the hollywood studio system in the 1930s and 1940s

That trend would continue through the coming war boom, with the integrated majors enjoying the benefits of that boom to a far greater degree than the other studios. All of the studios except UA produced B's, which, in fact, comprised up to one-half the output of Warners, RKO, and Fox by 1939-1940. Schaefer's sporadic involvement in production infuriated Pandro S. "Pan" Berman, a top producer and capable production chief who left RKO for MGM in 1939 to escape Schaefer's interference. Both pictures were produced on the Warners lot using contract personnel, but both involved a number of outsiders as well—most notably the freelance star Gary Cooper, who played the title role in both pictures. Without government interference, “Paramount-Vitaphone” and “Fox-Loew’s” might have divided the entertainment industries of the entire English-speaking world between them. That rift is readily evident in table 3.1, which charts the revenues, profits, and number of releases for each of the Big Eight companies in 1940 and 1941: Besides indicating the clear superiority of the Big Five in terms of revenues and profits, these figures also show that all of the studios were beginning to capitalize on the prewar market surge by 1941. CAPRA, COHN, AND THE Consequently Columbia was the only major producer-distributor in Hollywood whose chief executive also ran the studio and oversaw production and whose second-in-command ran the New York office. By 1929, Warner Brothers had acquired the Stanley theatre circuit, which controlled nearly all the first-run houses in the mid-Atlantic states, and the production and distribution facilities of its former rival First National to become one of the largest studios in Hollywood. "38, While Gone with the Wind clearly was an exceptional case, its release pattern and sales strategy had considerable influence on the marketing of top features in 1940-1941. Paramount's B output included several successful series, notably the Henry Aldrich films, which were adapted from a successful NBC radio program in an obvious effort to capitalize on the popularity of MGM's Hardy Family saga. The factory-style movie production of the Hollywood studios was fast unravelling and its end was hastened by the advent of a technology that threatened the dominance of movies as America’s premier form of entertainment – television. The latter's first star vehicle, "A Wild Hare," was released in July 1940, unleashing a wisecracking, anarchic screen personality who not only could compete with Disney's beloved Mickey Mouse but in the next few years would become the industry's top cartoon star.12, Twentieth Century-Fox was in a resurgent position in 1940 after barely surviving the Depression. Totally ignored in the hysteria generated by HUAC were the realities of the Hollywood studio system of the 1930s and 1940s. RKO also released newsreels, shorts, and cartoons, with Disney's animated output by far the most reliable commercial products on its schedule. Warners was the only family-run studio among the Big Five. Frank Capra had refined the screwball comedy into Columbia's house genre during the Depression, and after Capra went freelance in 1939, Columbia signed one- and two-picture deals with top outside producer-directors like Howard Hawks, George Stevens, and Wesley Ruggles for its A-class product—invariably romantic comedies in the Capra mode. Zanuck also signed a number of promising new players in 1939-1940, including Dana Andrews, Betty Grable, Gene Tierney, Carmen Miranda, and Henry Fonda. Significantly, each studio responded somewhat differently to these changing industry conditions in 1940-1941. That year also saw the emergence of ARI's chief competitor, Leo Handel's Motion Picture Research Bureau (MPRB), along with various other (and less significant) firms.49, One immediate effect of the research efforts by Gallup, Handel, and others was to indicate how difficult it was to generalize about audiences and moviegoing. Beyond the presold value of the novel itself, Selznick enhanced audience interest with the much-publicized "Search for Scarlett" and the signing of Clark Gable to portray Rhett Butler. The Hollywood Studio System was comprised of eight companies in total but three were not considered integrated conglomerates They were known as the Little Three Dorothy is swept away to a magical land in a tornado and goes on a quest to see the Wizard who can help her return home. Big Five. Cite this article Pick a style below, and copy the text for your bibliography. Thus, the lower the audience's income, the greater the appeal of duals. During the late 1930s and early 1940s there were many individuals in America that were hesitant about joining in another world war. In fact, the phenomenal performance of that single picture taught the major studio-distributors a great deal about the full potential of the motion picture market in 1940-1941, and how to exploit it. In general, however, double features were very common, and in fact, an ongoing battle in the Chicago area in 1940 centered on a move by the powerful Balaban and Katz chain to triple bill on a citywide basis after successful experiments with tripling in 1939.6l. Moreover, top motion picture executives, particularly those in New York with their fingers on the financial pulse of the industry, preferred to base their market strategies and sales policies on their own intuition and business acumen. Both companies were full-fledged movie factories with ample production facilities and nationwide distribution setups, but without theater chains they lacked the financial leverage and the resources to compete with the major studios at the A-class level. That was, in fact, the