View source for Cinema of the United States

{{infobox blank
| title = Cinema of the United States
|title1 = Distributors
| text1 = {{plainlist|
* [[The Walt Disney Company|Disney]]
** [[Walt Disney Pictures]]
** [[20th Century Studios]]
* [[Sony]]
** [[Columbia Pictures]]
** [[TriStar Pictures]]
* [[Comcast]]
** [[Universal Pictures|Universal]]
<!-- Do NOT add **[[Amblin Partners|Amblin]] until its status is confirmed -->
* [[Paramount Global]]
** [[Paramount Pictures|Paramount]]
<!-- Do NOT add **[[Miramax]] until its status is confirmed -->
* [[Warner Bros. Discovery]]
** [[Warner Bros. Pictures]]
** [[New Line Cinema]]
* [[Amazon (company)|Amazon]]
** [[Metro-Goldwyn-Mayer|MGM]]
}} }}
The '''cinema of the United States''', consisting mainly of major film studios (also known metonymously as Hollywood) along with some independent film, has had a large effect on the global film industry since the early 20th century. The dominant style of American cinema is classical Hollywood cinema, which developed from 1910 to 1969 and is still typical of most films made there to this day. While Frenchmen Auguste and Louis Lumière are generally credited with the birth of modern cinema,[5] American cinema soon came to be a dominant force in the emerging industry. As of 2017, it produced the third-largest number of films of any national cinema, after India and China, with more than 600 English-language films released on average every year.[6] While the national cinemas of the United Kingdom, Canada, Australia, and New Zealand also produce films in the same language, they are not part of the Hollywood system. Because of this, Hollywood has also been considered a transnational cinema,[7] and has produced multiple language versions of some titles, often in Spanish or French. Contemporary Hollywood often outsources production to Canada, Australia, and New Zealand.

Hollywood is considered to be the oldest film industry, in the sense of being the place where the earliest film studios and production companies emerged. It is the birthplace of various genres of cinema—among them comedy, drama, action, the musical, romance, horror, science fiction, and the war epic—and has set the example for other national film industries.

In 1878, Eadweard Muybridge demonstrated the power of photography to capture motion. In 1894, the world's first commercial motion-picture exhibition was given in New York City, using Thomas Edison's kinetoscope. In the following decades, production of silent film greatly expanded, studios formed and migrated to California, and films and the stories they told became much longer. The United States produced the world's first sync-sound musical film, The Jazz Singer, in 1927,[8] and was at the forefront of sound-film development in the following decades. Since the early 20th century, the U.S. film industry has largely been based in and around the thirty-mile zone in Hollywood, Los Angeles, California. Director D.W. Griffith was central to the development of a film grammar. Orson Welles's Citizen Kane (1941) is frequently cited in critics' polls as the greatest film of all time.[9]

The major film studios of Hollywood are the primary source of the most commercially successful and most ticket selling movies in the world.[0][] Many of Hollywood's highest-grossing movies have generated more box-office revenue and ticket sales outside the United States than films made elsewhere. The United States is a leading pioneer in motion picture engineering and technology.



== History ==
Main article: History of cinema in the United States
1894–1907: Origins and Fort Lee
See also: Silent film

Justus D. Barnes as outlaw leader Bronco Billy Anderson in The Great Train Robbery (1903), the first western.
The first recorded instance of photographs capturing and reproducing motion was a series of photographs of a running horse by Eadweard Muybridge, which he took in Palo Alto, California, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices. In the United States, Thomas Edison was among the first to produce such a device, the kinetoscope.[citation needed]


== [[Harold Lloyd]] == 
in the clock scene from Safety Last! (1923)
The history of cinema in the United States can trace its roots to the East Coast where, at one time, Fort Lee, New Jersey, was the motion-picture capital of America. The industry got its start at the end of the 19th century with the construction of Thomas Edison's "Black Maria", the first motion-picture studio in West Orange, New Jersey. The cities and towns on the Hudson River and Hudson Palisades offered land at costs considerably less than New York City across the river and benefited greatly as a result of the phenomenal growth of the film industry at the turn of the 20th century.[2] [3][4]

The industry began attracting both capital and an innovative workforce. In 1907, when the Kalem Company began using Fort Lee as a location for filming in the area, other filmmakers quickly followed. In 1909, a forerunner of Universal Studios, the Champion Film Company, built the first studio.[5] Others quickly followed and either built new studios or leased facilities in Fort Lee. In the 1910s and 1920s, film companies such as the Independent Moving Pictures Company, Peerless Studios, The Solax Company, Éclair Studios, Goldwyn Picture Corporation, American Méliès (Star Films), World Film Company, Biograph Studios, Fox Film Corporation, Pathé Frères, Metro Pictures Corporation, Victor Film Company, and Selznick Pictures Corporation were all making pictures in Fort Lee. Such notables as Mary Pickford got their start at Biograph Studios.[6][7][8]

In New York, the Kaufman Astoria Studios in Queens, which was built during the silent film era, was used by the Marx Brothers and W.C. Fields. The Edison Studios were located in the Bronx. Chelsea, Manhattan, was also frequently used. Other Eastern cities, most notably Chicago and Cleveland, also served as early centers for film production.[9][0] In the West, California was already quickly emerging as a major film production center. In Colorado, Denver was home to the Art-O-Graf film company, and Walt Disney's early Laugh-O-Gram animation studio was based in Kansas City, Missouri. Picture City, Florida, was a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City returned to its original name of Hobe Sound. An attempt to establish a film production center in Detroit also proved unsuccessful.[]

The film patents wars of the early 20th century helped facilitate the spread of film companies to other parts of the US, outside New York. Many filmmakers worked with equipment for which they did not own the rights to use. Therefore, filming in New York could be dangerous as it was close to Edison's company headquarters, and close to the agents who the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the region's favorable year-round weather.[]

1907–1927: Rise of Hollywood
"History of Hollywood" redirects here. For the history of the Los Angeles neighborhood, see Hollywood, Los Angeles § History.

Laurel and Hardy with Lupe Vélez in Hollywood Party (1934)
The 1908 Selig Polyscope Company production of The Count of Monte Cristo directed by Francis Boggs and starring Hobart Bosworth was claimed as the first to have been filmed in Los Angeles, in 1907, with a plaque being unveiled by the city in 1957 at Dearden's flagship store on the corner of Main Street and 7th Street, to mark the filming on the site when it had been a Chinese laundry.[3] Bosworth's widow suggested the city had got the date and location wrong, and that the film was actually shot in nearby Venice, which at the time was an independent city.[4] Boggs' In the Sultan's Power for Selig Polyscope, also starring Bosworth, is considered the first film shot entirely in Los Angeles, with shooting at 7th and Olive Streets in 1909.[5][4]

In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors [[Blanche Sweet]], Lillian Gish, Mary Pickford, Lionel Barrymore and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Griffith stayed there for months and made several films before returning to New York. Also in 1910, Selig Polyscope of Chicago established the first film studio in the Los Angeles area in Edendale[3] and the first studio in Hollywood opened in 1912.[6]: 447  After hearing about Griffith's success in Hollywood, in 1913, many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.[7] Nestor Studios of Bayonne, New Jersey, built the first studio in the Hollywood neighborhood in 1911.[dubious – discuss] Nestor Studios, owned by David and William Horsley, later merged with Universal Studios; and William Horsley's other company, Hollywood Film Laboratory, is now the oldest existing company in Hollywood, now called the Hollywood Digital Laboratory. California's more hospitable and cost-effective climate led to the eventual shift of virtually all filmmaking to the West Coast by the 1930s. At the time, Thomas Edison owned almost all the patents relevant to motion picture production and movie producers on the East Coast acting independently of Edison's Motion Picture Patents Company were often sued or enjoined by Edison and his agents while movie makers working on the West Coast could work independently of Edison's control.[8]


The Hollywood Walk of Fame on Hollywood Boulevard
In Los Angeles, the studios and Hollywood grew. Before World War I, films were made in several American cities, but filmmakers tended to gravitate towards southern California as the industry developed. They were attracted by the warm climate and reliable sunlight, which made it possible to film their films outdoors year-round and by the varied scenery that was available.[citation needed] War damage contributed to the decline of the then-dominant European film industry, in favor of the United States, where infrastructure was still intact.[9] The stronger early public health response to the 1918 flu epidemic by Los Angeles[0] compared to other American cities reduced the number of cases there and resulted in a faster recovery, contributing to the increasing dominance of Hollywood over New York City.[9] During the pandemic, public health officials temporarily closed movie theaters in some jurisdictions, large studios suspended production for weeks at a time, and some actors came down with the flu. This caused major financial losses and severe difficulties for small studios, but the industry as a whole more than recovered during the Roaring Twenties.[]

There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic ''The Birth of a Nation'' that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.[citation needed]

In the early 20th century, when the medium was new, many Jewish immigrants found employment in the US film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. The US had at least two female directors, producers and studio heads in these early years: Lois Weber and French-born Alice Guy-Blaché. They also set the stage for the industry's internationalism; the industry is often accused of Amerocentric provincialism.

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors—lured west from the New York City stage after the introduction of sound films—to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week.[]

Sound also became widely used in Hollywood in the late 1920s.[3] After The Jazz Singer, the first film with synchronized voices was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound—which Warner Bros. owned until 1928—in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution.[]

A side effect of the "[[talkies]]" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Picture Producers and Distributors of America (MPPDA).[4] The organization became the Motion Picture Association of America after Hays retired in 1945.

In the early times of [[talkies]], American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies[which?] opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews.

Also, foreign unemployed actors, [[playwright]]s, and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat, and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:


Brown Derby, an icon that became synonymous with the [[Golden Age of Hollywood]].
The lower budgets were apparent.
Many theater actors had no previous experience in cinema.
The original movies were often second-rate themselves since studios expected that the top productions would sell by themselves.
The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.
Some markets lacked sound-equipped theaters.
In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.

1913–1969: Classical Hollywood cinema and the [[Golden Age of Hollywood]]
Main article: Classical Hollywood cinema

[[File:[[Golden Age of Hollywood]].png|thumb|left|upright=2.05|Stars of the [[Classical Hollywood cinema]] era ({{Circa|1913–1969}}).

Top row, l-r: [[Greta Garbo]], [[Humphrey Bogart]], [[Lauren Bacall]], [[Clark Gable]], [[Katharine Hepburn]], [[Fred Astaire]], [[Ginger Rogers]], [[Marlon Brando]], the [[Marx Brothers]], [[Joan Crawford]].

Second row, l-r: [[John Wayne]], [[James Stewart]], [[Buster Keaton]], [[Claudette Colbert]], [[Gene Kelly]], [[Burt Lancaster]], [[Judy Garland]], [[Gregory Peck]], [[Elizabeth Taylor]], [[Kirk Douglas]].

Third row, l-r: [[Bette Davis]], [[Audrey Hepburn]], [[Jean Harlow]], [[Alfred Hitchcock]], [[John Ford]], [[Howard Hawks]], [[Grace Kelly]], [[Laurence Olivier]], [[Marlene Dietrich]], [[James Cagney]].

Fourth row, l-r: [[Ava Gardner]], [[Cary Grant]], [[Ingrid Bergman]], [[Henry Fonda]], [[Marilyn Monroe]], [[James Dean]], [[Orson Welles]], [[Mae West]], [[William Holden]], [[Sophia Loren]].

Bottom row, l-r: [[Vivien Leigh]], [[Joan Fontaine]] and [[Gary Cooper]], [[Spencer Tracy]], [[Barbara Stanwyck]], [[Lillian Gish]], [[Tyrone Power]], [[Shirley Temple]], [[Janet Leigh]] with [[Charlton Heston]], [[Rita Hayworth]], [[Mary Pickford]].
]]


Classical Hollywood cinema, or the [[Golden Age of Hollywood]], is defined as a technical and narrative style characteristic of American cinema from 1913 to 1969, during which thousands of movies were issued from the Hollywood studios. The Classical style began to emerge in 1913, was accelerated in 1917 after the U.S. entered [[World War I]], and finally solidified when the film ''[[The Jazz Singer]]'' was released in 1927, ending the silent film era and increasing box-office profits for film industry by introducing sound to feature films.

Most Hollywood pictures adhered closely to a formula&nbsp;– [[Western (genre)|Western]], [[Slapstick|Slapstick Comedy]], [[Musical Film|Musical]], [[Animation|Animated Cartoon]], Biographical Film (biographical picture)&nbsp;– and the same creative teams often worked on films made by the same studio. For example, [[Cedric Gibbons]] and [[Herbert Stothart]] always worked on [[Metro-Goldwyn-Mayer|MGM]] films, [[Alfred Newman (composer)|Alfred Newman]] worked at [[0th Century Fox]] for twenty years, [[Cecil B. De Mille]]'s films were almost all made at [[Paramount Pictures|Paramount]], and director [[Henry King (director)|Henry King]]'s films were mostly made for [[0th Century Fox]].

At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; [[Metro-Goldwyn-Mayer|MGM]], for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this&nbsp;– a trait that rarely exist today.

For example, ''[[To Have and Have Not (film)|To Have and Have Not]]'' (1944) is notable not only for the first pairing of actors [[Humphrey Bogart]] (1899–1957) and [[Lauren Bacall]] (1924–2014), but because it was written by two future winners of the [[Nobel Prize in Literature]]: [[Ernest Hemingway]] (1899–1961), the author of the novel on which the script was nominally based, and [[William Faulkner]] (1897–1962), who worked on the screen adaptation.

