HOLLYWOOD

Group 5

DEFINITION
Classic Hollywood Films:
- narrative style of filmmaking
- the flow of the story is mainly dependent on personal
psychological causes of the protagonist.

"Movies to me are about wanting something, a character

wanting something that you as the audience desperately
want him to have. You, the writer, keep him from getting it
for as long as possible, and then through whatever effort he
makes, he gets it." - Bruce Joel Rubin, screenwriter, Ghost

ELEMENTS
1. Established active protagonist internal psychological
motive (goal oriented)
2. Established conflict (antagonist)
3. Established resolution (in all conflicts throughout the
film)

CLASSIC HOLLYWOOD CHARACTERISTIC

Continuity Editing
Different angle shot simultaneously to form one continuous
shot.

BRIEF HISTORY & TIMELINE

Hollywood was initially an agricultural community established in 1853, with a single

adobe hut on land outside Los Angeles, California.

BRIEF HISTORY & TIMELINE

One of its most notable historic figures was real estate tycoon, Harvey
Henderson Wilcox and his wife, Daeida, who moved to Los Angeles from
Topeka, Kansas, in the 1880s. Wilcox, bought 160 acres of land west of the
city.

BRIEF HISTORY & TIMELINE

The town's name came from Daeida, who, while on a train trip met a woman
that described her country home in Ohio, that had been named for the Dutch
settlement of Hollywood. Liking the name, Daeida christened their ranch
"Hollywood," upon her return.
By 1900, Hollywood had a population of 500, a post office, a newspaper, a
hotel, and two markets. In the early 1900s, filmmakers began moving to the Los
Angeles area to get away from the strict rules imposed by Thomas Edison's
Motion Picture Patents Company in New Jersey.

BRIEF HISTORY & TIMELINE

Director D. W. Griffith was the first to make a motion picture
in Hollywood. His 17-minute short film In Old California,
was filmed for the Biograph Company.

BRIEF HISTORY & TIMELINE

Golden Age of Hollywood
From the end of the silent film era, the Hollywood movie studio system
controlled what films were shown across the country. Five major Hollywoodarea studios owned large, grand theaters where they would show only movies
produced by their studios and made with their contracted actors.Paramount,
RKO, 20th Century Fox, Metro-Goldwyn-Mayer (MGM), and Warner Bros.

ACADEMY AWARDS
The first Academy Awards were presented on May 16,
1929, at a private dinner at the Hollywood Roosevelt Hotel
with an audience of about 270 people.

NOTABLE MOVIES
FROM
1920-2000S

1920. The Gold Rush

Genre: Adventure/Comedy
Charlie Chaplin is the main actor where he goes
on an adventure to find gold. One of the famous
scene is the shoe scene.
Its a scene where they succumb to eating Charlie
s shoes because they have nothing else to eat.
https://www.youtube.com/watch?v=FxB1jjo9uc

1930s The Wizard of Oz

Genre : Adventure/ Family/ Fantasy to hide from

them.
One of the notable films in the 30s. A girl named
Dorothy finds herself in a place far from home and
shes finding her way back.
One of notable scene in this movie is the scene where
they find the wizard of oz but he still tries to hide.
https://www.youtube.com/watch?v=YWyCCJ6B2WE

1940s Samson and Delilah

Genre: Adventure/ Drama/ History

A movie where a man named Samson denies
the love of a woman, Delilah and she seeks
vengeance.
This vengeance causes consequences that the
both regret.
https://www.youtube.com/watch?
v=XowPwJ5Fch8

1950s Singing in the Rain

Genre: Comedy/ Musical/ Romance

The movie Singing in the Rain is a movie
about a silent production company who tries
and make a change by making a production
with sound.
A notable scene of the movie is where the guy
sings Singing in the Rain

1960s Lawrence of Arabia

Genre: Adventure/ Biography/ Drama

This movie based on the life ofT. E. Lawrence.
The film depicts Lawrence's experiences in
theArabian PeninsuladuringWorld War I.
https://www.youtube.com/watch?

1970s The Godfather

Genre: Crime/ Drama

A movie about an aging Man who transfers the
control of his clandestine empire to his
unwilling son.
https://www.youtube.com/watch?

