Download 21st-Century Hollywood: Movies in the Era of Transformation by Wheeler Winston Dixon PDF

By Wheeler Winston Dixon

They are shot on high-definition electronic cameras—with computer-generated results additional in postproduction—and transmitted to theaters, web pages, and video-on-demand networks around the globe. they're considered on computing device, iPod, and cellular phone displays. they're video clips within the twenty first century—the fabricated from electronic applied sciences that experience revolutionized media creation, content material distribution, and the event 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 bargains transparent, concise reasons of a huge paradigm shift that keeps to reshape our dating to the relocating photograph. jam-packed with quite a few unique examples, the booklet will either train and entertain movie scholars and film enthusiasts alike.

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Digital audiotape, it [has been] discovered, tends to hit a “brick wall” when it degrades. While conventional tape becomes scratchy, the digital variety becomes unreadable. (Cieply, “The Afterlife”) Indeed, many contemporary films avoid the use of tape entirely. The entire production is recorded on a hard drive, as in the case of David Fincher’s Zodiac (2007), and only transferred to film for final exhibition. Fincher would shoot as many as 28 takes for a single scene in Zodiac and then erase them, pushing on with still more takes until he got what he wanted (see Goldman).

Thus, in this world of instantaneous image creation and consumption, reputations and careers are made and destroyed literally in a matter of seconds. In addition, an understandable narcissism factor led Time magazine to somewhat ironically publish an issue with a silver foil mirror on its cover, celebrating “you” as seen as YouTube, MySpace, Facebook, and other self-promotional sites as the “person of the year” for 2006 (“YouTube”). But also in this mix of images are clips from movies beloved by fans, if not canonized by critics, that in many cases come to stand for the entire film, which contemporary viewers don’t seem to have the time to view.

How does this approach affect the actors, who know in all probability that their first several dozen takes will almost inevitably be 33 21 ST -CENTURY HOLLYWOOD lost? When you erase 30 or so takes of an actor’s work, aren’t you, in a sense, erasing the actor him or herself? How can we ever find out? In truth, what one sees on the set is very different from what one sees on the screen when the image is projected many times larger than life. Gary Cooper, for example, famously seemed to do nothing during the close-ups in his films; experienced technicians and other veteran actors would watch him at work and wonder what would finally appear on the screen.

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