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"This volume discusses the company -- and the films -- which bridged the so-called classical Hollywood cinema, dominated by the major studios and their associated genres and the star system and the New Hollywood characterized by blockbusters, franchises and the Movie Brats directors: The Mirisch Company. Paul Kerr analyses these key films and performances produced by the company to shed new light on the company's role in shifting political landscapes in Hollywood films. The Mirisch Company was one of the most effective employers of the package-unit system of production, putting films together as talent packages. Films like Some Like it Hot (1959) , West Side Story (1961), and The Pink Panther (1963) were all packages (of on and off screen talent and literary, theatrical and cinematic properties) and the Mirisch Company was one of the first to develop such strategies. So whilst they helped make the names of a new generation of stars like Steve McQueen, Shirley Maclaine, Sidney Poitier, and even Jeff and Beau Bridges, as well as banking on the reputations of established 'auteur' filmmakers like John Ford, Anthony Mann, and especially Billy Wilder, they were also pioneers in introducing new subjects and attracting new audiences to the cinema with films about race, ethnicity and nation, gender and sexuality, youth, politics, and other hitherto controversial topics. They also bridged the gap between film and television production and between domestic audiences and the international box office. The Mirisch Company is the missing link in histories of Hollywood, bridging the gap between accounts of the studio system which dominated American cinema until 1960, and the new Hollywood which emerged in its wake in the late 1960s and early 1970s"--

Motion picture studios --- Motion pictures --- Mirisch Company.

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Classical Hollywood, American Modernism charts the entwined trajectories of the Hollywood studio system and literary modernism in the United States. By examining the various ways Hollywood's industry practices inflected the imaginations of authors, filmmakers, and studios, Jordan Brower offers a new understanding of twentieth-century American and ultimately world media culture. Synthesizing archival research with innovative theoretical approaches, this book tells the story of the studio system's genesis, international dominance, decline, and continued symbolic relevance during the American postwar era through the literature it influenced. It examines the American film industry's business practices and social conditions, demonstrating how concepts like anticipated adaptation, corporate authorship, systemic development, and global distribution inflected the form of some of the greatest works of prose fiction and nonfiction by modernist writers, such as Anita Loos, F. Scott Fitzgerald, William Faulkner, Patsy Ruth Miller, Nathanael West, Parker Tyler, Malcolm Lowry, and James Baldwin.

Motion picture studios --- Motion picture industry --- History.

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This is the first comprehensive history of MGM from its origins in 1905 to the present. Following a straightforward chronology corresponding to specific periods of film industry history, each chapter describes how successive managements adjusted their production strategies and business practices in response to evolving industrial and market conditions. As the production subsidiary of the Loew’s Incorporated theatre chain, MGM spent lavishly on its pictures and injected them with plenty of star power. The practice helped sustain MGM’s preeminent position during the heyday of Hollywood. But MGM was a conservative company and watched as other studios innovated with sound and widescreen, adjusted to television, and welcomed independent producers. By the 1960s, the company, sans its theatre chain, was in decline and was ripe for a takeover. A defining moment occurred in 1969, when Kirk Kerkorian, a Las Vegas entrepreneur, made a successful bid for the company. There followed a tumultuous thirty-six-year period when Kerkorian bought and sold MGM three times. Meanwhile, MGM never regained its former status and has functioned as a second-tier company to this day. Focusing on MGM’s top talent – such as Louis B. Mayer, Irving Thalberg, David O. Selznick, and Arthur Freed; directors King Vidor and Vincente Minnelli; and stars of the screen Greta Garbo, Judy Garland, Clark Gable, and Mickey Rooney – and award-winning films, this book highlights the studio’s artistic achievements and status within the industry.

Motion picture studios --- Motion picture studios. --- Film History --- Hollywood --- Media Industries --- History. --- Metro-Goldwyn-Mayer

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Leadership. --- Success in business. --- Executives --- Motion picture studios --- Iger, Robert.

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Une histoire de la première décennie du studio d'animation Les Gémeaux, fondé en 1938 et issu de la rencontre improbable entre le bourgeois André Sarrut et l'anarchiste Paul Grimault. Ses premières années d'existence se confrontent à l'occupation allemande. Parmi les participants à l'aventure se trouvent les scénaristes Aurenche et Prévert, ainsi que les compositeurs Delannoy et Kosma. ©Electre 2021 De 1936 à 1958, la société Les Gémeaux fondée par Paul Grimault (1905-1994) et André Sarrut (1910-1997) a été le plus grand studio d'animation d'Europe. À partir de 1948, la société se lance dans la production du premier long métrage de dessins animés français: La Bergère et le Ramoneur (devenu Le Roi et l'Oiseau). Au fil d'une incroyable épopée qui prend place en pleine Occupation allemande de la France se croisent, les scénaristes Aurenche, Blondeau, Leenhardt, Prévert, les compositeurs Wiéner, Delanno, Désormière, Kosma et toute une équipe de près de quarante personnes. Il est aussi question de la Direction générale de la Cinématographie nationale, du ministère allemand de la Propagande et de Goebbels qui tous s'intéressent aux dessins animés de Paul Grimault et d'André Sarrut. (4e de couverture)

Animated film industry --- Motion picture studios --- History. --- History.