After ''[[The Jazz Singer]]'' was released in 1927, [[Warner Bros.]] gained huge success and were able to acquire their own string of movie theaters, after purchasing Stanley Theaters and [[First National Pictures|First National]] Productions in 1928. In contrast [[Loews Theaters|Loews theaters]] owned [[Metro-Goldwyn-Mayer|MGM]] since forming in 1924, while the Fox Film Corporation owned the [[Fox Theatres|Fox Theatre]]. [[RKO Pictures|RKO]] (a 1928 merger between [[Keith-Albee-Orpheum|Keith-Orpheum Theaters]] and the [[RCA|Radio Corporation of America]]<ref>{{cite web|url=http://home.earthlink.net/~hdtv/History/RKOGeneral/RKOPictures.html|title=Thumbnail History of [[RKO Radio Pictures]]|work=earthlink.net|access-date=June 19, 2007|archive-url=https://web.archive.org/web/20050912042450/http://home.earthlink.net/~hdtv/History/RKOGeneral/RKOPictures.html|archive-date=September 12, 2005|url-status=dead}}</ref>) also responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as [[Photophone]], to put sound in films.<ref name="britannica1" />

Paramount, which acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in [[Detroit|Detroit, Michigan]].<ref>{{cite web|url=http://www.cobbles.com/simpp_archive/united-detroit_paramount-history.htm|title=The Paramount Theater Monopoly|publisher= Cobbles.com|access-date=June 14, 2013}}</ref> By the 1930s, almost all of the first-run metropolitan theaters in the United States were owned by the Big Five studios—[[MGM]], [[Paramount Pictures]], [[RKO]], [[Warner Bros.]], and [[0th Century Fox]].<ref>{{cite web|url=http://www.filmsite.org/20sintro.html |title=Film History of the 1920s |publisher=Filmsite.org |access-date=June 14, 2013}}</ref>

====1927–1948: Rise and decline of the studio system====
[[File:Hollywood-Studios-1922.jpg|right|thumb|Hollywood movie studios, 1922]]
Motion picture companies operated under the [[studio system]]. The major studios kept thousands of people on salary—actors, producers, directors, writers, stunt men, crafts persons, and technicians. They owned or leased [[Movie ranches|Movie Ranches]] in rural Southern California for [[location shooting]] of [[Western (genre)|westerns]] and other large-scale genre films, and the major studios owned hundreds of theaters in cities and towns across the nation in 1920 film theaters that showed their films and that were always in need of fresh material.

[[File:Spencer_Tracy.jpg|thumb|left|upright|[[Spencer Tracy]] was the first actor to win [[Academy Award for Best Actor|Best Actor]] award over two consecutive years for his roles in [[Captains Courageous (1937 film)|Captains Courageous]] (1937) and [[Boys Town (film)|Boys Town]] (1938) (and received seven other nominations).]]
In 1930, MPPDA President Will Hays created the [[Hays Code|Hays (Production) Code]], which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930.<ref>{{cite web |url=http://www.history.com/this-day-in-history.do?action=tdihArticleCategory&id=3125 |title="Father of the Constitution" is born |work=This Day in History—3/16/1751 |publisher=History.com |access-date=June 14, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20100212214742/http://www.history.com/this-day-in-history.do?id=3125&action=tdihArticleCategory |archive-date=February 12, 2010 |df=mdy-all }}</ref> However, the code was never enforced until 1934, after the Catholic watchdog organization [[National Legion of Decency|The Legion of Decency]]—appalled by some of the provocative films and lurid advertising of the era later classified [[Pre-Code Hollywood]]- threatened a boycott of motion pictures if it did not go into effect.<ref>{{cite web|last=Maltby|first=Richard|url=http://www.sensesofcinema.com/2003/29/pre_code_cinema/|title=More Sinned Against than Sinning: The Fabrications of "Pre-Code Cinema"|publisher=SensesofCinema.com|access-date= June 14, 2013}}</ref> The films that did not obtain a seal of approval from the Production Code Administration had to pay a $25,000 fine and could not profit in the theaters, as the MPPDA controlled every theater in the country through the Big Five studios.

Throughout the 1930s, as well as most of the golden age, [[Metro-Goldwyn-Mayer|MGM]] dominated the film screen and had the top stars in Hollywood, and they were also credited for creating the [[Star system (filmmaking)|Hollywood star system]] altogether.<ref name="mediaroom1">[http://mgm.mediaroom.com/index.php?s=40&cat=6] {{webarchive|url=https://web.archive.org/web/20070621225003/http://mgm.mediaroom.com/index.php?s=40&cat=6|date=June 21, 2007}}</ref> Some [[Metro-Goldwyn-Mayer|MGM]] stars included "King of Hollywood" [[Clark Gable]], [[Lionel Barrymore]], [[Jean Harlow]], [[Norma Shearer]], [[Greta Garbo]], [[Joan Crawford]], [[Jeanette MacDonald]], [[Gene Raymond]], [[Spencer Tracy]], [[Judy Garland]], and [[Gene Kelly]].<ref name="mediaroom1" /> But MGM did not stand alone.

Another great achievement of US cinema during this era came through Walt Disney's [[Walt Disney Pictures|animation company]]. In 1937, Disney created the most successful film of its time, ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White and the Seven Dwarfs]]''.<ref>{{cite web|url=http://disney.go.com/vault/archives/movies/snow/snow.html |title=Disney Insider |publisher= go.com |access-date=June 14, 2013}}</ref> This distinction was promptly topped in 1939 when Selznick International created what is still, when adjusted for inflation, the most successful film of all time in [[Gone with the Wind (film)|Gone with the Wind]].<ref>[http://www.boxofficereport.com/atbon/adjusted.shtml] {{webarchive|url=https://web.archive.org/web/20070514034316/http://www.boxofficereport.com/atbon/adjusted.shtml|date=May 14, 2007}}</ref>

Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented filmmaking. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: ''[[Citizen Kane]]'', directed by [[Orson Welles]] (1915–1985) and often regarded as the [[List of movies that have been considered the greatest ever|greatest film of all time]], fits this description. In other cases, strong-willed directors like [[Howard Hawks]] (1896–1977), [[Alfred Hitchcock]] (1899–1980), and [[Frank Capra]] (1897–1991) battled the studios in order to achieve their artistic visions.

The apogee of the studio system may have been the year 1939, which saw the release of such classics as ''[[The Wizard of Oz (1939 film)|The Wizard of Oz]]'', ''[[Gone with the Wind (film)|Gone with the Wind]]'', ''[[Stagecoach (1939 film)|Stagecoach]]'', ''[[Mr. Smith Goes to Washington]]'', ''[[Wuthering Heights (1939 film)|Wuthering Heights]]'', ''[[Only Angels Have Wings]]'', ''[[Ninotchka]]'' and ''[[Midnight (1939 film)|Midnight]]''. Among the other films from the Golden Age period that are now considered to be classics: ''[[Casablanca (film)|Casablanca]]'', ''[[It's a Wonderful Life]]'', ''[[It Happened One Night]]'', the original ''[[King Kong (1933 film)|King Kong]]'', ''[[Mutiny on the Bounty (1935 film)|Mutiny on the Bounty]]'', ''[[Top Hat]]'', ''[[City Lights]]'', ''[[Red River (1948 film)|Red River]]'', ''[[The Lady from Shanghai]]'', ''[[Rear Window]]'', ''[[On the Waterfront]]'', ''[[Rebel Without a Cause]]'', ''[[Some Like It Hot]]'', and ''[[The Manchurian Candidate (1962 film)|The Manchurian Candidate]]''.

[[File:Percentage of the US Population that went to the Cinema on Average, Weekly, 1930-2000.png|thumb|upright=1.15|Percentage of the US population that went to the cinema on average, weekly, 1930–2000]]
[[File:Walt Disney Snow white 1937 trailer screenshot (13).jpg|thumb|upright=1.15|[[Walt Disney]] introduces each of the seven dwarfs in a scene from the original 1937 ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White]]'' movie trailer.]]
The studio system and the [[Golden Age of Hollywood]] succumbed to two forces that developed in the late 1940s:
* a [[United States v. Paramount Pictures, Inc.|federal antitrust action]] that separated the production of films from their exhibition; and
* the advent of [[Television in the United States|television]].
In 1938<!--Snow White's premiere was in December 1937, its release was in February 1938-->, Walt Disney's ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White and the Seven Dwarfs]]'' was released during a run of lackluster films from the major studios, and quickly became the highest grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.<ref>{{cite web|url = http://www.cobbles.com/simpp_archive/paramountcase_1slump1938.htm|title = Part 1: The Hollywood Slump of 1938|last = Aberdeen|first = J A|date = September 6, 2005|access-date = May 6, 2008|work = Hollywood Renegades Archive}}</ref> This stoked already widespread frustration at the practice of ''[[block-booking]]'', in which studios would only sell an entire year's schedule of films at a time to theaters and use the [[vendor lock-in|lock-in]] to cover for releases of mediocre quality.

Assistant Attorney General [[Thurman Arnold]]—a noted "[[trust-busting|trust buster]]" of the Roosevelt administration—took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the [[Sherman Antitrust Act]].<ref name="time-consent-decree">{{Cite magazine|url = http://www.time.com/time/printout/0,8816,849344,00.html|archive-url = https://archive.today/20130105132334/http://www.time.com/time/printout/0,8816,849344,00.html|url-status = dead|archive-date = January 5, 2013|magazine=Time |date = November 11, 1940|access-date = May 6, 2008|title = Consent Decree}}</ref><ref name="part3">{{cite web|url = http://cobbles.com/simpp_archive/paramountcase_3consent1940.htm|title = Part 3: The Consent Decree of 1940|last = Aberdeen|first = J A|date = September 6, 2005|access-date = May 6, 2008|work = Hollywood Renegades Archive}}</ref> The federal suit resulted in five of the eight studios (the "Big Five": [[Warner Bros.]], [[Metro-Goldwyn-Mayer|MGM]], [[0th Century Fox|Fox]], [[RKO Pictures|RKO]] and [[Paramount Pictures|Paramount]]) reaching a compromise with Arnold in October 1940 and signing a [[consent decree]] agreeing to, within three years:
* Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.
* Eliminate the block-booking of any more than five features in their theaters.
* No longer engage in ''blind buying'' (or the buying of films by theater districts without seeing films beforehand) and instead have ''trade-showing'', in which all 31 theater districts in the US would see films every two weeks before showing movies in theaters.
* Set up an administration board in each theater district to enforce these requirements.<ref name="time-consent-decree" />

The "Little Three" ([[Universal Studios]], [[United Artists]], and [[Columbia Pictures]]), who did not own any theaters, refused to participate in the consent decree.<ref name="time-consent-decree" /><ref name="part3" /> A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters—as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner [[Bing Crosby]], Alan Ladd, and longtime actor for studio [[Gary Cooper]] too- by 1942. The Big Five studios did not meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood antitrust case, as did the Little Three studios.<ref>{{cite web|url=http://www.cobbles.com/simpp_archive/paramountcase_4equity1945.htm |title=The Hollywood Studios in Federal Court—The Paramount case |publisher=Cobbles.com |access-date=June 14, 2013}}</ref>

The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the [[Sherman Antitrust Act]]. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.

The decision resulted in the gradual loss of the characteristics which made Metro-Goldwyn-Mayer, Paramount Pictures, Universal Studios, Columbia Pictures, RKO Pictures, and 20th Century Fox films immediately identifiable. Certain movie people, such as [[Cecil B. DeMille]], either remained contract artists until the end of their careers or used the same creative teams on their films so that a DeMille film still looked like one whether it was made in 1932 or 1956.

[[File:Eva marie saint marlon brando waterfront 10.jpg|thumb|[[Marlon Brando]] with [[Eva Marie Saint]] in the trailer for ''[[On the Waterfront]]'' (1954)]]
Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.

This was complemented with the 1952 [[Miracle Decision]] in the ''Joseph Burstyn Inc. v. Wilson'' case, in which the [[Supreme Court of the United States]] reversed its earlier position, from 1915's ''[[Mutual Film Corporation v. Industrial Commission of Ohio]]'' case, and stated that motion pictures were a form of art and were entitled to the protection of the [[First Amendment to the United States Constitution|First amendment]]; US laws could no longer censor films. By 1968, with film studios becoming increasingly defiant to its censorship function, the [[Motion Picture Association of America]] (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.


===1965–1983: New Hollywood and post-classical cinema===
{{Main|New Hollywood}}
[[File:Steven Spielberg by Gage Skidmore.jpg|upright|thumb|left|Director and producer [[Steven Spielberg]], co-founder of [[DreamWorks Pictures|DreamWorks Studios]].]]
Post-classical cinema is the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "[[twist ending]]s", and lines between the [[antagonist]] and [[protagonist]] may be blurred. The roots of post-classical storytelling may be seen in ''film noir'', in ''[[Rebel Without a Cause]]'' (1955), and in Hitchcock's storyline-shattering ''[[Psycho (1960 film)|Psycho]]''.

