By Wheeler Winston Dixon
They are shot on high-definition electronic cameras—with computer-generated results further in postproduction—and transmitted to theaters, web content, and video-on-demand networks world wide. they're seen on desktop, iPod, and cellular phone displays. they're videos within the twenty first century—the fabricated from electronic applied sciences that experience revolutionized media construction, content material distribution, and the event of moviegoing itself.
21st-Century Hollywood introduces readers to those worldwide variations and describes the decisive roles that Hollywood is taking part in in making a choice on the electronic destiny for global cinema. It bargains transparent, concise factors of a massive paradigm shift that maintains to reshape our dating to the relocating photograph. packed with a variety of unique examples, the e-book will either teach and entertain movie scholars and picture enthusiasts alike.
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Extra info for 21st-Century Hollywood: Movies in the Era of Transformation
In its earliest stages, we were happy enough to see static images on the worldwide web, which were occasionally crudely animated through the use of Shockwave and other pioneering digital technologies. Now we demand motion graphics with quality sound as a matter of routine, and the current state of technical progress on the web is certainly not the last step in the medium’s evolution. And yet the digital era brings with it a host of new complications 31 21 ST -CENTURY HOLLYWOOD and archival issues, as demonstrated in The Digital Dilemma, a report commissioned and executed by the science and technology council of the Academy of Motion Picture Arts and Sciences (AMPAS).
42 CONSTRUCTING AN AUDIENCE As Malcolm Gladwell has suggested, however, the magic formula for making a hit ﬁlm has yet to be distilled. As he notes, The most famous dictum about Hollywood belongs to the screenwriter William Goldman. “Nobody knows anything,” Goldman wrote in Adventures in the Screen Trade a couple of decades ago. “Not one person in the entire motion picture ﬁeld knows for a certainty what’s going to work. ” One of the highest-grossing movies in history, Raiders of the Lost Ark, was offered to every studio in Hollywood, Goldman writes, and every one of them turned it down except Paramount: “Why did Paramount say yes?
The AMPAS report suggests that, for the 34 THE DIGITAL CENTURY present, all digital ﬁlms will probably have to be recopied to a newer, perhaps more stable electronic medium every 7 to 10 years, or else they will cease to exist altogether. This is a new kind of ephemerality for the moving image to deal with; it seems the future is much less stable in this regard than the past. Still, one can conﬁdently predict that this latest digital logjam is another obstacle that will eventually be overcome by new methods of image storage and retrieval that only a few of us have even given the slightest bit of consideration to—methods, no doubt, that will make newly minted billionaires of yet another group of young innovators.