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Item specifics
- Condition
- Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
- Publication Date
- 2016-06-22
- Pages
- 318
- ISBN
- 9781442268289
About this product
Product Identifiers
Publisher
Rowman & Littlefield Publishers, Incorporated
ISBN-10
144226828X
ISBN-13
9781442268289
eBay Product ID (ePID)
14038368173
Product Key Features
Book Title
Hollywood Trust : Trade Associations and the Rise of the Studio System
Number of Pages
318 Pages
Language
English
Topic
Film / General, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts), Film / History & Criticism, Industries / Entertainment
Publication Year
2016
Illustrator
Yes
Genre
Performing Arts, Business & Economics
Book Series
Film and History Ser.
Format
Hardcover
Dimensions
Item Height
0.9 in
Item Weight
22.6 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2016-004018
TitleLeading
The
Dewey Edition
23
Reviews
Though many scholars and researchers have written about the film industry, they rarely examine the structure of the industry from the perspective of trade associations, organizations, censorship boards, producers and distributors, and those involved with legal matters. That is the subject of this book. Afra looks at how the film industry became a vertically integrated oligopoly in which a 'limited number of firms controlled production, distribution, and exhibition.' He assembled this study from corporate files, legal documents, financial reports, trade papers, and personal correspondence (1910-30). Arguing that the confluence of studio executives, Wall Street, and government policies--which were sometimes at odds and sometimes collaborated--resulted in and shaped the studio system, Afra provides a comprehensive history that reveals how multiple players, including censorship agencies, trade associations, producers, distributors, exhibitors, theater owners, and studios, promoted their own interests in developing the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up: Recommended. Upper-division undergraduates through faculty., Though many scholars and researchers have written about the film industry, they rarely examine the structure of the industry from the perspective of trade associations, organizations, censorship boards, producers and distributors, and those involved with legal matters. That is the subject of this book. Afra looks at how the film industry became a vertically integrated oligopoly in which a 'limited number of firms controlled production, distribution, and exhibition.' He assembled this study from corporate files, legal documents, financial reports, trade papers, and personal correspondence (1910-30). Arguing that the confluence of studio executives, Wall Street, and government policies--which were sometimes at odds and sometimes collaborated--resulted in and shaped the studio system, Afra provides a comprehensive history that reveals how multiple players, including censorship agencies, trade associations, producers, distributors, exhibitors, theater owners, and studios, promoted their own interests in developing the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty.g the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty.g the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty.g the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty., Though many scholars and researchers have written about the film industry, they rarely examine the structure of the industry from the perspective of trade associations, organizations, censorship boards, producers and distributors, and those involved with legal matters. That is the subject of this book. Afra looks at how the film industry became a vertically integrated oligopoly in which a 'limited number of firms controlled production, distribution, and exhibition.' He assembled this study from corporate files, legal documents, financial reports, trade papers, and personal correspondence (1910-30). Arguing that the confluence of studio executives, Wall Street, and government policies--which were sometimes at odds and sometimes collaborated--resulted in and shaped the studio system, Afra provides a comprehensive history that reveals how multiple players, including censorship agencies, trade associations, producers, distributors, exhibitors, theater owners, and studios, promoted their own interests in developing the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty., "Though many scholars and researchers have written about the film industry, they rarely examine the structure of the industry from the perspective of trade associations, organizations, censorship boards, producers and distributors, and those involved with legal matters. That is the subject of this book. Afra looks at how the film industry became a vertically integrated oligopoly in which a 'limited number of firms controlled production, distribution, and exhibition.' He assembled this study from corporate files, legal documents, financial reports, trade papers, and personal correspondence (1910-30). Arguing that the confluence of studio executives, Wall Street, and government policies--which were sometimes at odds and sometimes collaborated--resulted in and shaped the studio system, Afra provides a comprehensive history that reveals how multiple players, including censorship agencies, trade associations, producers, distributors, exhibitors, theater owners, and studios, promoted their own interests in developing the studio system. Filmmakers too played a role: e.g., D. W. Griffith headed the National Association of the Motion Picture Industry's committee on censorship. Those who teach film history or matters related to censorship will find this an excellent reference for explaining the formation of the industry. The book is thorough, well researched, and extensive in its analysis. Summing Up:Recommended. Upper-division undergraduates through faculty." -- Choice Reviews
Dewey Decimal
384/.80979494
Synopsis
As the film industry was establishing itself at the start of the twentieth century, trade associations played a pivotal role in the emergence of the studio system. These producer-distributor trade associations were forums for internal and external conflicts, as well as the true sources of influence and power in early Hollywood. In The Hollywood Trust: Trade Associations and the Rise of the Studio System, Kia Afra provides a detailed account of three successive trade organizations from 1915 to 1928. By examining the Motion Picture Board of Trade, the National Association of the Motion Picture Industry (NAMPI), and the Motion Picture Producers and Distributors of America (MPPDA), Afra outlines the relationships of power in Hollywood's early years, asking questions such as: How and why did the studio system come about, and what were the industrial and institutional forces that impacted Hollywood's development? In order to answer these crucial questions, The Hollywood Trust explores the role played by film industry trade associations in navigating important issues facing the burgeoning studio system, including censorship, public relations, trade practices, government regulation, film distribution, labor conflicts, taxes and tariffs, and exhibitor opposition. A vital look at an under-reported aspect of the studio system, this volume fills a gap in the history of the American film industry. As such The Hollywood Trust will be of particular interest to scholars of film history, as well as those concerned with cultural history and the political economics of entertainment., The Hollywood Trust: Trade Associations and the Rise of the Studio System offers a rare look at the Hollywood trade organizations that rose during the early years of cinema. This book offers a detailed account of three successive trade organizations from 1915 to 1928: the Motion Picture Board of Trade, the National Association of the Motion Picture Industry (NAMPI), and the Motion Picture Producers and Distributors of America (MPPDA). The book shows how trade organizations acted as the forum for internal and external conflicts as well as the facilitators for cooperative action on censorship, public relations, government regulation, film distribution, and other issues.
LC Classification Number
PN1993.5.U65A37 2016
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Seller feedback (516,239)
- 1***n (9384)- Feedback left by buyer.Past monthVerified purchaseAs described and shipped quickly, 5 star seller
- s***r (270)- Feedback left by buyer.Past monthVerified purchaseExactly as described, fast shipping, thank you!
- n***u (4616)- Feedback left by buyer.Past monthVerified purchaseGood seller, would buy from again!