Introduction In 1936, President Franklin announced that Americans had a! ^0 rendezvous with destiny! +/-, and in the 1940 s, American domestic film audience reached its highest peak ever, and the! ^0 yearly box office receipts of 1. 75 billion dollars broke all previous records before 1946! +/-. But all that changed in the next decades, as the massive changes in lifestyle accompanying suburban migration and the related family / housing /baby boom, and as! (R) watching TV! rapidly replaced! (R) going to the movies! , as! ^0 America! s preferred ritual of habituated, mass-mediated narrative entertainment! +/-. Therefore, ! ^0 the domestic attendance declined by 33 per cent between 1948 and 1950! +/-, and in overseas markets, according to David A.
Cook, American film industry! s annual reduced from sixty-eight million dollars in 1946 to under seventeen million dollars in 1947. At the beginning of 1948, things were bad enough: in the major studios, unemployment had risen by 25 per cent; production budgets were cut by as much as 50 per cent. The resurgence was from the late 1960 s, when some big productions such as Ben-Hur, Sound of Music won unprecedented profits. Producers eagerly sank huge sums into more blockbusters and cast about for new attractions, hoping that they offered an answer to the threat of television. The industry! s success based on very few films led it to a recession from early 1970 s. When viewers returned to the Star War over and over, they were really surprised what appeared on the screen that they couldn! t image before.
The Essay on What genre is the film An American Werewolf in London?
I think that An American Werewolf in London is too funny to be just a horror movie, even though Dave's story is too sinister to be in a comedy.Firstly, let's think about the title. Most horror films have one or two word titles e.g. The Omen, The Ring etc. to help build up suspense, but this film, An American Werewolf in London, its title is almost a whole sentence. There's a bit of mystery in it – ...
In the first part of the essay, I discuss how the New Hollywood film attracted the audience again, especially how the film industry benefited from the! ^0 movie brats! +/- and the blockbusters. In part 2, I explore some pretty changes in the distribution system of Hollywood films and other entertainment products during the 1970 s and 1980 s. In part 3, I discuss how the New Hollywood produced a full range of products and defined a broader field of commercial interests. In the last part, I give some argument about Hollywood! s new expansion in overseas markets.