The [[New Hollywood]] is the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s as a result of the French New Wave after the American Revolution; the 1967 film ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well.<ref>{{cite news| url=https://www.nytimes.com/2007/08/12/movies/12scot.html |work=The New York Times |first=A. O. |last=Scott |title=Two Outlaws, Blasting Holes in the Screen |date=August 12, 2007}}</ref> Filmmakers like [[Francis Ford Coppola]], [[Steven Spielberg]], [[George Lucas]], [[Brian De Palma]], [[Stanley Kubrick]], [[Martin Scorsese]], [[Roman Polanski]], and [[William Friedkin]] came to produce fare that paid homage to the history of film and developed upon existing genres and techniques. Inaugurated by the 1969 release of [[Andy Warhol]]{{'s}} ''[[Blue Movie]]'', the phenomenon of [[Erotic art|adult erotic films]] being publicly discussed by celebrities (like [[Johnny Carson]] and [[Bob Hope]]),<ref name="TM-20050329">{{cite magazine |last=Corliss |first=Richard |author-link=Richard Corliss |title=That Old Feeling: When Porno Was Chic |url=http://content.time.com/time/arts/article/0,8599,1043267,00.html |date=March 29, 2005 |magazine=Time |access-date=January 27, 2016}}</ref> and taken seriously by critics (like [[Roger Ebert]]),<ref name="RE-19730613">{{cite web |last=Ebert |first=Roger |author-link=Roger Ebert |title=The Devil In Miss Jones - Film Review |url=http://www.rogerebert.com/reviews/the-devil-in-miss-jones-1973 |date=June 13, 1973 |work=[[RogerEbert.com]] |access-date=February 7, 2015}}</ref><ref name="RE-19761124">{{cite web |last=Ebert |first=Roger |author-link=Roger Ebert |title=Alice in Wonderland:An X-Rated Musical Fantasy |url=http://www.rogerebert.com/reviews/alice-in-wonderland-1976 |date=November 24, 1976 |publisher=[[RogerEbert.com]] |access-date=February 26, 2016}}</ref> a development referred to, by Ralph Blumenthal of ''[[The New York Times]]'', as "[[Golden Age of Porn#"Porno chic"|porno chic]]", and later known as the [[Golden Age of Porn]], began, for the first time, in modern American culture.<ref name="TM-20050329" /><ref name="NYT-19730121">{{cite news |last=Blumenthal |first=Ralph |title=Porno chic; 'Hard-core' grows fashionable-and very profitable |url=https://www.nytimes.com/1973/01/21/archives/pornochic-hardcore-grows-fashionableand-very-profitable.html |date=January 21, 1973 |work=[[The New York Times Magazine]] |access-date=January 20, 2016}}</ref><ref>{{cite web|url=http://www.jahsonic.com/PornoChic.html|title=Porno Chic|website=www.jahsonic.com}}</ref> According to award-winning author [[Toni Bentley]], [[Radley Metzger]]{{'s}} 1976 film ''[[The Opening of Misty Beethoven]]'', based on the play ''[[Pygmalion (play)|Pygmalion]]'' by [[George Bernard Shaw]] (and its derivative, ''[[My Fair Lady (film)|My Fair Lady]]''), and due to attaining a mainstream level in storyline and sets,<ref>{{cite book |title=The Cult Film Reader |last1=Mathijs |first1=Ernest |last2=Mendik |first2=Xavier |publisher=[[Open University Press]] |year=2007 |isbn=978-0335219230}}{{page needed|date=May 2015}}</ref> is considered the "crown jewel" of this '[[Golden Age of Porn|Golden Age]]'.<ref name="PB-201406">{{cite web |last=Bentley |first=Toni |author-link=Toni Bentley |title=The Legend of Henry Paris |url=http://www.playboy.com/articles/the-legend-of-henry-paris |date=June 2014 |work=[[Playboy]] |access-date=January 26, 2016 |archive-url=https://web.archive.org/web/20160204030128/http://www.playboy.com/articles/the-legend-of-henry-paris |archive-date=February 4, 2016 |url-status=dead |df=mdy-all }}</ref><ref name="TB-201406">{{cite web |last=Bentley |first=Toni |author-link=Toni Bentley |title=The Legend of Henry Paris |url=http://www.tonibentley.com/pdfarticles/playboy/RadleyMetzger_AuteuroftheErotic_ToniBentley.pdf |date=June 2014 |work=ToniBentley.com |access-date=January 26, 2016 |archive-url=https://web.archive.org/web/20160201001546/http://www.tonibentley.com/pdfarticles/playboy/RadleyMetzger_AuteuroftheErotic_ToniBentley.pdf |archive-date=February 1, 2016 |url-status=live }}</ref>

[[File:Jack_Nicholson_-_1976_(new).jpg|thumb|right|125px|[[Jack Nicholson]] won twice [[Academy Award for Best Actor|Best Actor]] for [[One Flew Over the Cuckoo's Nest (film)|One Flew Over the Cuckoo's Nest]] (1975) and [[As Good as It Gets]] (1997).]]
At the height of his fame in the early 1970s, [[Charles Bronson]] was the world's No. 1 box office attraction, commanding $1 million per film.<ref name="Lardine-1">{{cite news |last1=Lardine |first1=Bob |title=Big Bad Bronson |url=https://www.newspapers.com/clip/43990628/long_bronson_profile_1_of_2/ |access-date=February 10, 2020 |work=The Miami Herald |agency=New York News Service |date=March 18, 1973 |pages=1H|via=[[Newspapers.com]]}}</ref> In the 1970s, the films of New Hollywood filmmakers were often both critically acclaimed and commercially successful. While the early New Hollywood films like ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' and ''[[Easy Rider]]'' had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with ''[[The Exorcist (film)|The Exorcist]]'', Spielberg with ''[[Jaws (film)|Jaws]]'', Coppola with ''[[The Godfather]]'' and ''[[Apocalypse Now]]'', Scorsese with ''[[Taxi Driver]]'', Kubrick with ''[[001: A Space Odyssey (film)|2001: A Space Odyssey]]'', Polanski with ''[[Chinatown (1974 film)|Chinatown]]'', and Lucas with ''[[American Graffiti]]'' and ''[[Star Wars (film)|Star Wars]]'', respectively helped to give rise to the modern "[[Blockbuster (entertainment)|blockbuster]]", and induced studios to focus ever more heavily on trying to produce enormous hits.<ref name"AmCinema">{{cite book|author=Belton, John|title=American Cinema/American Culture|url=https://books.google.com/books?id=qDVAAQAAIAAJ&q=american+cinema+american+culture| date = November 10, 2008|publisher=McGraw-Hill|isbn=978-0-07-338615-7|page=384}}</ref>

The increasing indulgence of these young directors did not help.{{Citation needed|date=October 2009}} Often, they would go overschedule, and overbudget, thus bankrupting themselves or the studio.{{Citation needed|date=October 2009}} The three most notable examples of this are Coppola's ''Apocalypse Now'' and ''[[One From The Heart]]'' and particularly [[Michael Cimino]]'s ''[[Heaven's Gate (film)|Heaven's Gate]]'', which single-handedly bankrupted [[United Artists]]. However, ''Apocalypse Now'' eventually made its money back and gained widespread recognition as a masterpiece, winning the Palme d'Or at [[Cannes Film Festival|Cannes]].<ref>{{cite web |url=http://www.bfi.org.uk/sightandsound/feature/63 |title=Modern Times |archive-url=https://web.archive.org/web/20120307030723/http://www.bfi.org.uk/sightandsound/feature/63 |archive-date=March 7, 2012 |work=[[Sight & Sound]] |publisher=[[British Film Institute]] |date=December 2002 |access-date=October 16, 2010}}</ref>

===1975–2008: Rise of the modern blockbuster and independent films===
[[File:TomHanksJan2009.jpg|thumb|right|upright=0.8|Actor [[Tom Hanks]]
[[File:Action hero montage.png|thumb|left|Some of Hollywood's blockbuster action heroes from the 1970s to 2000s. From left: (top row) [[Sylvester Stallone]], [[Arnold Schwarzenegger]], [[Bruce Willis]], [[Steven Seagal]] (bottom row) [[Dolph Lundgren]], [[Jean-Claude Van Damme]], [[Wesley Snipes]], [[Jackie Chan]].]]
Spectacular epics which took advantage of new [[widescreen]] processes had been increasingly popular from the 1950s onwards.
The 1980s and 1990s saw another significant development. The full acceptance of [[home video]] by studios opened a vast new business to exploit. Films which may have performed poorly in their theatrical run were now able to find success in the video market. It also saw the first generation of filmmakers with access to videotapes emerge. Directors such as [[Quentin Tarantino]] and [[Paul Thomas Anderson]] had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. Tarantino has had a number of collaborations with director [[Robert Rodriguez]]. Rodriguez directed the 1992 action film ''[[El Mariachi]]'', which was a commercial success after grossing $2&nbsp;million against a budget of $7,000.

This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and [[audio commentary (DVD)|commentary tracks]] with the films.

In the US, the [[PG-13 (Motion Picture Association)|PG-13]] rating was introduced in 1984 to accommodate films that straddled the line between PG and R, which was mainly due to the controversies surrounding the violent content of the PG films ''[[Indiana Jones and the Temple of Doom]]'' and ''[[Gremlins]]'' (both 1984).<ref>{{cite news|title=PG-13 remade Hollywood ratings system|last=Breznican|first=Anthony|url=http://www.seattlepi.com/movies/187529_pg13rating24.html|newspaper=[[Seattle Post-Intelligencer]]|date=August 24, 2004|access-date=June 27, 2016}}</ref>

1988's ''[[Die Hard]]'' established what would become a common formula for many 1990s action films, featuring a lone [[everyman]] against a colorful terrorist character, who's usually holding hostages, in an isolated setting. Such films and their sequels are often referred to as "''Die Hard'' on a _____": ''[[Under Siege]]'' (battleship), ''[[Cliffhanger (film)|Cliffhanger]]'' (mountain), ''[[Speed (1994 film)|Speed]]'' (bus), ''[[The Rock (film)|The Rock]]'' (prison island), ''[[Con Air]]'' (prison plane), ''[[Air Force One (film)|Air Force One]]'' (presidential plane), etc.

Film{{nbsp}}makers in the 1990 had access to technological, political and economic innovations that had not been available in previous decades. ''[[Dick Tracy (1990 film)|Dick Tracy]]'' (1990) became the first [[5 mm movie film|35 mm]] feature film with a [[digital data|digital]] soundtrack. ''[[Batman Returns]]'' (1992) was the first film to make use of the [[Dolby Digital]] six-channel stereo sound that has since become the industry standard. Computer-generated imagery was greatly facilitated when it became possible to transfer film images into a computer and manipulate them digitally. The possibilities became apparent in director [[James Cameron]]'s [[Terminator 2: Judgment Day]] (1991), in images of the shape-changing character [[T-1000]]. [[Computer graphics]] or CG advanced to a point where ''[[Jurassic Park]]'' (1993) was able to use the techniques to create realistic looking animals. [[Jackpot (2001 film)|''Jackpot'']] (2001) became the first film that was shot entirely in digital.<ref name="cin08">{{cite magazine|url=https://www.redsharknews.com/technology-computing/item/2990-how-george-lucas-pioneered-the-use-of-digital-video-in-feature-films-with-the-sony-hdw-f900|title=How George Lucas pioneered the use of Digital Video in feature films with the Sony HDW F900|magazine=Red Shark News|url-access=limited}}</ref> In the film ''[[Titanic (1997 film)|Titanic]]'', Cameron wanted to push the boundary of special effects with his film, and enlisted [[Digital Domain]] and [[Pacific Data Images]] to continue the developments in digital technology which the director pioneered while working on ''[[The Abyss]]'' and ''[[Terminator 2: Judgment Day]]''. Many previous films about the RMS ''Titanic'' shot water in [[slow motion]], which did not look wholly convincing.<ref name="unreality">Marsh and Kirkland, pp. 147–154</ref> Cameron encouraged his crew to shoot their {{convert|45|ft|m|adj=mid|-long}} [[Scale model|miniature]] of the ship as if "we're making a commercial for the White Star Line".


Even ''[[The Blair Witch Project]]'' (1999), a low-budget indie [[horror film]] by [[Eduardo Sánchez (director)|Eduardo Sanchez]] and [[Daniel Myrick]], was a huge financial success. Filmed on a budget of just $35,000, without any big stars or special effects, the film grossed $248&nbsp;million with the use of modern marketing techniques and online promotion. Though not on the scale of [[George Lucas]]'s $1&nbsp;billion prequel to the ''[[Star Wars original trilogy|Star Wars Trilogy]]'', ''The Blair Witch Project'' earned the distinction of being the most profitable film of all time, in terms of percentage gross.<ref name=cin08 />

The success of ''Blair Witch'' as an indie project remains among the few exceptions, however, and control of [[Big Five (movie studios)|The Big Five]] studios over film{{nbsp}}making continued to increase through the 1990s. The Big Six companies all enjoyed a period of expansion in the 1990s. They each developed different ways to adjust to rising costs in the film industry, especially the rising salaries of movie stars, driven by powerful agents. The biggest stars like [[Sylvester Stallone]], [[Russell Crowe]], [[Tom Cruise]], [[Nicole Kidman]], [[Sandra Bullock]], [[Arnold Schwarzenegger]], [[Mel Gibson]] and [[Julia Roberts]] received between $15-$20&nbsp;million per film and in some cases were even given a share of the film's profits.<ref name=cin08 />

[[Screenwriters]] on the other hand were generally paid less than the top actors or directors, usually under $1&nbsp;million per film. However, the single largest factor driving rising costs was special effects. By 1999 the average cost of a [[blockbuster film]] was $60&nbsp;million before marketing and promotion, which cost another $80&nbsp;million.<ref name=cin08 /> Since then, American films have become increasingly divided into two categories: [[Blockbuster (entertainment)|Blockbusters]] and [[independent film]]s.

Studios supplement these movies with [[Independent film|independent productions]], made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation.{{Citation needed|date=June 2013}} These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budget, a successful independent film can have a high profit-to-cost ratio while a failure will incur minimal losses, allowing for studios to sponsor dozens{{Citation needed|date=June 2013}} of such productions in addition to their high-stakes releases.

