By Wheeler Winston Dixon
They are shot on high-definition electronic cameras—with computer-generated results extra in postproduction—and transmitted to theaters, web pages, and video-on-demand networks world wide. they're seen on computing device, iPod, and cellphone monitors. they're videos within the twenty first century—the manufactured from electronic applied sciences that experience revolutionized media construction, content material distribution, and the adventure of moviegoing itself.
21st-Century Hollywood introduces readers to those worldwide alterations and describes the decisive roles that Hollywood is taking part in in picking out the electronic destiny for global cinema. It deals transparent, concise reasons of a huge paradigm shift that keeps to reshape our courting to the relocating snapshot. jam-packed with a variety of unique examples, the ebook will either teach and entertain movie scholars and picture lovers alike.
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Additional info for 21st-Century Hollywood: Movies in the Era of Transformation
Several instant celebrities have already sprung from YouTube’s cyclonic morass of images—clips created by people with enough novelty, imagination, or difference to stand out from the crowd. The British singer Paul Potts, an erstwhile cell phone salesman with a bashful “Gomer Pylesque” stage “non-presence,” astonished viewers on the television show Britain’s Got Talent by bursting forth into a reasonably proﬁcient rendition of Puccini’s “Nessun dorma,” much to the astonishment of the show’s judges, including the notoriously viperish Simon Cowell.
The early notices were so uniformly disapproving that after Bay’s traditional opening-night dinner party at Beverly Hills’ Mr. Chow, the 44-year-old director wondered aloud to executives at distributor Paramount Pictures about the possible impact of the drubbing. He needn’t have worried. . 3 million at the domestic box ofﬁce). . Although [audience member] 27-year-old Diana Salazar didn’t know that Bay had directed the movie, she praised its execution. “It had a lot of action. It was really interesting to see the good ﬁght scenes,” she said.
Entombed in 16mm and 35mm frames for projection equipment that is becoming less and less prevalent (especially in the case of 16mm), these ﬁlms might otherwise never reach a 21st-century audience. Where, then, is the theatrical feature ﬁlm headed? For that matter, where is the moving image migrating—into theaters, onto television, or onto the web? Conventional cinema distribution has undergone numerous changes in the past century, going from short ﬁlms of less than a reel’s duration to epic spectacles in color, stereophonic sound, and, in a return to the 1950s, 3-D as the “new” theatrical weapon against the encroachments of home entertainment.