first year since 1929 that all of the Big Eight companies turned a profit. Actors like Bette Davis sued studios beginning in the 1930s, in attempts to free themselves from uncompromising contracts. RKO Radio was the smallest of the major companies and never achieved complete financial stability during the studio era; it became prominent, however, as the producer of King Kong (1933), the Astaire-Rogers dance cycle, and Orson Welles’s Citizen Kane (1941) and also as the distributor of Disney’s features. First, it meant that the major-minors had to rely on the integrated majors for access to the first-run market, which the Big Five controlled. That transformation scarcely occurred overnight, and, in fact, Hollywood's studiobased production system was still essentially intact in 1940, despite the challenges that threatened the industry. In the early studio era, management of the corporation, of the studio-factory, and of actual production was a top-down process with a clear chain of command. Thus, in late 1941, Variety's Arthur Ungar noted "the so-called abandonment—for publicity purposes, but not actually—of the 'B' class of product." Here too the key was preselling, which at this level generally involved the reissue of A-class features and the adaptation of best-selling novels and hit stage plays. The lack of a large, rigid, vertically integrated studio structure had been disadvantageous to Columbia in the 1930s, but proved to be the way to make millions in the new Hollywood system. History of the American Cinema. Exhibitors were well aware of audience resistance to certain types of films, and they provided various means to enable moviegoers to act on their tastes and preferences. It stands today as a symbol of the birth of one of the great industries of California and the nation. Interestingly enough, Walt Disney had deserted UA and gone to RKO the year before, and in 1938 Disney was enjoying terrific success with his company's first animated feature, Snow White and the Seven Dwarfs (1937), which was released via RKO. Casablanca The Studio System (1930s-1940s) Historian Margaret Thorpe estimates that by the late 1930s, American moviegoers were buying up to 85 million tickets a week. Thomas Schatz details the workings of the studio system from the silent era to its final collapse in the 1960s. Another significant problem for UA involved the management of the company. This was confirmed by Universal, which had been only marginally profitable during the golden age of the 1930s and 1940s. The B movie, whose roots trace to the silent film era, was a significant contributor to Hollywood's Golden Age of the 1930s and 1940s. First, under the studio system, most became salaried employees, as profit-sharing contracts were not common phenomena before the late 1940s. Universal also banked on a few B-plus formulas in 1940-1941, principally horror films with Lon Chaney Jr. and comedy musicals with second-rank stars (including W. C. Fields, Mae West, and Edgar Bergen on limited contracts). As Steve Broidy, president of Monogram/Allied Artists, suggested, "Not everybody likes to eat cake. Its most obvious impact was on asking prices for top features and the length of time those features played in metropolitan first-run theaters. Among the more vocal supporters of ARI, in fact, were Sam Goldwyn and David Selznick; producers of their stature clearly had the most to gain from the market research strategies being developed in the early 1940s. The Golden Age of Hollywood ended with the demise of the studio system, theemergence of television, the rising costs and subsequent losses notably Cleopatra (1963). One hundred brief films using Gaumont’s Chronophone system, which employed synchronized wax cylinders to record sound using a “Morning Glory” horn, a large acoustical “hearing aid,” to capture the voices of the performers. Schaefer's failure in 1941 to re-sign Ginger Rogers, whose films were money in the bank for RKO, further undermined his position. THE CLASSICAL ERA The Golden Age of Hollywood, sometimes referred to as the period of classical Hollywood cinema, started with the silent movie era and the first major feature-length silent movie called The Birth of a Nation (1915). It produced the most sophisticated and visually baroque films of the era. It prohibited showing “scenes of passion,” and adultery, illicit sex, seduction, and rape could not even be alluded to unless they were absolutely essential to the plot and severely punished by the film’s end. This realization coincided, interestingly enough, with the rapid emergence of public opinion polling as a viable form of social research, primarily as an offshoot of consumer research by advertising firms. The Fixers Who Buried Old Hollywood’s Biggest Scandals ... potentially scandalous affairs for the studio’s stars. But in 1940-1941, MGM's decade-long dominance began to erode, with Paramount nearly pulling even in both gross revenues and net earnings in 1941. Paramount, with its legions of UFA-trained directors, art directors, and cameramen, was thought to be the most “European” of the studios. (Handel, Hollywood Looks at Its Audience: A Report of Film Audience Research [1950; reprint, New York: Arno, 1976], pp. While most of the studios' revenues were earned from first-run features, B-movie production enabled them to keep operations running smoothly and contract personnel working regularly, to develop new talent, and to ensure a regular supply of product. Between 1930 and 1945, the studio system produced more than 7,500 features, every stage of which, from conception through exhibition, was carefully controlled. In 1935, Yates foreclosed on Monogram and another small independent, Mascot Pictures, merging them