Hollywood’s Studio System: Golden Age and Decline

The Transition to Synchronized Sound Early sound innovations: Edison’s phonograph Problem of synchronization Lee DeForest: “Sound on Film” (1923) 1927 breakthroughs: The Jazz Singer (w/ Al Jolson) “Big Five Agreement” First “talkies” appear in 1928 1930s: U.S. Sound transition complete: Increased industry profits Sound creates new genres (i.e., the musical & the screwball comedy) Silent stars—like Buster Keaton and Greta Garbo—forced to adapt

Hollywood Studio System The “Big Five” and “Little Three” Vertical Integration = Big $$$ Big five studios owned the means of: Production: studios, equipment, sets . . . as well as major stars and directors Distribution: Shipping and sales of films; Promotion (relationships with press) Exhibition: i.e., Movie theater chains (“Little three” did not own theaters) “Block booking” and double features (“A” and “B” movies) MPAA and the Hays Code (see LaM, page 452) 1930s: Restrictions on sex, violence, “immoral” conduct in movies Good rewarded; Evil punished Replaced with “MPAA ratings system” in 1968

1950s: Decline of the Hollywood Studio System Reasons for the Decline: Social: Suburbanization, TV, Other Leisure Opportunities (i.e., sports) Economic: International Protectionism, Paramount Decision (1948), Independent Producers Political: WWII, HUAC Strategies to Slow the Decline: New Technology: TechniColor, Widescreen, 3-D (1952), AromaRama New Markets: Young People, “Exploitation” Markets, Art House 1946 $ 1.7 billion domestically, peak in 50 years; $ 900 million in 1962 Paramount Decision: vertical disintegration of the Industry. Asked to divest their theatre chains 1951: Independents comprised 1% of revenues; 1958: Market share rose to 50% Revenues from TV in 1947: $1.9 m; Revenues from TV in 1957: $ 943.2 m; 8/10 US homes owned a TV by 1960

Singin’ in the Rain (1952) Think about narrative: How do the musical numbers fit into the plot? What are the major “events” in the story? How are people characterized? Where does the conflict come from? What does this film (or its central characters) suggest that movies should do or be? What does the film tell you about the Hollywood studio system and the transition to sound? What does it tell you about U.S. culture in the 1950s?