American independent cinema was revitalized{{Citation needed|date=June 2013}} in the late 1980s and early 1990s when another new generation of moviemakers, including [[Spike Lee]], [[Steven Soderbergh]], [[Kevin Smith]] and [[Quentin Tarantino]] made movies like, respectively: ''[[Do the Right Thing]]'', ''[[Sex, Lies, and Videotape]]'', ''[[Clerks (1994 film)|Clerks]]'' and ''[[Reservoir Dogs]]''. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example, [[Fox Searchlight Pictures]].

By this time, [[Harvey Weinstein]] was a Hollywood power player, commissioning critically acclaimed film such as [[Shakespeare in Love]], [[Good Will Hunting]], and the Academy Award-winning [[The English Patient (film)|The English Patient]]. Under TWC Weinstein had released almost an unbroken chain of successful films. Best Picture winners [[The Artist (film)|The Artist]] and [[The King's Speech]] were released under Weinstein's commission.

[[File:Hollywood boulevard from kodak theatre.jpg|thumb|upright=1.15|Hollywood Boulevard from the [[Dolby Theatre]], before 2006]]
The decade of the 2000s involved many significant developments in the film industries around the world, especially in the technology used. Building on developments in the 1990s, [[computer]]s were used to create effects that would have previously been more expensive, from the subtle erasing of surrounding islands in ''[[Cast Away]]'' (leaving [[Tom Hanks]]' character stranded with no other land in sight) to the vast battle scenes such as those in [[The Matrix (franchise)|''The Matrix'' sequels]] and ''[[00 (film)|300]]''.{{citation needed|date=February 2022}}

The 2000s saw the resurgence of several genres. [[Fantasy film]] franchises dominated the box office with ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'', ''[[Harry Potter (film series)|Harry Potter]]'', ''[[Pirates of the Caribbean (film series)|Pirates of the Caribbean]]'', the [[Star Wars prequel trilogy|''Star Wars'' prequel trilogy]] (beginning in 1999), ''[[The Chronicles of Narnia (film series)|The Chronicles of Narnia]]'', etc. [[Comic book]] [[superhero film]]s became a mainstream blockbuster genre following the releases of ''[[Blade (1998 film)|Blade]]'', ''[[X-Men (film)|X-Men]]'', ''[[Unbreakable (film)|Unbreakable]]'', and ''[[Spider-Man (2002 film)|Spider-Man]]''. ''[[Gladiator (2000 film)|Gladiator]]'' similarly sparked the revival of [[epic films]], while the [[Bollywood]]-inspired ''[[Moulin Rouge!]]'' did the same for [[musical film]]s. [[Computer animation]] replaced [[traditional animation]] as the dominant medium for animated feature films in American cinema. Although Hollywood still produces some films for the family audience, particularly animations, the vast majority of films are principally designed for [[young adult]] audiences.{{citation needed|date=February 2022}}

===2008–present: Contemporary cinema===
[[File:Dolby Theatre v2.jpg|thumb|The [[Dolby Theatre]]
Since the late 2000s, the theatrical market place has been dominated by the [[Superhero film|superhero]] genre, particularly since the emergence of the [[Marvel Cinematic Universe]] (2008–present) and the [[DC Extended Universe]] (2013–present). {{asof|2022}} they are the best-paying productions for actors, because paychecks in other genres have shrunk for even top actors.<ref name="thr20221021">{{Cite magazine |last=Couch |first=Aaron |last2=Galuppo |first2=Mia |last3=Kit |first3=Borys |date=2022-10-21 |title=Marvel, DC Among Last Bastion for Supersized Paydays |url=https://www.hollywoodreporter.com/movies/movie-features/marvel-dc-florence-pugh-michael-keaton-pay-1235243911/ |magazine=The Hollywood Reporter |language=en-US |access-date=2022-10-27}}</ref>

As of 2020, the 2019 fantasy film ''[[Frozen II]]'' was originally planned to be released on [[Disney+]] on June 26, 2020, before it was moved up to March 15. Disney CEO [[Bob Chapek]] explained that this was because of the film's "powerful themes of perseverance and the importance of family, messages that are incredibly relevant".<ref>{{cite web|url=https://variety.com/2020/film/news/disney-plus-frozen-2-streaming-early-coronavirus-1203534308/|title=Disney Plus to Stream 'Frozen 2' Three Months Early 'During This Challenging Period'|last=Donnelly|first=Matt|date=March 14, 2020|website=Variety |access-date=March 14, 2020|archive-url=https://web.archive.org/web/20200314044246/https://variety.com/2020/film/news/disney-plus-frozen-2-streaming-early-coronavirus-1203534308/|archive-date=March 14, 2020|url-status=live}}</ref><ref>{{cite web|url=https://www.hollywoodreporter.com/news/walt-disney-company-bringing-frozen-2-disney-three-months-early-1284637|title='Frozen 2' to Debut On Disney+ Months Earlier Than Planned|website=The Hollywood Reporter |date=March 13, 2020 |access-date=March 14, 2020|archive-url=https://web.archive.org/web/20200314060719/https://www.hollywoodreporter.com/news/walt-disney-company-bringing-frozen-2-disney-three-months-early-1284637|archive-date=March 14, 2020|url-status=live}}</ref> On March 16, 2020, Universal announced that ''[[The Invisible Man (2020 film)|The Invisible Man]]'', ''[[The Hunt (2020 film)|The Hunt]]'', and ''[[Emma (2020 film)|Emma]]''—all films in theaters at the time—would be available through [[Video on demand|Premium video on demand]] as early as March 20 at a suggested price of $19.99 each.<ref name=":0">{{cite web|url=https://deadline.com/2020/03/coronavirus-trolls-world-tour-invisible-man-the-hunt-emma-debut-on-demand-in-home-theatrical-window-collapse-1202884570/|title=Universal Making 'Invisible Man', 'The Hunt' & 'Emma' Available In Home On Friday As Exhibition Braces For Shutdown; 'Trolls' Sequel To Hit Cinemas & VOD Easter Weekend|last=D'Alessandro|first=Anthony|date=March 16, 2020|work=Deadline Hollywood|url-status=live|archive-url=https://web.archive.org/web/20200317001511/https://deadline.com/2020/03/coronavirus-trolls-world-tour-invisible-man-the-hunt-emma-debut-on-demand-in-home-theatrical-window-collapse-1202884570/|archive-date=March 17, 2020|access-date=March 16, 2020}}</ref> After suffering poor box office since its release at the start of March, ''[[Onward (film)|Onward]]'' was made available to purchase digitally on March 21, and was added to Disney+ on April 3.<ref>{{cite web|url=https://screenrant.com/onward-movie-release-date-on-demand-disney-plus/|title=Pixar's Onward Releases On-Demand Tonight, Hits Disney+ in April|date=2020-03-20|website=ScreenRant|url-status=live|archive-url=https://web.archive.org/web/20200320145916/https://screenrant.com/onward-movie-release-date-on-demand-disney-plus/|archive-date=March 20, 2020|access-date=2020-03-20}}</ref> Paramount announced on March 20, ''[[Sonic the Hedgehog (film)|Sonic the Hedgehog]]'' is also planning to have an early release to video on demand, on March 31.<ref>{{cite web|url=https://variety.com/2020/film/box-office/sonic-the-hedgehog-early-release-digital-1203540512/|title='Sonic the Hedgehog' Speeds to Early Release on Digital|last=McNary|first=Dave|date=March 20, 2020|website=Variety|url-status=live|archive-url=https://web.archive.org/web/20200320194248/https://variety.com/2020/film/box-office/sonic-the-hedgehog-early-release-digital-1203540512/|archive-date=March 20, 2020|access-date=March 20, 2020}}</ref><ref>{{cite news|last=Bui|first=Hoi-Tran|url=https://www.slashfilm.com/onward-digital-release-early/|title=Pixar's 'Onward' is Releasing Today on Digital, Just Two Weeks After It Hit Theaters|date=20 March 2020|access-date=21 March 2020|url-status=live|archive-url=https://web.archive.org/web/20200321063123/https://www.slashfilm.com/onward-digital-release-early/|archive-date=March 21, 2020|publisher=[[Slashfilm]]}}</ref> On March 16, Warner Bros. announced that ''[[Birds of Prey (2020 film)|Birds of Prey]]'' would be released early to video on demand on March 24.<ref>{{cite web|url=https://variety.com/2020/film/news/birds-of-prey-vod-early-coronavirus-1203535955/|title='Birds of Prey' Will Be Released on VOD Early|last=Rubin|first=Rebecca|date=March 16, 2020|website=[[Variety (magazine)|Variety]]|url-status=live|archive-url=https://web.archive.org/web/20200317050900/https://variety.com/2020/film/news/birds-of-prey-vod-early-coronavirus-1203535955/|archive-date=March 17, 2020|access-date=March 17, 2020}}</ref> On April 3, Disney announced that ''[[Artemis Fowl (film)|Artemis Fowl]]'', a film adaptation of the 2001 [[Artemis Fowl|book]] of the same name, would move straight to Disney+ on June 12, skipping a theatrical release entirely.<ref>{{Cite web|url=https://www.thewrap.com/artemis-fowl-pulled-disney-plus-streaming/|title=Disney Pulls 'Artemis Fowl' From Theaters, Will Debut on Disney+|date=April 3, 2020|url-status=live|archive-url=https://web.archive.org/web/20200406020215/https://www.thewrap.com/artemis-fowl-pulled-disney-plus-streaming/|archive-date=April 6, 2020|access-date=April 7, 2020}}</ref><ref>{{Cite web|url=https://variety.com/2020/digital/news/artemis-fowl-disney-plus-premiere-date-1234583206/|title='Artemis Fowl' Premiere Date on Disney Plus Set as Movie Goes Direct-to-Streaming|last=Spangler|first=Todd|date=2020-04-17|website=Variety |access-date=2020-04-19|archive-url=https://web.archive.org/web/20200421130002/https://variety.com/2020/digital/news/artemis-fowl-disney-plus-premiere-date-1234583206/|archive-date=April 21, 2020|url-status=live}}</ref>

In 2021 despite [[COVID-19 pandemic in the United States]], studios that have produced various films such as ''[[Black Widow (2021 film)|Black Widow]]'', ''[[F9 (film)|F9]]'', [[Death on the Nile (2021 film)|''Death on the Nile'']] and [[West Side Story (2021 film)|''West Side Story'']] were forced to postponed or delayed their releases to after 2020.<ref>{{Cite web|date=September 23, 2020|title='Black Widow,' 'West Side Story,' 'Eternals' Postpone Release Dates|url=https://variety.com/2020/film/news/black-widow-west-side-story-eternals-release-date-delay-1234773491/|access-date=October 4, 2020|work=Variety}}</ref>

[[File:Ocean's11Cast.jpg|thumb|right|300px|The [[Ocean's Eleven]] Cast: [[Brad Pitt]], [[George Clooney]], [[Matt Damon]], [[Andy García]], [[Julia Roberts]], and [[Steven Soderbergh]].<ref>{{cite web | first=Rodrigo | last=Perez | title=Exclusive: All-Female 'Ocean's Eleven' In The Works Starring Sandra Bullock, With Gary Ross Directing | work=The Playlist | url=http://blogs.indiewire.com/theplaylist/exclusive-all-female-oceans-eleven-in-the-works-starring-sandra-bullock-with-gary-ross-directing-20151029 | date=2015-10-29}}</ref><ref>{{cite magazine | first=Kevin P. | last=Sullivan | title=Sandra Bullock will lead an all-female Ocean's Eleven reboot | magazine=[[Entertainment Weekly]] | date=2015-10-30 | url=https://www.ew.com/article/2015/10/30/sandra-bullock-oceans-eleven}}</ref>]]

