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America's corporate art : the studio authorship of Hollywood motion pictures / Jerome Christensen.

By: Material type: TextTextSeries: Post 45Publication details: Stanford, Calif. : Stanford University Press, ©2012.Description: 1 online resourceContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 0804778426
  • 9780804778428
Subject(s): Genre/Form: Additional physical formats: Print version:: America's corporate art.DDC classification:
  • 384/.80979494 23
LOC classification:
  • PN1993.5.U65 C525 2012
Online resources:
Contents:
The rackets : entertainment inc. and the Warners gang (1928-1939) -- MGM and the invention of the postwar era : Mrs. Miniver and Battleground (1940-1949) -- "'Til the stars go cold" : Singin' in the rain, The band wagon, and Executive suite (1952-1954) -- Ownership and authorship : Warners' Fountainhead and Hitchcock's Vertigo (1949-1958) -- Saving Warner Bros. : Bonnie and Clyde, the movements, and the merger (1964-1968) -- Post-Warners Warners : Batman and JFK; You've got mail (1989-1998) -- The conscience of a corporation : toys united the Disney-Pixar merger, and the assertion of "cultural" authorship (1939-2006).
Subject: Contrary to theories of single person authorship, America's Corporate Art argues that the corporate studio is the author of Hollywood motion pictures, both during the classical era of the studio system and beyond, when studios became players in global dramas staged by massive entertainment conglomerates. Hollywood movies are examples of a commodity that, until the digital age, was rare: a self-advertising artifact that markets the studio's brand in the very act of consumption. The book covers the history of corporate authorship through the antithetical visions of two of the most dominant Hollywood studios, Warner Bros. and MGM. During the classical era, these studios promoted their brands as competing social visions in strategically significant pictures such as MGM's Singin' in the Rain and Warner's The Fountainhead. Christensen follows the studios' divergent fates as MGM declined into a valuable and portable logo, while Warner Bros. employed Batman, JFK, and You've Got Mail to seal deals that made it the biggest entertainment corporation in the world. The book concludes with an analysis of the Disney-Pixar merger and the first two Toy Story movies in light of the recent judicial extension of constitutional rights of the corporate person.
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Includes bibliographical references and index.

The rackets : entertainment inc. and the Warners gang (1928-1939) -- MGM and the invention of the postwar era : Mrs. Miniver and Battleground (1940-1949) -- "'Til the stars go cold" : Singin' in the rain, The band wagon, and Executive suite (1952-1954) -- Ownership and authorship : Warners' Fountainhead and Hitchcock's Vertigo (1949-1958) -- Saving Warner Bros. : Bonnie and Clyde, the movements, and the merger (1964-1968) -- Post-Warners Warners : Batman and JFK; You've got mail (1989-1998) -- The conscience of a corporation : toys united the Disney-Pixar merger, and the assertion of "cultural" authorship (1939-2006).

Print version record.

Contrary to theories of single person authorship, America's Corporate Art argues that the corporate studio is the author of Hollywood motion pictures, both during the classical era of the studio system and beyond, when studios became players in global dramas staged by massive entertainment conglomerates. Hollywood movies are examples of a commodity that, until the digital age, was rare: a self-advertising artifact that markets the studio's brand in the very act of consumption. The book covers the history of corporate authorship through the antithetical visions of two of the most dominant Hollywood studios, Warner Bros. and MGM. During the classical era, these studios promoted their brands as competing social visions in strategically significant pictures such as MGM's Singin' in the Rain and Warner's The Fountainhead. Christensen follows the studios' divergent fates as MGM declined into a valuable and portable logo, while Warner Bros. employed Batman, JFK, and You've Got Mail to seal deals that made it the biggest entertainment corporation in the world. The book concludes with an analysis of the Disney-Pixar merger and the first two Toy Story movies in light of the recent judicial extension of constitutional rights of the corporate person.

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