie and media.
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Additional info for How Hollywood Works
For instance, a simple dictum from one such publication, Hollywood 101: ``Write what sells'' (Levy, 2000, p. 53). This is in accord with veteran screenwriter, William Goldman's point: ``the business pays attention only to writers who write movies that are commercially viable'' (1989, p. 95). Some think that the spec script process is increasingly problematic, as the bidding process boosts the appeal of mediocre scripts that then attract in¯ated prices. Taylor (1999) notes that nearly all spec scripts must be rewritten before they are produced, but many are especially weak and the selection process is often irrational.
If a bond is used, the completion guarantor sometimes assumes control over the production, as well as receiving a preferential position over other investors in recouping funds. Green lights/development hell/turnaround When all of these various elements are in place (which may take many years), a ®lm project may receive a green light from a studio executive and move into (pre-)production. If a script is in development but never receives production funds, it is said to be in development hell. A former screenwriter has estimated that 85 percent of studio-purchased spec scripts end up in development hell (Taylor, 1999).
Although insurance may cover some of these problems, legal research is usually undertaken to avoid the problem. Title searching in the USA is done in a number of ways. The MPAA (see Chapter 5) maintains a Title Registration Bureau, where the studios regularly register titles even before a ®lm is made. The studios have agreed among themselves not to use motion picture titles which are confusingly similar to those which are registered. Titles have not been able to be registered in the past unless they are titles for a series.