Various studios have responded to the crisis with controversial decisions to [[Film distribution#Shrinking of the theatrical window|forgo the theatrical window]] and give their films [[Simultaneous release|day-and-date releases]]. [[NBCUniversal]] released ''[[Trolls World Tour]]'' directly to [[Video on demand|video-on-demand]] rental on April 10,<ref name=":0" /> while simultaneously receiving limited domestic theatrical screenings via drive-in cinemas;<ref>{{Cite web|url=https://deadline.com/2020/04/trolls-world-tour-coronavirus-box-office-vod-easter-weekend-1202907646/|title='Trolls World Tour': Drive-In Theaters Deliver What They Can During COVID-19 Exhibition Shutdown—Easter Weekend 2020 Box Office|last=D'Alessandro|first=Anthony|date=2020-04-14|website=Deadline |access-date=2020-04-14|archive-url=https://web.archive.org/web/20200423040709/https://deadline.com/2020/04/trolls-world-tour-coronavirus-box-office-vod-easter-weekend-1202907646/|archive-date=April 23, 2020|url-status=live}}</ref> CEO [[Jeff Shell]] claims that the film had reached nearly $100&nbsp;million in revenue within the first three weeks.<ref>{{Cite web|url=https://www.thewrap.com/trolls-world-tour-earns-nearly-100-million-in-first-3-weeks-of-vod-rentals-universal-says/|title=Universal's 'Trolls World Tour' Earns Nearly $100 Million in First 3 Weeks of VOD Rentals|date=2020-04-28|website=TheWrap |access-date=2020-04-28|archive-url=https://web.archive.org/web/20200506203336/https://www.thewrap.com/trolls-world-tour-earns-nearly-100-million-in-first-3-weeks-of-vod-rentals-universal-says/|archive-date=May 6, 2020|url-status=live}}</ref><ref>{{Cite news|last=Schwartzel|first=Erich|url=https://www.wsj.com/articles/trolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202|title=WSJ News Exclusive {{!}} 'Trolls World Tour' Breaks Digital Records and Charts a New Path for Hollywood|date=2020-04-28|work=[[The Wall Street Journal]]|access-date=2020-04-28 |issn=0099-9660|archive-url=https://web.archive.org/web/20200428234817/https://www.wsj.com/articles/trolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202|archive-date=April 28, 2020|url-status=live}}</ref> The decision was opposed by [[AMC Theatres]], which then announced that its screenings of Universal Pictures films would cease immediately, though the two companies would eventually agree to a 2-week theatrical window.<ref>{{Cite web|url=https://www.hollywoodreporter.com/news/china-shuts-down-all-cinemas-again-1287040|title=China Shuts Down All Cinemas, Again|website=The Hollywood Reporter |date=March 27, 2020 |access-date=2020-04-21|archive-url=https://web.archive.org/web/20200423151734/https://www.hollywoodreporter.com/news/china-shuts-down-all-cinemas-again-1287040|archive-date=April 23, 2020|url-status=live}}</ref><ref>{{Cite web|url=https://www.theverge.com/2020/3/18/21184030/universal-trolls-world-tour-hunt-coronavirus-birds-of-prey-warner-bros-disney-paramount-vod-digital|title=Trolls World Tour could be a case study for Hollywood's digital future|last=Alexander|first=Julia|date=2020-03-18|website=The Verge |access-date=2020-04-17}}</ref><ref>{{Cite web|url=https://www.theverge.com/2020/4/28/21240637/amc-theaters-universal-trolls-world-tour-disney-warnermedia-digital-streaming|title=AMC Theaters will no longer play Universal movies after Trolls World Tour's on-demand success|last=Alexander|first=Julia|date=2020-04-28|website=The Verge |access-date=2020-04-29|archive-url=https://web.archive.org/web/20200429030239/https://www.theverge.com/2020/4/28/21240637/amc-theaters-universal-trolls-world-tour-disney-warnermedia-digital-streaming|archive-date=April 29, 2020|url-status=live}}</ref><ref>{{Cite web|last=D'Alessandro|first=Anthony|date=2020-07-28|title=Universal & AMC Theatres Make Peace, Will Crunch Theatrical Window To 17 Days With Option For PVOD After|url=https://deadline.com/2020/07/universal-amc-theatres-theatrical-window-crush-pvod-agreement-1202997573/|access-date=2020-08-03|website=Deadline}}</ref><ref>{{Cite web|last=Whitten|first=Sarah|date=2020-07-28|title=AMC strikes historic deal with Universal, shortening number of days films need to run in theaters before going digital|url=https://www.cnbc.com/2020/07/28/amc-strikes-historic-deal-with-universal-shortening-number-of-days-films-need-to-run-in-theaters-before-going-digital.html|access-date=2020-08-03|website=CNBC}}</ref> By December 2020, [[Warner Bros. Pictures]] announced their decision to simultaneously release its slate of 2021 films in both theaters and its streaming site [[HBO Max]] for a period of one month in order to maximize viewership.<ref name="variety wb 2021 films">{{cite web|url=https://variety.com/2020/film/news/warner-bros-hbo-max-theaters-dune-matrix-4-1234845342/|title=Warner Bros. to Debut Entire 2021 Film Slate, Including 'Dune' and 'Matrix 4,' Both on HBO Max and In Theaters |first1=Rebecca|last1=Rubin|first2=Matt|last2=Donnelly|date=December 3, 2020|access-date=December 3, 2020|work=Variety}}</ref> The move was vehemently criticized by various industry figures, many of whom were reportedly uninformed of the decision before the announcement and felt deceived by the studio.<ref>{{cite news|last=Masters|first=Kim|title=Christopher Nolan Rips HBO Max as "Worst Streaming Service," Denounces Warner Bros.' Plan|url=https://www.hollywoodreporter.com/business/business-news/christopher-nolan-rips-hbo-max-as-worst-streaming-service-denounces-warner-bros-plan-4101408/|access-date=July 21, 2021|work=[[The Hollywood Reporter]]|publisher=The Hollywood Reporter, LLC|date=December 7, 2020}}</ref>

Industry commentators have noted the increasing treatment of films as "[[Content (media)|content]]" by corporations that correlate with the rise of streaming platforms such as [[Netflix]], [[Disney+]], [[Paramount+]], and [[Apple TV+]].<ref>{{cite news|last=Brew|first=Simon|title=Can we stop calling films 'content' now?|url=https://www.filmstories.co.uk/features/can-we-stop-calling-films-content-now/|access-date=July 22, 2021|work=[[Film Stories]]|publisher=Film Stories Ltd|date=October 21, 2019}}</ref><ref name="RE">{{cite news|last=Seitz|first=Matt Zoller|author-link=Matt Zoller Seitz|title=What's Next: Avengers, MCU, Game of Thrones, and the Content Endgame|url=https://www.rogerebert.com/mzs/avengers-mcu-and-the-content-endgame|access-date=July 21, 2021|work=[[RogerEbert.com]]|publisher=Ebert Digital LLC|date=April 29, 2019}}</ref> This involves the blurring of boundaries between films, television and other forms of media as more people consume them together in a variety of ways, with individual films defined more by their brand identity and commercial potential rather than their medium, stories and artistry.<ref name="RE"/><ref>{{cite news|last=Taylor|first=Alex|title=Are streaming algorithms really damaging film?|url=https://www.bbc.com/news/entertainment-arts-56085924|access-date=July 22, 2021|work=[[BBC News]]|publisher=[[BBC|British Broadcasting Corporation]]|date=February 20, 2021|quote=[Martin Scorsese has] warned that cinema is being 'devalued&nbsp;... demeaned and reduced' by being thrown under the umbrella term 'content'.}}</ref> Critic [[Matt Zoller Seitz]] has described the release of ''[[Avengers: Endgame]]'' in 2019 as "represent[ing] the decisive defeat of 'cinema' by 'content'" due to its grand success as a "piece of entertainment" defined by the Marvel brand that culminates a series of blockbuster films that has traits of serial television.<ref name="RE"/> The films ''[[Space Jam: A New Legacy]]'' and ''[[Red Notice (film)|Red Notice]]'' have been cited as examples of this treatment, with the former being described by many critics as "a lengthy infomercial for HBO Max", featuring scenes and characters recalling various Warner Bros. properties such as ''[[Casablanca (film)|Casablanca]]'', ''[[The Matrix]]'' and ''[[Austin Powers]]'',<ref>{{cite magazine|last=Shephard|first=Alex|title=Space Jam: A New Legacy Is a Peek Into the Bleak, Cynical Future of Film|url=https://newrepublic.com/article/163008/space-jam-new-legacy-peek-bleak-cynical-future-film|access-date=July 21, 2021|magazine=[[The New Republic]]|date=July 21, 2021}}</ref><ref name="Polygon">{{cite web|last=Rivera|first=Joshua|title=Despair, pitiful mortals: Space Jam: A New Legacy is the future of entertainment|url=https://www.polygon.com/movies/22577229/space-jam-a-new-legacy-review|website=[[Polygon (website)|Polygon]]|publisher=[[Vox Media|Vox Media, LLC]]|access-date=July 22, 2021|date=July 14, 2021}}</ref><ref name="Forbes">{{cite news|last=Mendelson|first=Scott|title='Space Jam: A New Legacy' Review: A Feature-Length Commercial For HBO Max|url=https://www.forbes.com/sites/scottmendelson/2021/07/14/space-jam-a-new-legacy-review-a-feature-length-commercial-for-hbo-max/|access-date=July 22, 2021|work=[[Forbes]]|date=July 14, 2021|quote=Quite possibly, as Space Jam: A New Legacy is now a classic example of 'IP for the sake of IP,' a brand extension that exists not because audiences want it but because a studio (and/or the film's star) wants it to continue.}}</ref><ref>{{cite news|last=Kirby|first=Kristen-Page|title='Space Jam: A New Legacy'—a feature-length ad for Warner Bros.—rises just above mediocrity|url=https://www.washingtonpost.com/goingoutguide/movies/space-jam-a-new-legacy-movie-review/2021/07/14/503db95c-e00c-11eb-b507-697762d090dd_story.html|access-date=July 22, 2021|newspaper=[[The Washington Post]]|publisher=WP Company LLC|date=July 14, 2021}}</ref> while the latter is a $200 million heist film from Netflix that critics described "a movie that feels more processed by a machine [...] instead of anything approaching artistic intent or even an honest desire to entertain."<ref>{{cite web|last=Tallerico|first=Brian|title=Red Notice movie review & film summary (2021)|url=https://www.rogerebert.com/reviews/red-notice-movie-review-2021|website=[[RogerEbert.com]]|publisher=Ebert Digital LLC|access-date=November 4, 2021|date=November 4, 2021}}</ref><ref>{{cite news|last=Evangelista|first=Chris|title=Red Notice Review: Dwayne Johnson And Ryan Reynolds Bumble Through Netflix's Glossy, Lifeless Action Movie|url=https://www.slashfilm.com/651270/red-notice-review-dwayne-johnson-and-ryan-reynolds-bumble-through-netflixs-glossy-lifeless-action-movie/|access-date=November 4, 2021|work=[[/Film]]|publisher=Static Media|date=November 4, 2021}}</ref><ref>{{cite news|last=Lee|first=Benjamin|title=Red Notice review—Netflix's biggest film to date offers little reward|url=https://www.theguardian.com/film/2021/nov/04/red-notice-review-netflix-biggest-film-to-date-offers-little-reward|access-date=November 4, 2021|work=[[The Guardian]]|publisher=Guardian News & Media Limited|date=November 4, 2021}}</ref> Some have expressed that ''Space Jam'' demonstrates the industry's increasingly cynical treatment of films as mere [[intellectual property]] (IP) to be exploited, an approach which critic Scott Mendelson called "IP for the sake of IP."<ref name="Polygon"/><ref>{{cite web|last=Ebiri|first=Bilge|title=''Space Jam: A New Legacy'' Never Thought It Could Be a Good Movie|url=https://www.vulture.com/article/space-jam-a-new-legacy-review-lebron-james-is-here.html|website=[[Vulture.com|Vulture]]|publisher=[[Vox Media|Vox Media, LLC]]|access-date=July 22, 2021|date=July 14, 2021|quote=It criticizes shameless, money-grubbing attempts to synergize and update beloved classics&nbsp;... all the while shamelessly synergizing and updating beloved classics.&nbsp;... The studios rarely seem to want to do anything new with their properties other than remind us that they still own them.}}</ref><ref>{{cite magazine|last=Sollosi|first=Mary|title=''Space Jam: A New Legacy'' review: LeBron James enters the server-verse in exhausting reboot|url=https://ew.com/movies/movie-reviews/space-jam-a-new-legacy-review/|magazine=[[Entertainment Weekly]]|publisher=[[Meredith Corporation]]|access-date=July 22, 2021|date=July 14, 2021}}</ref><ref name="Forbes"/>

==Hollywood and politics==
{{Main|Good Neighbor policy}}
[[File:81st Academy Awards Ceremony.JPG|thumb|upright=1.35|81st [[Academy Awards]] Presentations, [[Dolby Theatre]], Hollywood, 2009]]
In the 1930s, the Democrats and the Republicans saw money in Hollywood. President [[Franklin Roosevelt]] saw a huge partnership with Hollywood. He used the first real potential of Hollywood's stars in a national campaign. [[Melvyn Douglas]] toured Washington in 1939 and met the key New Dealers.{{Citation needed|date=June 2013}}

===Political endorsements===
{{See also|Hollywood blacklist|List of Joe Biden 2020 presidential campaign celebrity endorsements}}
Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, [[John F. Kennedy]] was a new, young face for Washington, and his strong friendship with [[Frank Sinatra]] exemplified this new era of glamour. The last moguls of Hollywood were gone and younger, newer executives and producers began pushing more [[Modern liberalism in the United States|liberal]] ideas.{{citation needed|date=February 2022}}

Celebrities and money attracted politicians into the high-class, glittering Hollywood lifestyle. As [[Ron Brownstein]] wrote in his book ''The Power and the Glitter'', television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like [[Jane Fonda]] against the Vietnam War.<ref name="Brownstein, Ronald 1990">[[Ron Brownstein|Brownstein, Ronald]] (1990). ''The Power and the Glitter: The Hollywood-Washington Connection''. [[Pantheon Books]]. {{ISBN|0-394-56938-5}}</ref> Despite most celebrities and producers being left-leaning and tending to support the [[Democratic Party (United States)|Democratic Party]],<ref>{{cite news |title=US election 2020: Will celebrity endorsements help Joe Biden? |url=https://www.bbc.com/news/election-us-2020-54527265 |work=BBC News |date=14 October 2020}}</ref><ref>{{cite news |title=Celebrities' last-minute pleas to vote: See who's endorsing Biden or Trump |url=https://www.latimes.com/entertainment-arts/story/2020-11-03/election-2020-trump-biden-celebrity-endorsements |work=Los Angeles Times |date=November 3, 2021}}</ref> this era produced some [[Republican Party (United States)|Republican]] actors and producers. Former actor [[Ronald Reagan]] became [[governor of California]] and subsequently became the 40th [[president of the United States]]. It continued with [[Arnold Schwarzenegger]] as California's governor in [[003 California gubernatorial recall election|2003]].{{citation needed|date=February 2022}}