1980s The Karate Kid

Genre: Action/ Drama/ Family

This movie is about a handyman who knows martial
arts who finally decides to teach a boy who always
gets bullied.
This is the famous Cobra scene where the Karate Kid
finally beats the kid who always bully him with a one

1990s Saving Private Ryan

This movie is about a group of US soldiers who goes

behind enemy line to save another soldier whos
brothers have fallen to the enemies.
This is the famous sniper scene where another
soldier takes revenge for his co-soldier who got shot

2000s Black Hawk Down

This movie is about a group of soldiers who goes to Somalia to

capture two lieutenants.
They then find themselves fighting against a heavily-armed group
of Somalians.
This is the final scene where they pay their respects to the fallen

THEMES & ICONOGRAPHY

NOTABLE HOLLYWOOD COMPANIES

MGM (Metro Goldwyn Mayer)

- high budget films
- lavish sets, costumes and special effects
Example: The Good Earth (1937); San Francisco (1936)

Universal
- relatively low budget
- imaginative filmmaking (lacking expensive sets)
- atmospheric horror films
Example: Frankenstein (1931)

Warner Bros.
- focused on the musical after the sound on disc boomed
- theatre to big screen films

TECHNICOLOR IN HOLLYWOOD FILMS

(1920's) crude process with two colors available for
combination
(1930's) three primary colors for combination -- wider range
of hues

Influence of Hollywood on
Filipino Films

American colonization and Hollywood have a huge influence

on Philippine motion picture because of the types of films
produced and methods of production dominant back then
compared to locally-made films.

music, dance, theatre, literature and visual arts are essentially indigenous to the
cultural ecology of the countries making the Asean, film is ineluctably a western
import. (Introduction: Out of the Shadow; Jose Lacaba)
The Philippines is part of this experience. Even from the beginnings, the
influence of the Americans in our film industry has been inevitable since
they have been the source of the film equipment that we use and the
provider of most of the films (especially Hollywood films) that we see.
With this influence, local moviegoers have embraced the Hollywood type
of films that compelled local producers to pattern their films with that of
Hollywood. American films on the other hand, saw it as a big consumerism
opportunity in our country. There is the absence of local production of
film machinery.

But that did not stop us from developing our

own national cinema
The early years of Philippine film, starting from the 1930s, were a time of
discovering film as it was at that time still a new art form. Stories for films came
from the theater and popular literature being, as they were, safe, with the
filmmaker being assured of its appeal. Nationalistic films were also in vogue
despite early restrictions on films being too subversive.
The Philippines had produced films like Giliw Ko by Carlos Vander Tolosa, Tunay na
Ina and Pakiusap, both by Octavio Silos. These are the so-called sarswela movies
that have some musical numbers. But the attempt to use Filipino language, sing
the local songs and exhibit customs and traditions in these films are very evident.
There is also the attempt to stress our own Filipino culture and values. This is just
to show the undefined consciousness to have an identity and difference that
Hayward was explaining.

1940s
The 1940s and the war brought to Philippine film the consciousness of reality which was not
present in the preceding films. Filmmakers dared to venture into the genre of the war movie.
This was also a ready market especially after the war.
The 1940s to 1960s marked the birth of the Hollywood influence in our country with the
birth of the studio system (rise of Sampaguita, LVN and Premiere productions) and the star
system.
Despite this, Philippines had produced films like Anak Dalita (Lamberto Avellana, 1956),
Badjao (1957), Biyaya ng Lupa (Manuel Silos, 1959), 48 Hours (1950) and Noli Me Tangere
(1951), both by Gerardo de Leon. Anak Dalita for instance, is about a Korean war veteran
who returns to his country only to be disgruntled with the conditions of his life. The film has
a totally non-Hollywood directing and cinematographic approach. The neorealism approach
of Avellana has made more the film Filipino in identity. Although its difference effect is not
a conscious effort I believe by the director to oppose Hollywood cinema. The realistic setting
and cast really made a difference during its time and even now.

1950s

The 1950s were the Golden Years, a time when films matured and
became more artistic. The studio system, though producing film
after film and venturing into every known genre, made the film
industry into a monopoly that prevented the development of
independent cinema.

1960s
The 1960s, though a time of positive changes, brought about an
artistic decline in films. In 1969-1971, the notorious genre of bomba
movies (softcore sex films) were introduced and from that day
forward has been present in the Philippine film scene ever since.