into Republic Pictures.22, Republic quickly took off, thanks largely to its serials and the growing popularity of die singing cowboy Gene Autry. At that point, the Grand National president, James R. Grainger, tried to move into A-class production, an ill-fated effort that bankrupted the studio in 1939.23, That left the B-picture field more securely in the hands of Monogram and Republic as Hollywood entered the prewar era, and the two low-budget outfits made the most of their limited means and market niche. As discussed earlier, top talent began deserting the studios for freelance status in 1939-1940, many of them actually creating their own companies—a tactic which would accelerate rapidly in 1941-1942 as the war-related income tax codes took effect (see chapter 6). Columbia, conversely, began in the early 1920s in a ramshackle facility on the corner of Sunset and Gower on Poverty Row. Monogram's fortunes improved somewhat in 1941, when rentals of just over $2 million yielded a profit of $11,000.26 Johnston and Carr remained optimistic as the economy improved, although the prewar industry shift away from B-grade product toward big first-run pictures did not bode well for the likes of Republic and Monogram. The Big Five developed defensive strategies for the first-run market as well. The most prominent of these was Grand National, which was created in 1936 and did well enough to take over another low-budget studio, Educational, in 1938. Retrieved January 12, 2021 from Encyclopedia.com: https://www.encyclopedia.com/arts/culture-magazines/hollywood-studio-system-1940-1941. Brandt and Jack Cohn ran the company out of New York while Harry, the younger Cohn brother, managed the studio, until Brandts retirement in 1931 led to a fraternal power struggle for control of the company. In the late 1930s, Balaban and Freeman embarked on what Fortune magazine termed a "deadwood clearance program," shuf-fling off the high-paid talent and high-cost genres which had pushed the studio overhead and star salaries to an exorbitant level during the Depression. Paramount The remaining 94 percent of the studios’ investment went to the exhibition sector. Equally uncharacteristic was Warners' pursuit of outside deals and presold story properties. Before the 1940s, Hollywood and the Studio System, was one that carried the American Film Industry to new heights and brought on different visions from aspiring filmmakers and film companies. The merger was engineered by Fox's president, Sidney Kent, who continued to preside over sales and theater operations out of New York. Columbia's low-grade output included the Lone Wolf, Blondie, and Boston Blackie series and several serials adapted from comic strips, such as "The Shadow" and "Terry and the Pirates." Universal and Columbia also pursued similar strategies for their low-end series and serials. Analyzing these findings, Sam Goldwyn remarked that programming ought to be designed for those who can afford to go, not "by what the children up to seventeen years of age and people on relief like." Ungar reported that the majors had upgraded B production via better scripts, directors, and casts. Much of this research focused on genre preferences. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Thus, a single-feature program could have four shows a day while the double-feature format could get in only three. Indeed, the debate about B pictures and double billing, which had been brewing throughout the 1930s, reached the boiling point during the turbulent, uncertain prewar era. The studio founders themselves either became "full-time career managers"—the Cohns at Columbia, for example, and the Warners—or, as was more often the case, relinquished direct control to salaried executives. Meanwhile, the market for presold literary and stage properties was booming. Before 1940, most movie research had been conducted either by the Big Eight's trade association, the MPPDA, or else on an ad-hoc basis by individual studio-distributors or independent producers. New York: Pantheon, 1998. Education: Left school at age six to sell newspapers. While industry conditions in the prewar era seemed to favor UA, the company actually was in a rather paradoxical state: its critical prestige and the demand for its product were at an all-time high, while its finances and management were shaky at best. Conditioned by its recent experience as a struggling minor studio, Warner Brothers was the most cost-conscious of the major companies. "2, Significantly enough, however, the newly appointed chief executives at Paramount, Fox, RKO, and Universal all came from the business side of the industry—a clear indication of Wall Street's influence and the general development of the cinema into a modern business enterprise. The films of the 1920s and 1930s followed a formulaic style, often adopting a specific genre such as animation, Western, romance or mystery. But UA turned a profit of only $200,000 on twenty releases in 1940, down from $400,000 on sixteen pictures in 1939. But as we have seen, the American cinema faced myriad challenges both inside and outside the industry in 1940-1941. Leaving serials to Republic (and the major-minors), die revived Monogram continued to specialize in series production, generally Westerns and action pictures. Variety reported that as of July 1940, about 8,700 theaters in America were "dualing," with over 50 percent of all bookings industrywide involving double bills.59 The 1941 Film Daily Year Book indicated that 10,350 of the nation's 17,500 theaters regularly double billed, and that half of all theaters relied exclusively on double features.60 The single-feature policy tended to be strongest in the major first-run markets throughout the country, and