===Political donations===
[[File:Highsmithmaycompanywilshire.jpg|thumb|right|[[Academy Museum of Motion Pictures]]
Today, donations from Hollywood help to fund federal politics.<ref name="NewYorkTimes-20070206">{{cite news |url= https://www.nytimes.com/2007/02/06/movies/awardsseason/06holly.html|title=Politicians Are Doing Hollywood Star Turns|work=The New York Times|access-date=February 5, 2008 |first=David M. |last=Halbfinger |date=February 6, 2007}}</ref> On February 20, 2007, for example, Democratic then-presidential candidate [[Barack Obama]] had a $2,300-a-plate Hollywood gala, being hosted by [[DreamWorks Pictures|DreamWorks]] founders [[David Geffen]], [[Jeffrey Katzenberg]], and [[Steven Spielberg]] at the Beverly Hilton.<ref name="NewYorkTimes-20070206" />

== Criticisms ==

=== Covert advertising ===
[[Native advertising]] is information designed to persuade in more subtle ways than classic [[propaganda]]. A modern example common in the United States is [[copaganda]], in which TV shows display unrealistically flattering portrayals of law enforcement, in part to borrow equipment and get their assistance in blocking off streets to more easily film on location.<ref>{{Citation |title=Law & Order: Last Week Tonight with John Oliver (HBO) |url=https://www.youtube.com/watch?v=DNy6F7ZwX8I |language=en |access-date=2023-01-29}}</ref> Other [[reputation laundering]] accusations have been leveled in the entertainment industry, including the burnishing the image of the Mafia.<ref>{{Cite web |last=Peirson-Hagger |first=Ellen |date=2019-11-29 |title=“Hollywood Mafia films are skilful propaganda”: Kim Longinotto on why her new film breaks that mould |url=https://www.newstatesman.com/culture/film/2019/11/hollywood-mafia-films-are-skilful-propaganda-kim-longinotto-why-her-new-film |access-date=2023-01-30 |website=New Statesman |language=en-US}}</ref>

[[Product placement]] also has been a point of criticism, with the tobacco industry promoting smoking on screen.<ref>{{Cite journal |last=Mekemson |first=C. |last2=Glantz |first2=S. A. |date=2002-03-01 |title=How the tobacco industry built its relationship with Hollywood |url=https://tobaccocontrol.bmj.com/content/11/suppl_1/i81 |journal=Tobacco Control |language=en |volume=11 |issue=suppl 1 |pages=i81–i91 |doi=10.1136/tc.11.suppl_1.i81 |issn=0964-4563 |pmid=11893818}}</ref> The Centers for Disease Control cites that 18% of teen smokers wouldn't start smoking if films with smoking were automatically given an 'R' rating, which would save 1 million lives.<ref>{{Cite web |last=CDCTobaccoFree |date=2022-08-22 |title=Smoking in the Movies |url=https://www.cdc.gov/tobacco/data_statistics/fact_sheets/youth_data/movies/index.htm |access-date=2023-01-30 |website=Centers for Disease Control and Prevention |language=en-us}}</ref>

===Censorship===
{{See also|Overseas censorship of Chinese issues|List of TV and films critical of Chinese Communist Party}}

Hollywood producers generally seek to comply with the [[Chinese government]]'s censorship requirements in a bid to access the country's restricted and lucrative cinema market,<ref name="wp-8oct2019">{{cite news |last1=Whalen |first1=Jeanne |title=China lashes out at Western businesses as it tries to cut support for Hong Kong protests |url=https://www.washingtonpost.com/business/2019/10/08/china-lashes-out-western-businesses-it-tries-cut-support-hong-kong-protests/ |newspaper=[[The Washington Post]] |date=8 October 2019}}</ref> with the second-largest box office in the world as of 2016. This includes prioritizing sympathetic portrayals of Chinese characters in movies, such as changing the villains in ''[[Red Dawn (2012 film)|Red Dawn]]'' from Chinese to North Koreans.<ref name="wp-8oct2019" /> Due to many topics forbidden in China, such as Dalai Lama and [[Winnie-the-Pooh#Censorship in China|Winnie-the-Pooh]] being involved in the [[South Park]]'s episode "[[Band in China]]", South Park was entirely banned in China after the episode's broadcast.<ref name="pooh">{{cite news |title=South Park ban by China highlights Hollywood tightrope act |url=https://www.aljazeera.com/ajimpact/south-park-ban-china-highlights-hollywood-tightrope-act-191010180426697.html |work=Al-Jazeera |date=10 October 2019}}</ref> The 2018 film ''[[Christopher Robin (film)|Christopher Robin]]'', the new Winnie-the-Pooh movie, was denied a Chinese release.<ref name="pooh"/>

Although [[Tibet]] was previously a [[cause célèbre]] in Hollywood, featuring in films including ''[[Kundun]]'' and ''[[Seven Years in Tibet]]'', in the 21st century this is no longer the case.<ref name="qz-tibet-2019">{{cite news |last1=Steger |first1=Isabella |title=Why it's so hard to keep the world focused on Tibet |url=https://qz.com/1565178/how-china-has-shrunk-global-attention-for-tibet-and-the-dalai-lama/ |work=Quartz |date=March 28, 2019}}</ref> In 2016, [[Marvel Entertainment]] attracted criticism for its decision to cast Tilda Swinton as "The Ancient One" in the film adaptation ''[[Doctor Strange (2016 film)|Doctor Strange]]'', using a white woman to play a traditionally Tibetan character.<ref>{{Cite news|url=https://www.cnet.com/features/marvel-is-censoring-films-for-china-and-you-probably-didnt-even-notice/|title=Marvel is censoring films for China, and you probably didn't even notice|last=Bisset|first=Jennifer|date=November 1, 2019|work=[[CNET]]}}</ref> Actor and high-profile Tibet supporter [[Richard Gere]] stated that he was no longer welcome to participate in mainstream Hollywood films after criticizing the Chinese government and calling for a boycott of the [[008 Summer Olympics]] in Beijing.<ref name="qz-tibet-2019" /><ref name="hr-gere-2017">{{cite news |last1=Siegel |first1=Tatiana |title=Richard Gere's Studio Exile: Why His Hollywood Career Took an Indie Turn |url=https://www.hollywoodreporter.com/features/richard-geres-studio-exile-why-his-hollywood-career-took-an-indie-turn-992258 |work=The Hollywood Reporter |date=18 April 2017}}</ref>

==== Historic examples ====
Hollywood also [[Nazism and cinema|self-censored any negative depictions of Nazis]] for most of the 1930's in order to maintain access to German audiences.<ref name=":12">''Red Carpet: Hollywood, China, and the Battle for Global Supremacy.'' Erich Schwartzel. 2022. {{ISBN|9781984879004}}.</ref> Around that time [[economic censorship]] resulted in the [[Self-censorship|self-censoring]] of content to please the group wielding their economic influence.<ref name=":12" /> The [[Hays Code]] was an industry-led effort from 1930-1967 to strict self-censorship in order to appease religious objections to certain content and stave off any government censorship that could have resulted.<ref name=":12" />

==Global Hollywood==
[[File:Grauman's Chinese Theatre, by Carol Highsmith fixed & straightened.jpg|thumb|left|The [[TCL Chinese Theatre|Chinese Theatre]] before 2007]]
[[File:El Capitan Theatre 2009 Academy Awards.JPG|thumb|The [[El Capitan Theatre]]
[[File:Egyptian2.jpg|thumb|upright|[[Egyptian Theatre]] Main entry]]

Political economy of communication researchers have long focused on the international or global presence, power, profitability and popularity of Hollywood films. Books on global Hollywood by Toby Miller and Richard Maxwell,<ref>{{Cite book |last1=Miller |first1=Toby |title=Global Hollywood 2 |last2=Govil |first2=Nitin |last3=Maxwell |first3=Richard |publisher=Bloomsbury |year=2005 |isbn=978-1844570393 |edition=2nd |location=London}}</ref> Janet Wasko and Mary Erickson,<ref>{{Cite book |last=Wasko |first=Janet |title=Cross-Border Cultural Production: Economic Runaway or Globalization? |publisher=Cambria Press |year=2008 |isbn=978-1934043783 |edition=1st |location=New York}}</ref> Kerry Segrave,<ref>{{Cite book |last=Segrave |first=Kerry |title=American Films Abroad: Hollywood's Domination of the World's Movie Screens |publisher=McFarland & Company |year=1997 |isbn=0786403462 |edition=1st |location=Jefferson}}</ref> John Trumpbour<ref>{{Cite book |last=Trumpbour |first=John |title=Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920-1950 |publisher=Cambridge University Press |year=2002 |isbn=0521651565 |edition=1st |location=Cambridge}}</ref> and Tanner Mirrlees<ref>{{Cite book |last=Mirrlees |first=Tanner |title=Global Entertainment Media: Between Cultural Imperialism and Cultural Globalization |publisher=Routledge |year=2013 |isbn=9780415519823 |edition=1st |location=New York}}</ref> examine the international political economy of Hollywood's power.

According to Tanner Mirrlees, Hollywood relies on four capitalist strategies "to attract and integrate non-US film producers, exhibitors and audiences into its ambit: ownership, cross-border productions with subordinate service providers, content licensing deals with exhibitors, and blockbusters designed to travel the globe."<ref>{{Cite journal |last=Mirrlees |first=Tanner |date=2018 |title=Global Hollywood: An Entertainment Imperium, by Integration |url=https://cineaction.ca/issue-99/global-hollywood-an-entertainment-imperium-by-integration/ |journal=Cineaction |volume=1 |issue=100}}</ref>

In 1912, American film companies were largely immersed in the competition for the domestic market. It was difficult to satisfy the huge demand for films created by the [[Nickelodeon (movie theater)|nickelodeon]] boom. [[Motion Picture Patents Company]] members such as [[Edison Studios]], also sought to limit competition from French, Italian, and other imported films. Exporting films, then, became lucrative to these companies. [[Vitagraph Studios]] was the first American company to open its own distribution offices in Europe, establishing a branch in London in 1906, and a second branch in Paris shortly after.<ref name="Thompson">{{cite book |last= Thompson|first=Kristin |author-link=Kristin Thompson |title=Film History: An Introduction|year=2010 |publisher=McGraw-Hill |location= Madison, Wisconsin|isbn=978-0-07-338613-3}}</ref>

Other American companies were moving into foreign markets as well, and American distribution abroad continued to expand until the mid-1920s. Originally, a majority of companies sold their films indirectly. However, since they were inexperienced in overseas trading, they simply sold the foreign rights to their films to foreign distribution firms or export agents. Gradually, London became a center for the international circulation of US films.<ref name="Thompson"/>

Many British companies made a profit by acting as the agents for this business, and by doing so, they weakened British production by turning over a large share of the UK market to American films. By 1911, approximately 60 to 70 percent of films imported into Great Britain were American. The United States was also doing well in Germany, Australia, and New Zealand.<ref name="Thompson"/>

More recently, as globalization has started to intensify, and the United States government has been actively promoting free trade agendas and trade on cultural products, Hollywood has become a worldwide cultural source. The success on Hollywood export markets can be known not only from the boom of American multinational media corporations across the globe but also from the unique ability to make big-budget films that appeal powerfully to popular tastes in many different cultures.<ref>{{Cite book |title=The Cultural Economy of Cities |location=London |publisher=Sage Publications | year=2000 | first=A. J. | last=Scott | isbn=0-7619-5455-4}}</ref>

With globalization, movie production has been clustered in Hollywood for several reasons: the United States has the largest single home market in dollar terms, entertaining and highly visible Hollywood movies have global appeal, and the role of English as a universal language contributes to compensating for higher fixed costs of production.

