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What has brought about the transformation of the British film industry over the last few decades, to the beginnings of what is arguably a new golden era? In the mid-1980s the industry was in a parlous state. The number of films produced in the UK was tiny. Cinema attendance had dipped to an all-time low, cinema buildings were in a state of disrepair and home video had yet to flourish. Since then, while many business challenges - especially for independent producers and distributors - remain, the industry overall has developed beyond recognition. In recent years, as British films have won Oscars, Cannes Palms and Venice Golden Lions, releases such as Love Actually, Billy Elliot, Skyfall, Paddington and the Harry Potter series have found enormous commercial as well as critical success. The UK industry has encouraged, and benefitted from, a huge amount of inward investment, much of it from the Hollywood studios, but also from the National Lottery via the UK Film Council and BFI. This book portrays the visionaries and officials who were at the helm as a digital media revolution began to reshape the industry. Through vivid accounts based on first-hand interviews of what was happening behind the scenes, film commentator and critic Geoffrey Macnab provides in-depth analysis of how and why the British film industry has risen like a phoenix from the ashes.

Motion picture industry --- Industrie du cinéma --- History --- Histoire

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Disillusioned with what the American film industry had become by the 1970s, Bette Davis remembered a time when "women owned Hollywood." This book is their story. Historian J.E. Smyth challenges the belief, reinforced in too many histories and public comments, that feminism died between 1930 and 1950, that women were not important within the Hollywood studio system, that male directors called all the shots, and that the most important Hollywood writer you should know about is Dalton Trumbo. Looking back on her career in 1977, Bette Davis remembered with pride, "Women owned Hollywood for twenty years." She had a point. Between 1930 and 1950, over 40% of film industry employees were women, 25% of all screenwriters were female, two women supervised all studio feature output and could order retakes on any director's work, one woman ran MGM behind the scenes, over a dozen women worked as producers, a woman headed the Screen Writers Guild three times, and press claimed Hollywood was a generation or two ahead of the rest of the country in terms of gender equality and employment. But historians, critics, and the public have largely forgotten this era and persist in seeing studio-era Hollywood as a place where the only career open to a woman was as a passive, pretty face on screen or an underpaid, anonymous secretary. J. E. Smyth tells another story of a "golden age" for women's employment in the film industry and of Hollywood's ranks of powerful organization women.The first comprehensive history of Hollywood's high-flying career women during the studio era (1924-1956), Nobody's Girl Friday covers the impact of the executives, producers, editors, writers, agents, designers, directors, and actresses who shaped Hollywood film production and style, led their unions, climbed to the top during the war, and fought the blacklist. It focuses on women who called the shots at various levels of film production and articulated shifting attitudes toward gender, work, power, and politics, including executive Anita Colby, chief story editor Eve Ettinger, story editor and agent Kay Brown, secretary Ida Koverman, editor Barbara McLean, producers Harriet Parsons, Constance Bennett, and Virginia Van Upp, screenwriter and Screen Writers Guild President Mary C. McCall Jr., columnists Hedda Hopper, designer Dorothy Jeakins, agent Mary Baker, and President of the Hollywood Canteen and actor, Bette Davis.Many of the women featured in this book were influential during their lifetimes, politically active, heading committees in their professional guilds, and giving numerous PR interviews to syndicated journalists, and publicly supporting other women regardless of political affiliation. However, they were subsequently cut from mainstream academic and popular histories of the industry, or, as in Hopper's case, labeled as career-destroying, anti-communist viragos.Based on a decade of archival research, Smyth uncovers a formidable generation working within the American film industry and brings their voices back into the history of Hollywood. Their achievements, struggles, and perspectives fundamentally challenge popular ideas about director-based auteurism, male dominance, and female disempowerment in the years between First and Second Wave Feminism.Nobody's Girl Friday is a revisionist history, but it's also a deeply personal, collective account of hundreds of working women, the studios they worked for, and the films they helped to make. For many years, historians and critics have insisted that both American feminism and the power of women in Hollywood declined and virtually disappeared from the 1920s through the 1960s. But Smyth vindicates Bette Davis's claim. The story of the women who called the shots in studio-era Hollywood has never fully been told-until now.

Women in the motion picture industry --- Femmes dans l'industrie du cinéma --- History --- Histoire --- Hollywood (Los Angeles, Calif.) --- Hollywood (Calif.) --- Femmes dans l'industrie du cinéma

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Jean Gabin, cheminot couvert de suie dans La Bête humaine, Simone Signoret et Jean Marais en tête d'un cortège de manifestants, Gérard Philipe et Jean-Paul Belmondo, leaders syndicaux, Jean Renoir, réalisateur d'une Marseillaise financée par une souscription de la CGT, René Clément magnifiant la Résistance dans La Bataille du rail... Durant ces années de Front populaire, de résistance au nazisme et de Libération, les classes populaires sont à la fois dans les salles et sur les bobines de films, des ouvriers tiennent les premiers rôles, les techniciens occupent les studios, les stars écrivent et distribuent des tracts. Tous descendent dans la rue pour défendre un cinéma français menacé par la déferlante hollywoodienne.

