Originally published at notes on cinema James McMahon This paper investigates the timing of labour strikes in Hollywood. The occurrence of strikes, such as the WGA and SAG-AFTRA strikes in 2023, can make sense when we have the hindsight to piece together the historical details of what created rifts between labour and management. But was […]
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Originally published at notes on cinema James McMahon Around the time of this post, SAG-AFTRA and the Alliance of Motion Picture and Television Producers (AMPTP) produced a tentative agreement in their 2023 negotiations. The SAG-AFTRA National Board approved the tentative agreement, and recommends for the ratification of the 2023 TV/Theatrical contracts. – J When the […]
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Originally published at notes on cinema James McMahon Missed Part 1? You should start here. Author’s note: Around the time of this post, the WGA and the Alliance of Motion Picture and Television Producers (AMPTP) produced a tentative agreement in their 2023 negotiations. The WGA Negotiating Committee, the WGAW Board and WGAE Council all voted […]
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Originally published at notes on cinema James McMahon On May 2, 2023, the Writers Guild of America (WGA) went on strike after failing to reach an acceptable agreement with the Alliance of Motion Picture and Television Producers (AMPTP), the trade association that negotiates for the film and television interests of the major Hollywood studios. While […]
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Abstract This paper builds an empirical and theoretical model to analyze how the financial goal of risk reduction changed the insides of Hollywood’s star system. For the moviegoer looking at Hollywood cinema from the outside, the function of the star system has remained the same since the 1920s: to have recognizable actors attract large audiences […]
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Originally published at notes on cinema James McMahon Rotten Tomatoes (RT) found a way to get every last drop from the well of convenience. Film criticism is already pressured, tacitly by convention, or explicitly by editors and bosses, to give bite-size scores with thumbs (up or down), stars (out of 4 or 5), letter grades […]
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Abstract In the March 2021 issue of Harper’s, Scorsese wrote an essay to pay tribute to Federico Fellini, the Italian director who directed such great films as La Strada, 8 1/2, La Dolce Vita, Nights of Cabiria and Satyricon. Scorsese writing on Fellini is definitely newsworthy for cinephiles who want to know about Fellini’s beginnings […]
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Abstract In Hollywood, the goals of art and business are entangled. Directors, writers, actors, and idealistic producers aspire to make the best films possible. These aspirations often interact with the dominant firms that control Hollywood film distribution. This control of distribution is crucial as it enables the firms and other large businesses involved, such as […]
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Originally published at notes on cinema James McMahon Sitting through the Academy Awards ceremony can be frustrating if you watch a lot of films. The breadth of your viewings has given you the perspective to see how some very good films are either receiving small numbers of nominations or are outright ignored across all categories. […]
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Abstract This paper builds an empirical and theoretical model to analyze how the financial goal of risk reduction changed the insides of Hollywood’s star system. For the moviegoer looking at Hollywood cinema from the outside, the function of the star system has remained the same since the 1920s: to have recognizable actors attract large audiences […]
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Originally published at notes on cinema James McMahon Your movie turned out the be a flop? “Nobody knows anything”. You mistakenly believed consumers wanted to see a movie set in the 1920s? “Nobody knows anything”. You thought your casting decisions were going to be loved by all? “Nobody knows anything”. “Nobody knows anything”–this was the […]
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Originally published at notes on cinema James McMahon Part 1 introduced Scorcese’s argument in his Harper’s essay, which was about much more than Fellini. The first part also explained how we can connect Scorcese’s essay to the drive in the Hollywood film business for major film distributors to differentially accumulate, i.e., beat a benchmark that […]
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Originally published at notes on cinema James McMahon Ridley Scott’s Exodus: Gods and Kings is a telling example of Hollywood rationalizing its so-called inability to widen the boundaries of its creativity. In this case, the boundaries concern Hollywood’s tendency to reserve roles for its biggest stars, even when a big star appears unfit for the […]
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Originally published at notes on cinema James McMahon What is more pleasurable: reading Martin Scorcese on cinema or reading reactions to Scorcese on cinema? The reactions compete for our pleasure because they reveal how easy it is for someone’s words to make us jump into a debate with two feet and eyes closed. In the […]
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Abstract From the 1980s to the present, Hollywood’s major distributors have been able to redistribute U.S. theatrical attendance to the advantage of their biggest blockbusters and franchises. At the global scale and during the same period, Hollywood has been leveraging U.S. foreign power to break ground in countries that have historically protected and supported their […]
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Abstract From the 1980s to the present, Hollywood’s major distributors have been able to redistribute U.S. theatrical attendance to the advantage of their biggest blockbusters and franchises. At the global scale and during the same period, Hollywood has been leveraging U.S. foreign power to break ground in countries that have historically protected and supported their […]
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Abstract This paper seeks to explain why Hollywood’s dominant firms are narrowing the scope of creativity in the contemporary period (1980–2015). The largest distributors have sought to prevent the art of filmmaking and its related social relations from becoming financial risks in the pursuit of profit. Major filmed entertainment, my term for the six largest […]
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Abstract This article is a critical investigation and application of the aesthetic theory of Cornelius Castoriadis, one of the most important 20th-century theorists of radical democracy. We outline Castoriadis’s thoughts on autonomy, the social-historical nature of Being, and creation — key elements that inform his model of democratic culture. We then develop a Castoriadian critique […]
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Shimshon Bichler and Jonathan Nitzan Repost from Real-World Economics Review Blog If we are to believe the conventional creed, Hollywood films are highly risky investments. According to De Vany, revenue forecasts have zero precision, which is just a way of saying that ‘anything can happen’. . . . The ‘nobody knows’ principle . . . […]
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Abstract This dissertation combines an interest in political economy, political theory and cinema to offer an answer about the pace of the Hollywood film business and its general modes of behaviour. More specifically, this dissertation seeks to find out how the largest Hollywood firms attempt to control social creativity such that the art of filmmaking […]
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