| | | | | | Chapter One
Cinema:
The State of the Art | | | |  | | | | | 1. Wayne C. Booth, "The Company We Keep: Self-Making in Imaginative Art, Old and New," in Television: The Critical View, ed. Horace Newcomb, 4th ed. (New York: Oxford Univ. Press, 1987), p. 391 (his emphasis). | | | | | | | | | 2. Perry Anderson, Lineages of the Absolutist State (London: New Left Books, 1974), p. 55. | | | | | | | | | 3. Janet Staiger, "Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood," Wide Angle, vol. 4, no. 3 (1980), p. 20. | | | | | | | | | 4. U.S. vs. Paramount (1948) started the ball rolling. By forcing the studios to sell their majority interests in theater ownership, the Justice Department compelled them to change their production strategies. The studios now had little interest in saturating the market with B movies for that would dilute the value of their best films. | | | | | | | | | 5. See Michael Schudson, Advertising, the Uneasy Persuasion: Its Dubious Impact on American Society (New York: Basic Books, 1984), p. 30. | | | | | | | | | 6. No less than 186 such venues have been mentioned for The Lion King (Roger Allers and Rob Minkoff, 1994), The Economist, 23 May 1998, p. 57. | | | | | | | | | 7. The Economist, 23 May 1998, p. 57. | | | | | | | | | 8. Theodor Adorno, The Culture Industry: Selected Essays on Mass Culture, ed. J. M. Bernstein (London: Routledge, 1991), p. 72. | | | | | | | | | 9. I am indebted for my analysis to an excellent article by W. Brian Arthur, "Increasing Returns and the New World of Business," Harvard Business Review, vol. 74, no. 4 (July August 1996). | | | | |