Syndicalism in motion pictures --- Proletariat in motion pictures --- Working class in motion pictures --- Underground movements in motion pictures --- Motion picture industry --- Syndicalism --- Labor unions --- History --- France --- In motion pictures --- Intellectual life --- Syndicalism. --- Proletariat --- Syndicalisme --- Classes populaires --- Classe ouvrière --- Guerre mondiale (1939-1945) --- Industrie du cinéma --- Au cinéma --- Mouvements de résistance --- Syndicats --- Au cinéma. --- In motion pictures.

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Dans des pays caractérisés par une profusion d'images essentiellement venues d'autres continents, et par une production très inégale, voire inexistante, quels ont été les modèles dominants de production ? Quels sont ceux que les mutations en cours font émerger ? Quels sont les enjeux économiques, industriels et sociaux de cette mutation numérique ? Quels en sont les principaux acteurs ? Qu'en est-il de la participation et du rôle des États ? Quels liens financiers, politiques, juridiques, demeurent avec les anciennes métropoles coloniales, avec les nouveaux acteurs de la production ? Qu'en est-il des équipements et de la formation des personnels ? Des contributions de chercheurs abordent ces questions en différents pays d'Afrique et du Moyen-Orient, sous des angles économiques, sociologiques et historiques. Complémentairement, six témoignages de producteurs évoquent leur métier, et les questions spécifiques qui se posent pour eux en travaillant en et avec ces aires géographiques.

Motion pictures --- Motion picture producers and directors --- Industrie du cinéma --- Cinéma --- Production et réalisation --- Aspect économique. --- Cinéma --- Industrie du cinéma --- Motion pictures - Africa --- Motion pictures - Africa, North --- Motion picture producers and directors - Middle East --- Motion pictures - Middle East --- Motion picture producers and directors - Africa, North --- Motion picture producers and directors - Africa

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As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically influenced the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. By exploring numerous examples of films from this transitional period, Kaganovsky demonstrates the importance of the new technology of sound in producing and imposing the "Soviet Voice."

Motion pictures --- Motion picture industry --- Sound in motion pictures. --- Cinéma --- Industrie du cinéma --- Son --- History and criticism. --- History. --- Histoire. --- Au cinéma. --- Motion picture industry and state --- Sound motion pictures --- Moving-pictures, Talking --- Talkies --- Talking motion pictures --- State and the motion picture industry --- State, The --- Soviet Union. --- Ber. ha-M. --- Berit ha-Moʻatsot --- ESSD --- FSSR --- Ittiḥād al-Sūfiyīt --- Ittiḥād-i Jamāhīr-i Ishtirākīyah-i Shūrāʼīyah --- Ittiḥād-i Shūrav --- KhSHM --- PSRS --- Rusiyah --- Rusland --- Russia --- Russland --- Rusyah --- Sahaphāp Sōwīat --- Shūrav --- SNTL --- Sobhieṭ Ẏuniẏana --- Soi͡uz Radi͡ansʹkykh Sot͡sialistychnykh Respublik --- Soi͡uz Sovetskikh Sot͡sialisticheskikh Respublik --- Soi͡uz SSR --- Soṿet-Rusland --- Sovetakan Sotsʻialistakan Hanrapetutʻyunneri Miutʻyun --- Sovetakan Sotsʻialistakan Ṛespublikaneri Miutʻyun --- Sovetskiĭ Soi͡uz --- Sovetskiy Soyuz --- Soviyat Yūniyan --- Soyuz SSR --- SRSR --- SSHM --- SSR Kavširi --- SSṚM --- SSSR --- Su-lien --- Szovjetuni --- Tarybų Socialistinių Respublikų Sąjunga --- TSRS --- UdSSR --- Uni Soviet --- Uni Sovjet --- Unión de Repúblicas Socialistas Soviéticas --- Union of Soviet Socialist Republics --- Union soviétique --- Unione Sovietica --- URSS --- USSR --- Zȯvlȯlt Kholboot Uls --- ZSRR --- ZSRS --- Związek Radziecki --- Związek Socjalistycznych Republik Radzieckich --- Związek Socjalistycznych Republik Sowieckich --- Cinéma --- Industrie du cinéma --- Au cinéma.