By Jerome Christensen
The publication covers the historical past of company authorship throughout the antithetical visions of 2 of the main dominant Hollywood studios, Warner Bros. and MGM. throughout the classical period, those studios promoted their manufacturers as competing social visions in strategically major photographs comparable to MGM's Singin' within the Rain and Warner's The Fountainhead. Christensen follows the studios' divergent fates as MGM declined right into a priceless and transportable brand, whereas Warner Bros. hired Batman, JFK, and You've acquired Mail to seal bargains that made it the most important leisure company on this planet. The ebook concludes with an research of the Disney-Pixar merger and the 1st Toy Story videos in gentle of the hot judicial extension of constitutional rights of the company person.
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Additional info for America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures (1929-2001)
All would agree that those constituents include the shareholders and the salaried employees. 18 As beneficiaries of MGM’s “goodness,” the customers may receive no financial reward for MGM’s corporate success, but ideally they are induced to believe that fealty to the new brand world that Thalberg has wrought will buffer them from the shocks of reality, or, failing that, in the words of the pathetic Mr. ” ii. 19 In the sound era, but not of it, The Crowd has the look and feel of a conscious anachronism.
Still, even though John claims no injury, his case does not entirely escape the widespread influence of the struggle for indemnification, which had resulted in its own curative narrative. ” What makes trauma neurosis paradoxical is that even though the struggle for indemnity is not the conscious motive for John’s malingering, The Rackets given the case histories of other trauma neurotics, there is good reason to expect that indemnification would produce a cure. It does not matter whether the sufferer is sincere or not; compensation is designed to erase the psychic deficit that trauma records, even if that deficit cannot be ascribed to the actions of a specific agent, such as a truck driver, with legal responsibility for his actions.
On one occasion, however, his fancied skills spontaneously combine. 8 Sure enough, out pops a slogan that he feels sure would win a contest sponsored by a household soap. In the one meansend narrative in the film that links an act with potential success, Mary challenges John to enter the slogan, “Sleight o’ Hand, the Magic Cleaner,” in the contest. He does. As if by magic their lives instantly brighten when he wins first prize: five hundred dollars. As his wife prudently performs her own computations of income and outlay, John returns to the The Rackets apartment laden with gaudy gifts for her and the two children.
America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures (1929-2001) by Jerome Christensen