By Wheeler Winston Dixon
They are shot on high-definition electronic cameras—with computer-generated results extra in postproduction—and transmitted to theaters, web content, and video-on-demand networks world wide. they're considered on computer, iPod, and cellphone displays. they're video clips within the twenty first century—the fabricated from electronic applied sciences that experience revolutionized media creation, content material distribution, and the adventure of moviegoing itself.
21st-Century Hollywood introduces readers to those worldwide differences and describes the decisive roles that Hollywood is enjoying in choosing the electronic destiny for global cinema. It bargains transparent, concise causes of an immense paradigm shift that maintains to reshape our dating to the relocating photograph. jam-packed with a number of specific examples, the ebook will either teach and entertain movie scholars and picture fanatics alike.
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And even] when Slumdog was scooped up by Fox Searchlight, where it made more than $140 million and won the Academy Award for Best Picture, Warner said it did not regret its decision. The thinking seemed to be: better a loud, super-expensive popcorn extravaganza than a quieter, smaller (and riskier) ﬁlm. (“Core Values”) And with budgets so grossly inﬂated, who can blame them? Every ﬁlm now is a large, corporate bet, in which hundreds of millions of dollars are usually at stake, a far cry from the days when the average cost of a ﬁlm was in the several-million-dollar range, with a million or two more for prints and advertising.
But Fincher and other digital directors keep only a handful of the material they shoot, erasing the rest and thus losing much of the process of shooting. How does this approach affect the actors, who know in all probability that their ﬁrst several dozen takes will almost inevitably be 33 21 ST -CENTURY HOLLYWOOD lost? When you erase 30 or so takes of an actor’s work, aren’t you, in a sense, erasing the actor him or herself? How can we ever ﬁnd out? In truth, what one sees on the set is very different from what one sees on the screen when the image is projected many times larger than life.
Because Levy, however, favors a blunt approach to his material, the ﬁlm soon degenerates into a series of routine car chases and spectacular crashes, all of which add nothing to the ﬁlm’s narrative but easily entertain a jaded audience that is accustomed to unceasing violence, whether comedic or serious (Newcomb 274). 41 21 ST -CENTURY HOLLYWOOD Star salaries, in general, are one of the key factors in creating an audience and audience buzz for a ﬁlm; and as a result, stars who can “open a picture” on their own are handsomely rewarded with a lavish salary up front and back-end percentage points of the ﬁlm’s income (net, sometimes gross, depending on a particular star’s wattage).
21st-Century Hollywood: Movies in the Era of Transformation by Wheeler Winston Dixon