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Essay / Research Paper Abstract
A 9 page research paper that argues that major Hollywood studios during their "golden age" of the 1930s each had a distinctive style or "look." The writer specifically looks at MGM and Universal, profiling the MGM films Anna Christie and The Thin Man and the Universal films Dracula and Bride of Frankenstein. Bibliography lists 8 sources.
Page Count:
9 pages (~225 words per page)
File: D0_khmgmuni.rtf
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Unformatted sample text from the term paper:
During their heyday, Mordden argues that a Hollywood studio could be defined as a "place governed by a budget set by a mogul" (p. 16). In other words, the head
of a large studio believed that he could market certain kinds of films featuring certain kinds of stars, as presented by a "staff of experts who hold certain social, artistic
and political" features in common" (1988, p. 16). As this suggests, it is possible to tell a Universal movie from this golden era, as opposed to one by MGM
or Warner Brothers, simply by its "look," that is, by the stylistic aesthetic of the film. Examination of sample films from Universal and MGM demonstrates that these two studios had
very different "looks" during Hollywoods golden era in the 1930s and 40s. MGM was the home of the sophisticated film, such as Anna Christie or The Thin Man. Universal,
on the other hand, made its "bread-and-butter" through horror films, such as Bride of Frankenstein and Dracula. MGM Hollywood in the 1930s was a very regulated place. Warner Brothers
was occupied producing backstage musicals and social pictures; Paramount was producing sophisticated comedies; Universal produced horror movie and MGM was doing "dramas set in satin bedrooms and filled with (as
their advertising campaigns asserted) more stars than there are in the heavens" (The Thin Man, 1995). Mordden (1988) asks, "What, in fact, did Metro stand for, besides the producers power
and the stars appeal?" (p. 119). He answers his query by stating that MGM (Metro-Goldwyn-Mayer) stood for "prestige at any cost" (p. 119). It stood for "production values," in
general, and splendid pictures specifically, "upgrading Bs to semi-A level, punching up routine As, (and) emphasizing super As as a studio hallmark" (Mordden, 1988, p. 119). Therefore, it is not
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