also regionally in the South and Southwest. This period gave the studios ample time to adjust production operations to the new sales policies, and it also happened to coincide nicely with the defense buildup, which began gathering steam in early 1941 and hit the movie industry in full force during the summer. Until the late 1930s, unit production was generally a studio-based process involving top talent and A-class pictures. The larger studios were, for the most part, not interested in producing B movies for double bills, because, unlike the main feature, whose earnings were based on box-office receipts, the second feature rented at a flat rate, which meant that the profit it returned, though guaranteed, was fixed at a small amount. In which period did the studio system characterize hollywood films ? Subsequent research throughout the 1940s also tended to confirm the governing industry assumptions about various preconceived audience segments preferring specific types of stories. Fox signed several directors as well in 1939-1940, including John Ford, Fritz Lang, Henry King, and Henry Hathaway, which tended to reinforce what Joel Finler has termed the "split personality" that Fox was developing at the time.14 Ford and Lang turned out "serious" films (usually literary adaptations or biopics done in black and white), while Hathaway and King produced commercially successful if critically suspect pictures—period musicals, quasi-historical action-adventure films, and the like, often done in Technicolor. Each studio's A-class star-genre formulations also were the prime factors in its distinctive "house style." Four the Hollywood studio system in the 1930S and 1940S. From the beginning of the industry, exhibitors assumed that while different people were attracted to different stars, another significant taste distinction involved genres and story types. Strict contracts bound actors to the studio they were employed by and banned “immoral behaviour”. This arrangement included several important producer-directors, including established talent like Leo McCarey and promising newcomers like Orson Welles and Alfred Hitchcock. Four the Hollywood studio system in the 1930S and 1940S 31.12.2010 One hundred brief films using Gaumont’s Chronophone system, which employed synchronized wax cylinders to record sound using a “Morning Glory” horn, a large acoustical “hearing aid,” to capture the voices of the performers. Efforts to gauge and subdivide the moviegoing audience continued, as did the debates about the nature and size of that audience. The locale also invoked the epic stature and spectacle quality of the pictures, not only in terms of their production values (lavish sets and costumes, location shooting, Technicolor, and so on) but also in terms of the subject matter in that an increasing number of these were distinctly American pictures. The studio did excel in series-oriented short subjects, however, especially in animation production—an area which, for Warners, was enjoying a golden age of its own at the time. These campaigns also provided nationwide multimedia exploitation, which sales offices were convinced had a much greater impact than national radio or magazine campaigns. And in terms of actual studio operations, notes Sklar, "the ultimate issue is not who owns the movie companies but who manages them. Whatever the practical and political imperatives involved, the majors could scarcely eliminate B-picture production altogether. These included the hugely successful Hardy Family pictures starring Mickey Rooney, the Thin Man series with William Powell and Myrna Loy, the Dr. Kildare series with Lew Ayres and Lionel Barrymore, the Maisie series with Ann Sothern, and the Tarzan series with Johnny Weissmuller and Maureen O'Sullivan. U.S.A. He sustained Republic's signature Western series with three or four Autry pictures per year, while alternating Wayne between Republic Westerns and A-class loan-outs—to UA in 1940 for The Long Voyage Home, for instance, and to Universal Seven Sinners (1940) opposite Marlene Dietrich. We find ourselves ... dealing with corporations rather than with individuals.— Harry Cohn of Columbia Pictures, 1957 As the majors shifted their emphasis to A-class pictures and eased out of low-budget production in 1940-1941, and as the government railed against the foisting of substandard product on both exhibitors and audiences, the industry discourse was increasingly devoted to the "problem" of B movies and double features. Schaefer also signed a number of so-called in-house independents—filmmakers who maintained their own production units but operated within the physical and administrative purview of the studio. The Studio System was a big part of the success of Classic Hollywood. UA changed radically, however, as the studio system took hold and as the founders' careers waned; by 1940, it relied for product almost exclusively on major independents like Goldwyn, David Selznick, Walter Wanger, and the British producer Alexander Korda. In fact, Selznick released Gone with the Wind through MGM largely because of its unparalleled sales and exhibition operations. His boldest assertion in the interview was that weekly attendance was only 54 million, versus the habitually cited industry figure of 80 million. A new way to run Hollywood was required. Harry Cohn also signed several young contract players in 1939-1940, including William Holden, Rita Hayworth, and Glenn Ford, all of whom seemed well suited to Columbia's brand of light comedy. Finally, Shirley MacLaine ’ s and 1960 ’ s and 1960 s... Preproduction ) tests of audience interest in story ideas, titles, casting, and those findings were in... 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