The 1920s and 1930s essay

The s French Debates represent a period of the most sustained and systematic examination of the problems concerning Christian philosophy, and are thus of philosophical significance for various reasons. First, they involve perennial issues raised in philosophy, including the relationships between faith and reasonphilosophy and theology, the nature of human reason and its limits in the face of religion, the nature of religion, historical relationships between Christian thought, practice and the development of particular philosophical systems and the nature of philosophy itself. Second, the debates are momentous due to the renown of their participants, most of whom had earned significant places in Francophone philosophical establishments, both secular or Christian.

The 1920s and 1930s essay

At first there were difficulties in distributing features, because the exchanges associated with both the MPPC and the independents were geared toward cheaply made one-reel shorts. Because of their more elaborate production values, features had relatively higher negative costs. This was a disadvantage to distributors, who charged a uniform price per foot.

These new exchanges demonstrated the economic advantage of multiple-reel films over shorts. Exhibitors quickly learned that features could command higher admission prices and longer runs; single-title packages were also cheaper and easier to advertise than programs of multiple titles.

As for manufacturing, producers found that the higher expenditure for features was readily amortized by high volume sales to distributors, who in turn were eager to share in the higher admission returns from the theatres.

The whole industry soon reorganized itself around the economics of the multiple-reel film, and the effects of this restructuring did much to give motion pictures their characteristic modern form. Feature films made motion pictures respectable for the middle class by providing a format that was analogous to that of the legitimate theatre and was suitable for the adaptation of middle-class novels and plays.

This new audience had more demanding standards than the older working-class one, and producers readily increased their budgets to provide high technical quality and elaborate productions. The new viewers also had a more refined sense of comfort, which exhibitors quickly accommodated by replacing their storefronts with large, elegantly appointed new theatres in the major urban centres one of the first was Mitchell L.

By there were more than 21, movie theatres in the United States. Before the new studio-based monopoly could be established, however, the patents-based monopoly of the MPPC had to expire, and this it did about as a result of its own basic assumptions. As conceived by Edison, the basic operating principle of the Trust was to control the industry through patents pooling and licensing, an idea logical enough in theory but difficult to practice in the context of a dynamically changing marketplace.

Furthermore, the Trust badly underestimated the importance of the feature film, permitting the independents to claim this popular new product as entirely their own. Trust company producers used this kind of publicity afterwhen Carl Laemmle of Independent Motion Pictures IMP promoted Florence Lawrence into national stardom through a series of media stunts in St.

Finally, and most decisively, in August the U. As a result of the nickelodeon boom, some exhibitors—who showed three separate programs over a seven-day period—had begun to require as many as 20 new films per week, and it became necessary to put production on a systematic year-round schedule.

Because most films were still shot outdoors in available light, such schedules could not be maintained in the vicinity of New York City or Chicago, where the industry had originally located itself in order to take advantage of trained theatrical labour pools.

As early asproduction companies, such as Selig Polyscope, began to dispatch production units to warmer climates during winter.

It was soon clear that what producers required was a new industrial centre—one with warm weather, a temperate climate, a variety of scenery, and other qualities such as access to acting talent essential to their highly unconventional form of manufacturing.

Various companies experimented with location shooting in Jacksonville, Fla. These included the temperate climate required for year-round production the U. Weather Bureau estimated that an average of days per year were sunny or clear ; a wide range of topography within a mile km radius of Hollywood, including mountains, valleys, forests, lakes, islands, seacoast, and desert; the status of Los Angeles as a professional theatrical centre; the existence of a low tax base; and the presence of cheap and plentiful labour and land.

This latter factor enabled the newly arrived production companies to buy up tens of thousands of acres of prime real estate on which to locate their studios, standing sets, and backlots. By approximately 15, workers were employed by the motion-picture industry in Hollywood, and more than 60 percent of American production was centred there.

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The most powerful companies in the new film capital were the independents, who were flush with cash from their conversion to feature production.

Mayer Pictures, founded by Louis B. These organizations became the backbone of the Hollywood studio system, and the men who controlled them shared several important traits.

They were all independent exhibitors and distributors who had outwitted the Trust and earned their success by manipulating finances in the postnickelodeon feature boom, merging production companies, organizing national distribution networks, and ultimately acquiring vast theatre chains.

Not incidentally, these men were all first- or second-generation Jewish immigrants from eastern Europe, most of them with little formal education, while the audience they served was 90 percent Protestant and Catholic.

This circumstance would become an issue during the s, when the movies became a mass medium that was part of the life of every U.

These films were long on intellectual pedigree and short on narrative sophistication. The directors simply filmed theatrical productions in toto, without adaptation.

Their brief popularity nevertheless created a context for the lengthy treatment of serious material in motion pictures and was directly instrumental in the rise of the feature.Gary Foley's personal Koori History page, with monthly special features on aspects of the Aboriginal struggle, photos, essays, and action.

Licensing: This essay is licensed under a Creative Commons license that encourages reproduction with kaja-net.com should be given to both kaja-net.com and to the author, and sources must be included with any reproduction.

Click the icon for more info. Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime.

Jazz is seen by many as "America's classical music". Since the s Jazz Age, jazz has become recognized as a major form of musical kaja-net.com then emerged in the form of independent traditional. The Case for Reparations. Two hundred fifty years of slavery. Ninety years of Jim Crow. Sixty years of separate but equal.

Thirty-five years of racist housing policy. Introduction. The goal of Indian education from the s through the s was to assimilate Indian people into the melting pot of America by placing them in institutions where traditional ways could be replaced by those sanctioned by the government.

If you've never seen Gentlemen Broncos, the little-seen third feature by the Napoleon Dynamite-making husband-and-wife team Jared and Jerusha Hess, I highly recommend kaja-net.com must, though, enjoy the peculiar Hess sense of humor, a blend of the almost objectively detached and the heartily sophomoric fixed upon the preoccupations of deeply unfashionable sections of working-class America.

The 1920s and 1930s essay
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