Hollywood has moved more deeply into Chinese markets, although influenced by China's censorship. Films made in China are censored, strictly avoiding themes like "ghosts, violence, murder, horror, and demons." Such plot elements risk being cut. Hollywood has had to make "approved" films, corresponding to official Chinese standards, but with aesthetic standards sacrificed to box office profits. Even Chinese audiences found it boring to wait for the release of great American movies dubbed in their native language.<ref>{{cite web|last=Shirey |first=Paul |url=http://www.joblo.com/movie-news/cmon-hollywood-is-hollywood-going-to-start-being-made-in-china|title=C'mon Hollywood: Is Hollywood going to start being Made in China?|publisher=JoBlo.com|date=April 9, 2013|access-date=June 14, 2013}}</ref>

==Role of women==
{{Main|Women in film}}
{{multiple image|caption_align=center|header_align=center
| align       = right
| total_width = 300
| image1      = The Laundromat 09 (48816216163).jpg
| width1      = 380
| height1     = 425
| image2      = Katharine_Hepburn_promo_pic.jpg
| width2      = 380
| height2     = 425
| footer      = [[Meryl Streep]] is cited as one of the most influential women in Hollywood and [[Katharine Hepburn]] received four Academy Awards for Best Actress—a record for any performer.}}

Women's representation in film has been considered an issue almost as long as film has been an industry. Women's portrayals have been criticized as dependent on other characters, motherly and domestic figures who stay at home, overemotional, and confined to low-status jobs when compared to enterprising and ambitious male characters. With this, women are underrepresented and continually cast and stuck in gender stereotypes.{{citation needed|date=February 2022}}

Women are statistically underrepresented in creative positions in the center of the US film industry, Hollywood. This underrepresentation has been called the "[[celluloid ceiling]]", a variant on the [[employment discrimination]] term "[[glass ceiling]]". In 2013, the "top-paid actors&nbsp;... made {{frac|2|1|2}} times as much money as the top-paid actresses."<ref name="slate.com">{{cite web|url=http://www.slate.com/blogs/xx_factor/2015/02/23/gender_wage_gap_in_hollywood_it_s_very_very_wide.html|title=Gender wage gap in Hollywood: It's very, very wide.|author=Betsy Woodruff|date=February 23, 2015|work=[[Slate (magazine)|Slate]]}}</ref> "[O]lder [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34 while male stars earn the most at 51."<ref>{{cite web|url=https://variety.com/2014/film/news/study-female-movie-stars-earn-significantly-less-after-age-34-1201091967/|title=Female Movie Stars Experience Earnings Plunge After Age 34 |author=Maane Khatchatourian|work=Variety|date=February 7, 2014}}</ref>

The 2013 Celluloid Ceiling Report conducted by the Center for the Study of Women in Television and Film at [[San Diego State University]] collected a list of statistics gathered from "2,813 individuals employed by the 250 top domestic grossing films of 2012."<ref name="SanDiego">{{cite web|last=Lauzen|first=Martha|title=The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 012|url=http://womenintvfilm.sdsu.edu/files/2012_Celluloid_Ceiling_Exec_Summ.pdf|work=The Center for the Study of Women in Television and Film|publisher=San Diego State University|access-date=2013-05-20|archive-url=https://web.archive.org/web/20130226115330/http://womenintvfilm.sdsu.edu/files/2012_Celluloid_Ceiling_Exec_Summ.pdf|archive-date=2013-02-26|url-status=live}}</ref>

Women represented only 36 percent of major characters in film in 2018—a one percent decline from the 37 percent recorded in 2017. In 2019, that percentage increased to 40 percent. Women account for 51 percent of moviegoers. However, when it comes to key jobs like director and cinematographer, men continue to dominate. For the Academy Award nominations, only five women have ever been nominated for Best Director, but none have ever won in that category in the past 92 years. While female representation has improved, there is work yet to be done with regards to the diversity among those females. The percentage of black female characters went from 16 percent in 2017 to 21 percent in 2018. The representation of Latina actresses, however, decreased to four percent over the past year, three percentage points lower than the seven percent achieved in 2017.{{citation needed|date=February 2022}}

Women accounted for:
* "18% of all directors, executive producers, producers, writers, cinematographers, and editors. This reflected no change from 2011 and only a 1% increase from 1998."<ref name=SanDiego />
* "9% of all directors."<ref name=SanDiego />
* "15% of writers."<ref name=SanDiego />
* "25% of all producers."<ref name=SanDiego />
* "20% of all editors."<ref name=SanDiego />
* "2% of all cinematographers."<ref name=SanDiego />
* "38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3 to 5 women, and 10% employed 6 to 9 women."<ref name=SanDiego />

A ''New York Times'' article stated that only 15% of the top films in 2013 had women for a lead acting role.<ref name="NYTstudy">{{cite web|last=Buckley|first=Cara|title=Only 15 Percent of Top Films in 2013 Put Women in Lead Roles, Study Finds|url=http://artsbeat.blogs.nytimes.com/2014/03/11/only-15-percent-of-top-films-in-2013-put-women-in-lead-roles-study-finds|work=The New York Times |access-date=2014-03-12|date=March 11, 2014}}</ref> The author of the study noted that "The percentage of female speaking roles has not increased much since the 1940s when they hovered around 25 percent to 28 percent." "Since 1998, women's representation in behind-the-scenes roles other than directing has gone up just 1 percent." Women "directed the same percent of the 250 top-grossing films in 2012 (9 percent) as they did in 1998."<ref name="slate.com" />

==Race and ethnicity==
{{Anchor|Diversity in cinema}}
{{Main|African-American representation in Hollywood|Representation of African Americans in media|Racism in early American film|Portrayal of East Asians in Hollywood|Portrayal of Native Americans in film|Chicano films|Racism in horror films}}
[[File:Michael Peña Labor Cesar E. Chavez Memorial Auditorium.jpg|thumb|[[Michael Peña]] was master-of-ceremonies at the induction of the [[Farm Worker Movement]] into the [[Labor Hall of Fame]] and dedication of the Cesar E. Chavez Memorial Auditorium at the [[U.S. Department of Labor]] in March 2012. During the time he was cast for the [[Cesar Chavez (film)|Cesar Chavez]] film.]]

On May 10, 2021, NBC announced that it would not televise the 79th Golden Globe Awards in 2022, in support of a boycott of the HFPA by multiple media companies over inadequate efforts to address [[Hollywood Foreign Press Association|lack of diversity representation]] within the membership of the association with [[person of color]], but that it would be open to televise the ceremony in 2023 if the HFPA were successful in its efforts to reform.<ref>{{Cite web|last=Ausiello|first=Michael|date=May 10, 2021|title=Golden Globes Cancelled: NBC Scraps 2022 Ceremony As Backlash Grows|url=https://tvline.com/2021/05/10/golden-globes-cancelled-nbc-2022-ceremony-controversy/|work=TVLine|accessdate=May 10, 2021}}</ref>

Since the late days of the film industry, celluloid representations of Irish Americans have been plentiful. Films with Irish-American themes include social dramas such as ''[[Little Nellie Kelly]]'' and ''[[The Cardinal]]'', labor epics like ''[[On the Waterfront]]'', and gangster movies such as ''[[Angels with Dirty Faces]]'', ''[[The Friends of Eddie Coyle]]'', and ''[[The Departed]]''. Though the classic era of American Cinema is dominated predominantly by [[Caucasian race|Caucasian]] people in front of and behind the camera, minorities and people of color have managed to carve their own pathways to getting their films on the screen.{{citation needed|date=February 2022}}

American cinema has often reflected and propagated [[Stereotype|negative stereotypes]] towards foreign nationals and ethnic minorities.<ref>{{Cite journal|last=Lee|first=Kevin|date=January 2008|title="The Little State Department": Hollywood and the MPAA's Influence on U.S. Trade Relations|url=https://scholarlycommons.law.northwestern.edu/cgi/viewcontent.cgi?article=1671&context=njilb|journal=Northwestern Journal of International Law & Business|volume= 28| issue = 2}}</ref> For example, [[Russians]] and [[Russian Americans]] are usually portrayed as brutal mobsters, ruthless agents and villains.<ref>{{cite news |title=Will the cliche of the 'Russian baddie' ever leave our screens? |url=https://www.theguardian.com/tv-and-radio/2017/jul/10/will-cliche-russian-baddie-ever-leave-screens-james-norton-mcmafia |work=The Guardian |date=July 10, 2017}}</ref><ref>[http://www.foxnews.com/entertainment/2014/10/14/russian-film-industry-and-hollywood-uneasy-with-one-another/ "Russian film industry and Hollywood uneasy with one another"]. Fox News. October 14, 2014</ref><ref>{{cite news |title=5 Hollywood Villains That Prove Russian Stereotypes Are Hard to Kill |url=https://www.themoscowtimes.com/2015/08/09/5-hollywood-villains-that-prove-russian-stereotypes-are-hard-to-kill-a48849 |work=[[The Moscow Times]] |date=August 9, 2015}}</ref> According to Russian American professor [[Nina L. Khrushcheva]], "You can't even turn the TV on and go to the movies without reference to Russians as horrible."<ref>{{cite news |title=Hollywood stereotypes: Why are Russians the bad guys? |url=https://www.bbc.com/culture/article/20141106-why-are-russians-always-bad-guys |work=BBC News |date=5 November 2014}}</ref> [[Italians]] and [[Italian Americans]] are usually associated with organized crime and [[Italian-American Mafia|the Mafia]].<ref>{{cite news |title=Stereotypes of Italian Americans in Film and Television |url=https://www.thoughtco.com/stereotypes-of-italian-americans-film-television-2834703 |work=[[Thought Catalog]] |date=March 26, 2018}}</ref><ref>{{cite news |title=NYC; A Stereotype Hollywood Can't Refuse |url=https://www.nytimes.com/1999/07/30/nyregion/nyc-a-stereotype-hollywood-can-t-refuse.html |work=The New York Times |date=July 30, 1999}}</ref><ref name="stereotypes"/> [[Hispanic and Latino Americans]] are largely depicted as sexualized figures such as the Latino [[Machismo|macho]] or the Latina [[Sex kitten|vixen]], [[gang]] members, (illegal) [[immigrant]]s, or [[entertainer]]s.<ref>{{cite journal |last1= Davison |first1= Heather K. |last2= Burke |first2= Michael J. |year= 2000 |title= Sex Discrimination in Simulated Employment Contexts: A Meta-analytic Investigation |journal= Journal of Vocational Behavior |volume= 56 |issue= 2 |pages= 225–248 |doi= 10.1006/jvbe.1999.1711 }}</ref> However representation in Hollywood has enhanced in latter times of which it gained noticeable momentum in the 1990s and does not emphasize oppression, exploitation, or resistance as central themes. According to Ramírez Berg, third wave films "do not accentuate [[Chicano]] oppression or resistance; ethnicity in these films exists as one fact of several that shape characters' lives and stamps their personalities."<ref name=":14">{{Cite book|title=Rethinking Chicana/o and Latina/o Popular Culture|last=Enrique Pérez|first=Daniel|publisher=Palgrave Macmillan|year=2009|isbn=9780230616066|pages=93–95}}</ref> Filmmakers like [[Edward James Olmos]] and [[Robert Rodriguez]] were able to represent the [[Hispanic and Latino Americans]] experience like none had on screen before, and actors like [[Hilary Swank]], [[Jordana Brewster]], [[Jessica Alba]], [[Camilla Belle]], [[Al Madrigal]], [[Alexis Bledel]], [[Alexa PenaVega]], [[Ana de Armas]] and [[Rachel Zegler]] have become successful. In the last decade, minority filmmakers like [[Chris Weitz]], [[Alfonso Gomez-Rejon]] and [[Patricia Riggen]] have been given applier narratives. Early portrayal in films of them include [[La Bamba (film)|''La Bamba'']] (1987), [[Selena (film)|''Selena'']] (1997), [[The Mask of Zorro]] (1998), [[Goal II: Living the Dream|''Goal II'']] (2007), [[Overboard (2018 film)|Overboard]] (2018), [[Father of the Bride (2022 film)|Father of the Bride]] (2022) and [[Josefina López]]'s ''[[Real Women Have Curves]]'', originally [[Real Women Have Curves (play)|a play]] which premiered in 1990 and was later released as a film in 2002.<ref name=":14" />

[[African-American representation in Hollywood]] improved drastically towards the end of the 20th century after the fall of the studio system, as filmmakers like [[Spike Lee]] and [[John Singleton]] were able to represent the African American experience like none had on screen before, whilst actors like [[Halle Berry]] and [[Will Smith]] became massively successful box office draws. In the last few decades, minority filmmakers like [[Ryan Coogler]], [[Ava DuVernay]] and [[F Gary Gray]] have been given the creative reigns to major tentpole productions.{{citation needed|date=May 2020}} In old Hollywood, when racial prejudices were socially acceptable, it was not uncommon for [[List of entertainers who performed in blackface|white actors to wear black face]].<ref>{{cite news |title=Blackface and Hollywood: From Al Jolson to Judy Garland to Dave Chappelle |url=https://www.hollywoodreporter.com/news/blackface-hollywood-al-jolson-judy-garland-dave-chappelle-1185380 |work=The Hollywood Reporter |date=February 12, 2019}}</ref> In [[Moonlight (2016 film)|Moonlight]], masculinity is portrayed as rigid and aggressive, amongst the behavior of young black males in Chiron's teenage peer group.<ref name = Watts>{{Cite web|last=Watts|first=Stephanie|title=Moonlight And The Performativity of Masculinity|url=https://oneroomwithaview.com/2017/02/17/moonlight-performativity-masculinity/|website=One Room with a View|date=February 17, 2017|access-date=February 11, 2019}}</ref> The expression of hyper-masculinity among black men has been associated with peer acceptance and community.<ref>{{Cite journal|last1=Fields|first1=Errol|date=2016|title=The Intersection of Sociocultural Factors and Health-Related Behavior in Lesbian, Gay, Bisexual, and Transgender Youth: Experiences Among Young Black Gay Males as an Example|journal=Pediatric Clinics of North America|volume=63|issue=6|pages=1091–1106|doi=10.1016/j.pcl.2016.07.009|pmid=27865335|pmc=5127594}}</ref> Being a [[homosexual]] within the black community, on the other hand, has been associated with social alienation and homophobic judgement by peers because black gay men are seen as weak or effeminate. In the film, Chiron is placed in this divide as a black gay man and alters his presentation of masculinity as a strategy to avoid ridicule because homosexuality is viewed as incompatible with black masculine expectations. As young kids, Kevin hides his sexuality in order to avoid being singled out like Chiron is. As Chiron grows older, he recognizes the need to conform to a heteronormative ideal of black masculinity in order to avoid abuse and homophobia. As an adult, Chiron chooses to embrace the stereotypical black male gender performance by becoming muscular and a drug-dealer.<ref name = Watts/>

[[File:Crossroads of the World.jpg|thumb|left|Crossroads of the World]]