1970s-1980s
The 1970s and 1980s were turbulent years, bringing positive and negative changes. From
the decline in the 60s, films in this period now dealt with more serious topics following the
chaos of the Marcos regime. Also, action and sex films developed further introducing more
explicit pictures. These years also brought the arrival of alternative cinema in the
Philippines.
In 1972, former President Marcos declared martial law that led to a lot of resistance in the
country including in film making. Though after 1972 some of the better, non-Hollywood
films were produced and are transnational in nature and at par with movements with
nation-state and cultural genre and specificity. Some of these films are Maynila sa Kuko ng
Liwanag, Tubog sa Ginto, Tinimbang Ka Ngunit Kulang, Insiang (all by Lino Brocka),
Pagdating sa Dulo by Ishmael Bernal, Ganito Kami Noon, Paano Kayo Ngayon by Eddie
Romero, Itim by Mike de Leon and Lupita Concios Minsay May Isang Gamu-gamo. In the
early 80s there were Kisapmata, Batch 81, and Sister Stella L. The latter two are likewise of
transnational experience, films that apply the concept of difference.

1990s - Present
Presently, and in the 1990s, we are seemingly engaged in a vicious
cycle of genres, plots, characterization and cinematic styles. We are
unconsciously, or rather consciously, imitating, copying from the
much more popular American films.

Plots across different genres of Filipino films were

evidently taken from or inspired by other
Hollywood films

 And when we are not copying, we are reverting back to the same old
styles. From the massacre movies of late, the teen-oriented romanticcomedies and the anatomy-baring sex flicks which are currently so
popular, it seems Philippine cinema is on a down spiral.

Why is the influence so strong?

The works and interiors of Philippine films is controlled and/or inspired by
Hollywood.
Americans used their financial advantages to control industry
Tickets back then are in dollars (0.50 to 1.00)
The first real film in the country was produced by two American businessmen
Import of American films to the country is duty-free

American films dominated the Philippine movie theaters

95% of the motion picture distribution in the country in 1926 was managed by American companies
Hollywood films are given more screening time in theaters back then

Americans have the upper hand when speaking of movie equipment and film technology
There was a plan of reconstructing Hollywood in the country, known back then as the
Cervantina-Filipina City
The mode of film production done by Filipino film companies came from Hollywood
Departmentalization is applied
Different film companies have different genre expertise

 Show business in the Philippines and in Hollywood share some

similarities
Some local actors tend to imitate Hollywood celebrities
Examples Canuplin Charlie Chaplin

According to Patronilo BN. Daroy

Philippine cinema, in short, appears to have reached full circle: it is at the
stage of refining and formulating its own conventions and, in the process,
getting in close contact with the ferment in the other arts and at the same
time, the serious critical attention and concern of people with a broader
interest in culture. This is inevitable; as an art form the cinema in the
Philippines can no longer remain isolated from the main current of
sensibilities and ideas that shape other artistic forms, such as literature,
painting, the theater, etc. Neither can it fly from the actuality of social life
which, after all, is the source of all artistic expression. I foresee, therefore,
a hand towards more serious cinema; the muckrakers will continue, but
they will be exposed for what they are and will no longer be definitive of
the quality of Filipino films.

Sources:
Anderson, Benedict (1983). Imagined Communities: Reflections on the Origins and Spread of
Nationalism. London.
Del Mundo Jr, Clodualdo. (2000). The Philippines in the Films of the ASEAN, pp. 87-128.
Philippine Journeys. History of Philippine Cinema. Onlineessays.com. Web. Nov 31 2014. <http:
//www.aenet.org/family/filmhistory.htm>
Reyes, Emmanuel. (1989) Notes on Philippine Cinema. DLSU Printing Press, Manila.
Bordwell, David; Janet Staiger and Kristin Thompson (1985). The Classical Hollywood Cinema: Film Style
and Mode of Production to 1960. New York: Columbia University Press.
Bordwell, David; Kristin Thompson (1979). Film Art: An Introduction. Reading, MA: Addison-Wesley.
Ninth edition, 2009.

MEMBERS Group 5 Hollywood Cinema

Marr Llamas
Claudine Caberte
Emmanuel Mariano
Vanz Mendoza
Carl Adrienne Santos