...inclination to portray the suburbs negatively developed over time altering the public’s perception of suburbia; as opposed to Vermeulen’s suspicion that further investigation would reveal that films have always painted suburban life negatively. His suspicion arises from his examination of “Edmund Goulding’s 1939 melodrama Dark Victory...[which]...meditates the vicissitudes of suburban life through tropes of mundanity and repetitiveness [and] Frank Capra’s...It Happened One Night (1934) [which] is themed around status anxiety, conformity, boredom and alienation” (Vermeulen 6). However, I believe that suburbia has been depicted the same since it first appeared in films-- the public has simply become more observant and sensitive to material in the films. It is possible that what was regarded as normal during those times is now seen as troublesome. Over time, the general perception between what is acceptable or normal and what is not has definitely been changed-- simply examine how segregation or sexism are regarded today compared to how they were at one time. Regardless of how suburbia is perceived today, it is a representation traditions and significant developments in American culture. Szélpál asserts that suburbia has emanated to figuratively represent, both, positive and negative cultural, social, and political aspects of American society from the 1950’s onward (Szélpál), and Vermeulen states that suburban films do not simply represent a certain decade but rather a larger “aesthetic...
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...I. Introduction "Over-determined," a term used in film studies, simply means that any film is the cumulative product of certain industrial practices, political climates, ideas about artistic merit and available financial and technical resources. So when and how does the classical Hollywood studio system become stable? Two issues are greatly considered: the advent of sound and the business ideal of vertical integration. II. The Coming of Sound: Golden Age of Classical Hollywood The shift of the entire industry to sound films began during the late 1920s. As many film scholars will argue, film was never entirely "silent." Most movies were accompanied by some kind of music and even, at times, live narration. As with the invention of celluloid film and projection, the move to sound involved a great deal of technical trial and error, in addition to jostling for patents. In 1910, the richest studio, The Motion Pictures Patents Company, standardized the technological guts of filmmaking; their exclusive patents essentially locked others out of the market. Warner Bros. gambled that talkies would be popular with viewers, by offering the first bit of synchronized speech in The Jazz Singer. Studios now had a proof that "talkies" would make them money. But the financial investment this kind of filmmaking would require, from new camera equipment to new projection facilities, made the studios initially hesitant to invest. When vaudeville singing star Al Jolson introduced...
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