According to Korean-American actor [[Daniel Dae Kim]], Asian and [[Asian Americans|Asian American]] men "have been portrayed as inscrutable villains and asexualized kind of eunuchs."<ref name="stereotypes">{{cite news |title=Hollywood's Stereotypes |url=https://abcnews.go.com/2020/Stossel/story?id=2412723&page=1 |work=ABC News}}</ref> Seen as exceedingly polite and sumbissive. The Media Action Network for Asian Americans accused the director and studio of [[Whitewashing in film|whitewashing]] the cast of the film [[Aloha (2015 film)|Aloha]], and Crowe apologized about [[Emma Stone]] being miscast as a character who is meant to be of one quarter Chinese and one quarter Hawaiian descent.<ref>{{cite web |date= June 2, 2015 |author=Variety Staff |url= https://variety.com/2015/film/news/cameron-crowe-apology-emma-stone-aloha-1201511085/ |title=Cameron Crowe on Casting Emma Stone: 'I Offer You a Heart-Felt Apology' |work= Variety |access-date=2015-06-03}}</ref><ref>{{cite web |date=May 23, 2015 |first=Ryan |last=Gajewski |title=Cameron Crowe's 'Deep Tiki' Criticized for Depicting "Whitewashed" Hawaii |url=https://www.hollywoodreporter.com/news/cameron-crowes-deep-tiki-criticized-depicting-797794 |work=[[The Hollywood Reporter]] |access-date=May 29, 2015}}</ref><ref>{{cite journal |date=May 27, 2015 |first=Dave |last=McNary |url= https://variety.com/2015/film/news/sony-defends-aloha-after-white-washing-criticism-1201506569/ |title=Sony Defends 'Deep Tiki' After White-Washing Criticism |journal=Variety |access-date= December 19, 2018 }}</ref> Throughout the 20th century, acting roles film were relatively few, and many available roles were narrow characters. More recently, young Asian American [[comedian]]s and film-makers have found an outlet on [[YouTube]] allowing them to gain a strong and loyal fanbase among their fellow Asian Americans.<ref>{{cite news|title=YouTube Spawns Asian-American Celebrities |first=Elizabeth |last=Lee |url=http://m.voanews.com/rss.jsp;jsessionid=185B5BBA953982AB4D008141A1942BF7.aldo2?id=3132&rssid=25273271&item=http%3a%2f%2fwww.voanews.com%2frss%2fmobiletech.aspx%3farticleid%3d1612459&cid=25228001&show=full |newspaper=VAO News |date=February 28, 2013 |access-date=March 4, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130218124215/http://m.voanews.com/rss.jsp |archive-date=February 18, 2013 |df=mdy }}</ref> Although more recently the film [[Crazy Rich Asians (film)|Crazy Rich Asians]] film has been lauded in the United States for featuring a predominantly Asian cast,<ref>{{cite news |url=https://www.latimes.com/entertainment/movies/la-et-mn-box-office-crazy-rich-asians-20180819-story.html |title='Crazy Rich Asians' dominates the box office, makes history for representation |last=Kelley |first=Sonaiya |date=August 19, 2018 |newspaper=Los Angeles Times |access-date=September 10, 2018 |archive-url=https://web.archive.org/web/20180906071908/http://www.latimes.com/entertainment/movies/la-et-mn-box-office-crazy-rich-asians-20180819-story.html |archive-date=September 6, 2018 |url-status=live |df=mdy-all }}</ref> it was criticized elsewhere for casting [[Multiracial Americans|biracial]] and non-Chinese actors as ethnically Chinese characters. Another film [[Always Be My Maybe (2019 film)|Always Be My Maybe]] who has been lauded recently takes familiar rom-com beats and cleverly layers in smart social commentary to find its own sweet groove." according to [[Rotten Tomatoes]]<ref>{{cite web |url=https://www.rottentomatoes.com/m/always_be_my_maybe_2019 |title=Always be My Maybe (2019) |website=[[Rotten Tomatoes]] |access-date=November 11, 2020 }}</ref>

Before 9/11, Arabs and [[Arab Americans]] were often portrayed as [[terrorism|terrorists]].<ref name="stereotypes"/> The decision to hire [[Naomi Scott]], in the [[Aladdin (2019 film)|Aladdin]] film, the daughter of an [[English people|English]] father and a [[Gujarati people|Gujarati]] [[Indians in Uganda|Ugandan-Indian]] mother, to play the lead of [[Princess Jasmine]], also drew criticism, as well as accusations of [[colorism]], as some commentators expected the role to go to an actress of Arab or Middle Eastern origin.<ref>{{cite web |url=https://www.inquisitr.com/4371155/was-disney-wrong-to-cast-naomi-scott-as-jasmine-in-the-new-aladdin-film-heres-why-people-are-angry/ |title=Was Disney Wrong To Cast Naomi Scott As Jasmine in the New 'Aladdin' Film? Here's Why People Are Angry |date=July 17, 2017 |access-date=September 7, 2017|archive-url=https://web.archive.org/web/20170907165533/https://www.inquisitr.com/4371155/was-disney-wrong-to-cast-naomi-scott-as-jasmine-in-the-new-aladdin-film-heres-why-people-are-angry/|archive-date=September 7, 2017|url-status=live}}</ref> In January 2018, it was reported that white extras were being applied brown make-up during filming in order to "blend in", which caused an outcry and condemnation among fans and critics, branding the practice as "an insult to the whole industry" while accusing the producers of not recruiting people with Middle-Eastern or North African heritage. Disney responded to the controversy saying, "Diversity of our cast and background performers was a requirement and only in a handful of instances when it was a matter of specialty skills, safety and control (special effects rigs, stunt performers and handling of animals) were crew made up to blend in."<ref>{{cite web |url=http://www.bbc.co.uk/newsbeat/article/42601893/aladdin-disney-defends-making-up-white-actors-to-blend-in-during-crowd-scenes |title=Aladdin: Disney defends 'making up' white actors to 'blend in' during crowd scenes |date=January 7, 2018 |website=BBC News |access-date=January 12, 2018|archive-url=https://web.archive.org/web/20180111225805/http://www.bbc.co.uk/newsbeat/article/42601893/aladdin-disney-defends-making-up-white-actors-to-blend-in-during-crowd-scenes|archive-date=January 11, 2018|url-status=live}}</ref><ref>{{cite web |title=Disney accused of 'browning up' white actors for various Asian roles in Aladdin |url=https://www.independent.co.uk/arts-entertainment/films/news/disney-aladdin-brown-up-cast-will-smith-extra-long-a8146361.html |work=[[The Independent]] |access-date=January 14, 2018 |date=January 7, 2018|archive-url=https://web.archive.org/web/20180114183739/http://www.independent.co.uk/arts-entertainment/films/news/disney-aladdin-brown-up-cast-will-smith-extra-long-a8146361.html|archive-date=January 14, 2018|url-status=live}}</ref> The field of American comedy includes many [[Jew]]s. The legacy also includes songwriters and authors, for example the author of the song "Viva Las Vegas" Doc Pomus, or Billy the Kid composer Aaron Copland. Many Jews have been at the forefront of women's issues.{{citation needed|date=February 2022}}

In the 20th century, early portrayals of Native Americans in [[movies]] and [[television]] roles were first performed by European Americans dressed in mock traditional attire. Examples included ''The Last of the Mohicans'' (1920), ''Hawkeye and the Last of the Mohicans'' (1957), and ''[[F Troop]]'' (1965–67). In later decades, Native American actors such as [[Jay Silverheels]] in ''[[The [[Lone Ranger]]#Television series|The [[Lone Ranger]]]]'' television series (1949–57) came to prominence. The roles of Native Americans were limited and not reflective of Native American culture. By the 1970s some Native American film roles began to show more complexity, such as those in ''[[Little Big Man (film)|Little Big Man]]'' (1970), ''[[Billy Jack]]'' (1971), and ''[[The Outlaw Josey Wales]]'' (1976), which depicted Native Americans in minor supporting roles.{{citation needed|date=February 2022}}

==Working conditions==
Hollywood's work flow is unique in that much of its work force doesn't report to the same factory each day, nor follow the same routine from day to day, but films at distant locations around the world, with a schedule dictated by the scenes being filmed rather than what makes the most sense for productivity. For instance, an urban film shot entirely on location at night would require the bulk of its crews to work a graveyard shift, while a situational comedy series that shoots primarily on stage with only one or two days a week on location would follow a more traditional work schedule. Westerns are often shot in desert locations far from the homes of the crew in areas with limited hotels that necessitate long drives before and after a shooting day, which take advantage of as many hours of sunlight available, ultimately requiring workers to put in 16 or 17 hours a day from the time they leave their home to the time they return.<ref name="Polone">{{cite news |last1=Polone |first1=Gavin |title=The Unglamorous, Punishing Hours of Working on a Hollywood Set |url=https://www.vulture.com/2012/05/how-long-are-the-days-on-a-movie-set-polone.html |access-date=20 March 2022 |publisher=New York Magazine |date=23 May 2012}}</ref><ref name="Long Hours">{{cite news |last1=Vlessing |first1=Etan |title=Global Unions Call to End "Long Hours Culture" for Film, TV Workers |url=https://www.hollywoodreporter.com/business/business-news/global-unions-call-to-end-long-hours-culture-for-film-tv-workers-1235062384/ |access-date=20 March 2022 |publisher=The Hollywood Reporter |date=14 December 2021}}</ref>

While the role of labor in America has waned in many parts of the country, the [[Trade union|unions]] have maintained a firm grip in Hollywood since their start during [[Great Depression]] when workers would line up outside the thriving movie studios looking for the only job in town. Terrible conditions awaited those workers as the studios exploited the eager workforce with meager pay and the ever present threat of the hundreds of others waiting just outside the gates to take their place if they voiced any complaints.<ref name="Class Struggle">{{cite book |last1=Horne |first1=Gerald |title=Class Struggle in Hollywood, 1930-1950 |date=2001 |publisher=University of Texas Press |isbn=978-0-292-73138-7 |url=https://utpress.utexas.edu/books/horcla}}</ref>

Due to the [[Contingent work|casual]] nature of employment in Hollywood, it's only through [[collective bargaining]] can individual workers express their rights to minimum wage guarantees and access to pension & health plans that carry over from film to film or tv series to tv series, and offer the studios access to a trained workforce able to step onto a set on day one with the knowledge and experience to handle the highly technical equipment they are asked to operate.<ref name="Vogue">{{cite news |last1=Kelly |first1=Kim |title=Hollywood's Labor Force Has Always Had to Fight for Workers' Rights |url=https://www.teenvogue.com/story/hollywood-labor-rights-history |publisher=Teen Vogue |date=23 April 2019}}</ref>

The majority of the workers in Hollywood are represented by several unions and guilds. The 150,000 member strong [[International Alliance of Theatrical Stage Employees]] (IATSE) represents most of the [[craft]]s, such as the grips, electricians, and camera people, as well as editors, sound engineers, and hair & make-up artists. The [[Screen Actors Guild]] (SAG) is the next largest group representing some 130,000 actors and performers, the [[Directors Guild of America]] (DGA) represents the directors and production managers, the [[Writers Guild of America]] (WGA) representing writers, and the [[International Brotherhood of Teamsters]] (IBT) represents the drivers.<ref>{{cite news |first=David |last=Robb |title=SAG-AFTRA Collects $1 Billion In Member Dues & Non-Member Fees In Its First 10 Years As Membership Climbs To Record Highs |url=https://deadline.com/2022/08/sag-aftra-1-billion-dollars-dues-fees-since-2012-membership-record-high-1235084793/ |publisher=[[Deadline Hollywood]] |date=2022-08-03}}</ref><ref>{{cite news |first=Beatrice |last=Verhoeven |title=DGA, SAG-AFTRA, WGA East Stand With IATSE in Negotiations With AMPTP |url=https://www.thewrap.com/dga-sag-aftra-wga-east-stand-with-iatse-in-negotiations-with-amptp/ |publisher=[[TheWrap]] |date=2021-09-24}}</ref>

The unions and guilds serve as the [[collective bargaining]] unit for their membership, negotiating on regular intervals (most currently on 3 year contracts) with the [[Alliance of Motion Picture and Television Producers]] (AMPTP), a trade alliance representing the film studios and television networks that hire the crews to create their content.

While the relationship between labor and management has generally been amicable over the years, working together with the state to develop safe protocols to continue working during [[COVID-19|Covid-19]] and lobbying together in favor of [[tax incentive]]s, contract negotiations have been known to get contentious over changes in the industry and as a response to rising [[Income inequality in the United States|income inequality]]. The relationship even turned [[Hollywood Black Friday|bloody]] in 1945 as a six month strike by set decorators turned into a bloody melee on a sweltering October day between strikers, scabs, strikebreakers, and studio security.<ref name="covid">{{cite news |last1=Robb |first1=David |title=How Unions Saved Hollywood During The Pandemic |url=https://deadline.com/2021/12/unions-saved-hollywood-pandemic-2022-outlook-1234902148/ |publisher=Deadline Hollywood |date=30 December 2021}}</ref><ref name="Tax Credit">{{cite news |last1=Ellingson |first1=Annlee |title=IATSE launches letter-writing campaign for California film and TV tax credits |url=https://www.bizjournals.com/losangeles/news/2014/06/18/iatse-launches-letter-writing-campaign-for.html |publisher=LA Business Journal |date=18 June 2014}}</ref><ref name="IA strike">{{cite news |last1=Faughnder |first1=Ryan |title=Hollywood avoided an IATSE strike. But broader labor issues aren't going away |url=https://www.latimes.com/entertainment-arts/business/newsletter/2021-10-19/wide-shot-the-iatse-strike-the-wide-shot |date=19 October 2021}}</ref><ref name="Bloody">{{cite news |last1=Meares |first1=Hadley |title=How The Bloody Hollywood Strike Of 1945 Forever Changed The Film Business |url=https://laist.com/news/la-history/hollywood-strike-1945-unions-iatse-bloody-friday |publisher=LAist |date=23 November 2021}}</ref>

== References ==
<References />