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Kitty Carlisle (Catherine Conn) [Lyman, 247.]

Also, once an actor or actress appears to be in demand, Hollywood seems to have a tendency to over-work them. In addition, as the money begins to flow, much of it is first siphoned off by the studios, agents, lawyers and managers. This series of books further contends, for example, that many of the individuals cited above, found themselves in an all too common position, at one time or another in their respective careers. They were supposed to be paid a substantial amount of money by a studio for the performance of services in conjunction with a particular film, but the money was never paid, leaving the economic victim with the choice of suing and never working in Hollywood again, or moving on to the next job without complaining (i.e., selling out to a corrupt system in exchange for continued fame and less money than the amount contractually due). Such a choice would tend to wear on the psyche of any healthy individual. For that portion of the money that actually makes it past the studio accountants, attorneys, agents and business managers, to the talent, there seems to be a small industry in Hollywood, selling these creative people sex, drugs and bad investments. Finally, after being treated like "property" for so many years, many of these people, like Judy Garland, just "wear out". This survey, at the very least, ought to raise serious questions about the relationship between Hollywood business practices and the premature deaths of so many of the members of the Hollywood creative community. The phenomenon deserves and requires serious additional research.

(as the Hollywood adage went) than with giving the public what they thought it needed . . .

Inefficiency--Another problem with the system in use in Hollywood is inefficiency. Production inefficiencies existed years ago and continue today. As Powdermaker pointed out, in Hollywood " . . . more workers are used than necessary, raw material is thrown away, highly skilled men are employed and then not permitted to function with any degree of efficiency; foremen, bosses, and others are constantly asserting their will, without regard to the effect on the product . . . "

Ted Lewis (Theodore Leopold Friedman) [Lyman,258.]

As an example, of Hollywood inefficiency in more recent times, during production of , producer Robert Evans reports that several " . . . people involved in the day-by-day shooting . . . " were interviewed and the " . . . word that all of them used most consistently was 'waste'--waste of time, waste of shots, waste of money . . . Other accusations include[d] nepotism and drugs." Under Francis Ford Coppola's direction, the production cost soared from the planned $20 million to $48 million and without a completion bond. According to Robert Evans' autobiography, Coppola was using to pay back Evans for taking credit for the success of . Evans was the studio head at Paramount when was produced and reportedly was very instrumental in the final editing of the hugely successful film, over Coppola's objections.

As noted above, another result of the dominance of world markets by American film companies is that the vast majority of the American audiences are missing good foreign films. Movie critic Roger Ebert stated in his 1994 book that " . . . [m]aybe Hollywood films have grown so slick and sophisticated that simple stories . . . can no longer be told in the big commercial genres." Ebert reports that " . . . in the early months of 1993, the best films (he had seen were) . . . mostly from other countries." Thus, American film audiences are missing out on some of the best films because foreign films are generally muscled out of the U.S. theatrical marketplace, and the producers of such films are being cheated out of revenues they would otherwise have earned.

Sarna, Jonathan, D., "The Jewish Way of Crime", August, 1984.

Insular Community--Another common description of Hollywood that appears to be supported by the research underlying the series of books on Hollywood (summarized here) is that it is an insular community. For example, Hollywood is described by Charles Kipps as " . . . the most insular town in the world." Of course, insular means isolated and detached.

Finally, in October of 1994, the Monopolies & Mergers Commission report on U.K. distribution and exhibition was published. It " . . . concluded that a complex monopoly does exist in the supply of films for exhibition in the U.K. But it recommended only two changes in the way distributors do business, both of marginal impact. First, it orders an end to the practice of alignment, whereby a distributor has a habitual exclusive arrangement with a particular cinema chain. Second, it cuts the period that distributors are allowed to require cinemas to show films to two weeks for first run product, and one week for second-run." Experienced observers of the European market suggest that such changes will have little effect on the dominance of European film markets by the American major studio/distributors.

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  • Kindem, Gorham, , Southern Illinois University Press, 1982.

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  • Rawlence, Christopher, Atheneum, 1990.

    Thesis For Dracula Paper

  • Sherman, Allan, , Atheneum Publishers, 1965.

    Thesis For Dracula –

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How to Write an Essay Introduction (with Sample Intros)

Similar tactics are used in the U.S. to gain the support of numerous organizations with film industry concerns (e.g., the NAACP). In other words, everywhere you see a significant monetary contribution made by the MPAA, its member companies or studio executives, to a not-for-profit film industry organization or film school (for example), you are likely to see a reluctance on the part of the people within such organizations to criticize the hand that feeds them. The MPAA, of course, has discovered that this tactic works in both the foreign and domestic markets.

Blood of Dracula (UK title: Thesis For Dracula Paper

John Huston is quoted by David McClintick as once describing Hollywood as "[a] closed-in, tight, frantically inbred, and frantically competitive jungle. And the rulers of the jungle are predatory . . . " Goldman reports that "'Hollywood' is basically a very small community, and there are precious few secrets." Nicolas Kent describes the same phenomenon by saying that " . . . the mentality of Los Angeles is that of a company town . . . "

Topic: Thesis For Dracula Paper – 492059 « :: OSIFA :: …

reported in November of 1994 that the " . . . UIP and some officials at the European Commission don't like each other. There's a strong lobby within the commission bent on breaking up UIP, the partnership between Paramount, Universal and MGM/UA, on the grounds that it propagates the dominance of U.S. films in Europe." But, the MPAA actually appears to use thinly disguised bribes to influence the European markets. In November of 1994, during the ongoing debate over GATT, Jack Valenti announced " . . . a $40,000 grant to the European Media Business School in Madrid, matching the $40,000 already pledged by the European Commission."

THESIS STATEMENT DRACULA term papers and essays

Hollywood has also been described as " . . . a small, provincial town, where huge amounts of other people's money are laid down on commodities that are about as predictable as a madman's mood." As Powdermaker explains, "[t]he stimulus of contact with those from other fields of endeavor, which is so accessible in most big cities, is lacking in Hollywood. For the most part, people work, eat, talk and play only with others who are likewise engaged in making movies." "Most of the inhabitants (of Hollywood) seem to enjoy and receive a certain security from being only with people like themselves." They " . . . think and talk only about movies with other movie people . . . Hollywood was like a 'sealed chamber', in that one gradually accepted its standards and values, forgetting about others."

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