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Since long time studio executive David Picker stated, "[i]f I had said yes to all the projects I turned down, and no to all the ones I took, it would have worked about the same . . . " then it really should make no difference, from a commercial point of view, whether studio executives are African-Americans, Latinos, American-Indian, females, white Anglo-Saxon males from the South, Christians, Muslims, or whatever, because the same projects are pretty much going to be presented to the studio executives. Also, if as is so commonly stated in Hollywood, "nobody knows" anything (see the discussion in relating to "Myth and Misinformation"), there must be other reasons why people from the groups listed immediately above, are generally excluded from high level studio executive positions. Based on the survey and charts shown above, those reasons now appear to be more clear. (Additional clarification is provided in the companion volume on this question of "How Did They Gain and Maintain Control?")
Natalie Goldberg Natalie Goldberg
Yule, Andrew, Picture Shows--, Limelight Editions, 1992.
John W. Cones is a securities and entertainment attorney based in Los Angeles, where he maintains a private solo practice advising independent feature film, video, television and theatrical producer clients. A frequent lecturer on film finance and distribution, his lectures on "Investor Financing of Entertainment Projects" have been presented in Los Angeles, Las Vegas, Dallas, Houston, Boise, Sacramento, Portland, San Francisco, Nashville, Charleston and Washington, D.C. and have been sponsored by the American Film Institute, IFP/West, state film commissions, independent producer organizations and American University. He has also lectured for the USC Cinema-TV School, the UCLA (graduate level) Producer's Program, UCLA Extension and the UCLA Anderson Graduate School of Management.His previous publications include, (a collection of 100 sample film industry agreements, available in hard-copy form or on computer diskettes) , , t, and numerous magazine and journal articles on related topics.
Definitions of some 3,600 terms used in the film industry in the finance and distribution of feature films. In addition, to the definitions, examples of usage and commentary are provided for some terms.A collection of 100 sample film industry agreements relating to acquisition, development, packaging, employment, lender financing, investor financing, production, distribution, exhibition, merchandising and licensing. A comprehensive overview of film finance with a discussion of advantages and disadvantages of forty-three different ways to finance feature films and other entertainment projects. A provision by provision critical analysis of the single most important film industry agreement. The book also provides samples of five different film distribution agreements in its appendix.--An anlayis of the various populations in the diverse U.S. society that have been consistently portrayed in Hollywood films in a negative or stereotypical manner. --A re-examination of the question raised earlier by Neal Gabler, Michael Medved, Joel Kotkin and others with respect to who really controls the Hollywood-based U.S. film industry and is therefore primarily responsible for the decisions made with respect to which movies are produced and released, who gets to work on those movies and the actual content of such films.
As Steven Bach points out, "[g]reed is always a point in the marketplace, but in Hollywood it is seldom the point. (Or it is a point so subtly convoluted that naked dollar signs cannot or will not suffice) . . . the whole complex of shared experiences and attitudes and prejudices that compose any old boy (or old girl) network become more refined competitive factors than mere money. In Hollywood . . . " Bach points out " . . . everybody's got money." Aside from the obvious exaggeration in the Bach statement, he does make a valid point, (i.e., at some point, extremely wealthy people have enough money to do whatever they desire, thus, for anyone who continues to work, other motivational factors must be involved).
Week 7: Natalie Goldberg | WRIT 140
(b) Equal Pay for Equal Work: Another problem area relates to the fact that male stars get paid substantially more than female stars. As Nicholas Kent reports, " . . . male stars are paid much more than female stars--usually twice or sometimes even three times as much--and their careers as stars tend to last far longer." Meryl Streep, for example, " . . . does not find the inequities between men and women in Hollywood entertaining in any way . . . " As she explains, " . . . there are different rules for men than for women."
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Director Rouben Mamoulian was "[s]taunchly independent in his ideas of how films should be made (and) . . . often clashed with the Hollywood studio hierarchy. In 1944 he was removed from the helm of and replaced by Otto Preminger. In 1958 he lost the assignment of directing the film version of , again to Preminger, and three years later he was fired from the set of after completing a 10-minute segment of film." Mamoulian was thus, what the studios call a "problem director". It may be more accurate to label the major studio bosses as "problem executives". In another example, Opera tenor Mario Lanza became embroiled in a dispute with MGM executives on (1954) and left the film.
Writing Tips - How to Write Better - Natalie Goldberg
The bottom line is that women do not generally occupy top level studio executive positions in the U.S. film industry (see discussion in ), women do not get the same opportunities as men in other positions in the film industry, most of the scripts for the films produced and released generally do not provide the more desirable roles for women as for men, women are often portrayed in a stereotypical manner in such scripts and women do not get paid as much as men in the film industry for the same or similar work. Those observations are historically true for Hollywood and continue to be true today, no matter that many in Hollywood would attempt to confuse the reality by making statements to the effect that "things are improving for women". On the other hand, if it takes another 100 years to reach equality, there is still two or three more generations of women for Hollywood to exploit.