⭐⭐⭐⭐⭐ Essay On 1920s Slang

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Essay On 1920s Slang



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Questions and answers use live chat for more queries How do you set a price? We make our prices affordable for all students, regardless of their budgets. Need a discount? Just ask for it! There were often double-features black and white double-bills , for example, Not of This Earth - an alien invasion film was originally released as part of a double-bill with Attack of the Crab Monsters [Note: Not of This Earth was remade by Jim Wynorski as Not of This Earth with ex-porn star Traci Lords in her first post-adult film appearance, in the Beverly Garland role].

There was also Ed Wood's debut transvestite shock film Glen or Glenda ARC only released one film noir during this early period: Female Jungle - notable as sexpot Jayne Mansfield's first film. Hollywood was obviously fearful of television's dawning in the early s. Indeed, the studios forbade their movies and stars from appearing on the small screen at all. Fearful of losing audiences to the screens in their living rooms, Hollywood enticed filmgoers with expensive epics, gimmicky 3D releases, stereo sound, enhanced color technology and widescreen formats such as CinemaScope, VistaVision and Panavision.

Bwana Devil was the first full-length 3D talkie. This is Cinerama was the first to use a wrap-around, widescreen format, and The Robe , the first movie released in CinemaScope, was recorded in four-track stereo. All of the major Hollywood studios fought television with what they called "theater television": closed-circuit screenings of TV programs in movie theaters. Since the Big Five studios owned extensive theater chains, this strategy was easily implemented. The Theater Television Network, founded in , aired shows in participating theaters where audiences were provided with costlier programs incorporating political news coverage, prizefights, NCAA games, etc.

Although over U. Technological and financial issues combined with the threat of government regulation doomed this direct-pay system to failure. Film attendance declined precipitously as free TV viewing and the increase in popularity of foreign-language films made inroads into the entertainment business. In March of , the Academy Awards were televised for the first time by NBC - and the broadcast received the largest single audience in network TV's five-year history.

Expensive promotional TV advertising for the scifi flick The Beast From 20, Fathoms marked one of the first times that film advertising successfully exploited television to drive people to movie theaters nationally. Inevitably, the studios came to see that TV wasn't going away and that collaboration could be mutually beneficial. With a steep decline in weekly theatre attendance, studios were forced to find creative ways to make money from television - converted Hollywood studios were beginning to produce more hours of film for TV than for feature films. A number of Hollywood's independent producers created television shows in the late '40s and early '50s. At first, filmed programs ran second to high-quality live dramas, but eventually, pre-recording became the standard mode of production thanks to the profitability of reruns and syndication.

By , many major studios became actively involved - notably Disney with its weekly ABC Disneyland in promoting the Disneyland theme park and recycling already-released products, and its afternoon TV show The Mickey Mouse Club in Other TV shows became popular:. In the season, the ABC TV show Warner Brothers Presents was the first television program produced by Warner Brothers Pictures, and marked the introduction of the major Hollywood studios into television production. It was a survival tactic for the studios to pioneer in television series production. And later, in the mid- to late 50s, Warner Bros. By the end of , more than Hollywood-produced television series were being broadcast or in production.

By , Hollywood dominated prime time. In the mids, major studios began to sell and release older black-and-white B-movies and film rights to television for broadcast and viewing, albeit primarily to individual stations, not networks. In , NBC became the first network to premiere recently released, major studio films on the tube. Its popular weekly show Saturday Night at the Movies , was immediately duplicated by the other networks, and by , every night of the week featured a prime-time movie.

TV stars became cross-over film stars - the first was Charlton Heston. In early , Western cowboy star Gene Autry was the first film star to announce his appearance in a sponsored TV series. It was memorable for its "Dum, de Dum Dum" theme music that first made an appearance in the Miklos Rozsa soundtrack for the film noir The Killers , and the disclaimer: "Only the names have been changed to protect the innocent. In , the studios lifted the ban against film stars making TV appearances. One positive side-effect of the growing influence of American television in the 50s was that it was becoming the proving ground for many aspiring directors.

Some of the directors who began in TV in this decade were to make some of Hollywood's best movies in the 60s:. Because of the emergence of television as a major entertainment medium, many studios converted their sound stages for use in television production. Because labor was cheaper abroad, many producers were taking their film production overseas. Delbert Mann's direction of Paddy Chayefsky's script initially written as a TV play and produced for NBC Television Playhouse and aired in with Rod Steiger for the black and white Marty about a romantically-insecure and lonely Bronx butcher Best Actor-winning Ernest Borgnine who found love with someone his friends called a 'dog'. It was a big winner on the film screen - it was the first American film chosen at the Cannes Film Festival as Best Picture since the award was instituted, and it won four major Academy Awards, including Best Picture from the Academy of Motion Picture Arts and Sciences.

Because television a small black and white screen had become affordable and a permanent fixture in most people's homes, the movies also fought back with gimmicks - color films, bigger screens, and 3-D. Bigger and more colorful films and screens, and big scale, profitable box-office epics, such as Cecil B. DeMille's Samson and Delilah , the popular Biblical story starring long-haired and virile Victor Mature and the beautifully-bewitching Hedy Lamarr with exposed belly-button, and MGM's expensive romantic adventure King Solomon's Mines , filmed on location in Africa, were designed to lure movie-goers back into the theatres.

Coincidentally, two of the biggest films at the start of the decade, director Henry King's Twelve O'Clock High about the stress experienced by American bombing units in England, and Delmer Daves' Broken Arrow , an "adult-Western" of the blood-brother relationship between an Indian agent James Stewart and Apache chief Cochise white actor Jeff Chandler , would both become episodic TV series in future years. Along with Samuel Fuller's Run of the Arrow , Broken Arrow was notable for having a sympathetic depiction of the Native American culture and concerns - the first film to be shot from the Indians' point-of-view for many years.

This revisionist effort would be followed years later by the politically-correct, award-winning Dances With Wolves All rights reserved. Filmsite: written by Tim Dirks. Search for:.

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