title: Inside Man

text: Other roles include Cassandra Freeman as Officer Sylvia, Frazier's girlfriend; Peter Gerety as Captain Coughlin, Frazier and Mitchell's superior; Victor Colicchio as Sergeant Collins, the first officer to respond to the bank robbery; Jason Manuel Olazabal as ESU Officer Hernandez; Al Palagonia as Kevin, a sanitation worker who recognizes the language as Albanian, as he was formerly married to an Albanian-born woman; Florina Petcu as Ilina Miritia, the Albanian woman in question who explains that they are hearing recordings of Enver Hoxha; Peter Kybart as the Mayor of New York City; Anthony Mangano as an ESU officer; and Daryl Mitchell and Ashlie Atkinson as Mobile Command Officers.


title: Inside Man

text: The script for "Inside Man" was written by Russell Gewirtz, a former lawyer who conceived the idea while vacationing in several countries. A first time-screenwriter, Gewirtz studied a number of screenplays, and spent five years developing the premise. His friend Daniel M. Rosenberg assisted in developing the script, then known as "The Inside Man". After it was completed in 2002, the script was passed around several times. Rosenberg shopped it to a number of Los Angeles agencies, until Universal Pictures executives Scott Stuber and Donna Langley persuaded Gewirtz to take the script to Universal and Imagine Entertainment. Imagine purchased Gewirtz's screenplay in 2002, and the project began development at Universal, who retitled the film "Inside Man".


title: Inside Man

text: Imagine co-founder Ron Howard was attached to direct the film, but turned it down after being asked by Russell Crowe to helm "Cinderella Man" (2005). Howard's Imagine partner Brian Grazer began looking for a new director. After Howard stepped down, Menno Meyjes contributed to Gewirtz's screenplay, and Terry George incorporated the Nazi Germany and diamond ring elements to the script. Meyjes was in negotiations to direct the film, but after he declined, Grazer thought this project was a chance to work with Spike Lee, who had already learned of Gewirtz's script. Lee said of the screenplay, "I liked the script and really wanted to do it. "'Dog Day Afternoon",' directed by Sidney Lumet, is one of my favorite films, and this story was a contemporary take on that kind of a movie."; ultimately, Marcia Jean Kurtz and Lionel Pina were additionally cast to reprise their roles from "Dog Day Afternoon" in Easter egg cameo appearances.


title: Inside Man

text: After being cast, Denzel Washington and Chiwetel Ejiofor worked together on studying their lines and understanding their characters. Lee helped prepare his actors by screening a number of heist films including "Dog Day Afternoon" (1975). Washington, Ejiofor, Willem Dafoe and other actors met and worked with members of the New York City Police Department, who shared their experiences and stories involving civilians and hostage situations.


title: Inside Man

text: The film was shot on location in New York City, with principal photography beginning in June 2005. Universal Pictures provided a budget of $45 million. By filming in New York, the production was eligible for the city's "Made in NY" incentives program. Interior sets were created at the New York-based Steiner Studios, and "Inside Man" was the second film (after 2005's "The Producers") to be shot inside the 15-acre facility.


title: Inside Man

text: Location scouting revealed a former Wall Street bank at 20 Exchange Place had been closed down and repurposed as a cigar bar. The building stood in for the fictional Manhattan Trust Bank branch, where the bank heist occurs. "Without a bank, we didn't have a movie," Lee explained. "But everything ended up going very smoothly. We shot in the heart of Wall Street in a bank that had been closed down. It was like having a back lot in the middle of Wall Street." An office at the Alexander Hamilton U.S. Custom House doubled as the office of Arthur Case (Christopher Plummer). Plummer believed that the office's design was essential to his character: "The space literally presents Case's power, so I found that part of my character was to simply play very cool about everything. You don't have to push the power, because it's all around you." The location was also used to film a scene where Frazier confronts Madeleine White (Jodie Foster). The American Tract Society Building, located at 150 Nassau Street and Spruce Street, Manhattan, doubled as White's office. Cafe Bravo, a coffee shop located at 76 Beaver Street and Hanover Street, was also used for filming. Other filming locations included Battery Park and the New York Supreme Court House's Appellate Division located at East 25th Street and Madison Avenue, Manhattan. Principal photography concluded in August after 43 days of filming.


title: Inside Man

text: Wynn Thomas supervised the production design, continuing a 20-year collaboration with Lee. With a former Wall Street bank doubling as the fictional Manhattan Trust branch, Thomas and his team restored the former bank to its 1920s architectural structure. The first floor underwent renovations and was used as the first place where the hostages are held captive by the robbers. The bank's basement was one of several interior sets created at Steiner Studios. Thomas and his team also designed Frazier's apartment, which he described as "very masculine and rich and highly monochromatic in its many hues of brown." He was also tasked with designing a police interrogation room, as well as the interiors of the New York City Police Department and a light-duty Mobile Command vehicle. An actual Mobile Command vehicle, supplied by LDV Inc., was used for exteriors.


title: Inside Man

text: The film was director of photography Matthew Libatique's second collaboration with Lee. Because the filmmakers intended to finish with a digital intermediate (the post-production digital manipulation of color and lighting), Libatique chose to shoot the film in the Super 35 format for a 2.35:1 aspect ratio. He mainly used Kodak Vision2 500T 5218 and Vision2 Expression 500T 5229 film stocks. The film was shot with Arricam and Arriflex cameras and Cooke S4 lenses.


title: Inside Man

text: Several scenes required multiple-camera setups. Lee wanted to create a visual distinction between the characters Russell (Owen) and Frazier (Washington), while incorporating visual metaphors. Russell's scenes, in which he masterminds the bank heist, were shot with a Steadicam to suggest that the character is in control. Frazier's scenes, in which he is tasked with handling the hostage situation, were filmed with multiple hand-held cameras to display the character's confusion. Libatique explained, "I said, 'We want to create a sense of control and largely centered frames with Clive's character, and we want to have movement with Denzel's.' Having three operators on the same character, I'd watch all three. In a handheld shot, a long lens has a little bit of movement and a wider lens is inherently smoother. I would actually talk to the operator and tell him not to be so steady. It was the first time I'd worked with so many operators where I wasn't one myself." Telephone conversations between Russell and Frazier were shot using two cameras simultaneously filming the actors performing on two different sets of a soundstage at Steiner Studios. Steadicam operator Stephen Consentino estimated that 80% of the film was shot with hand-held cameras or a Steadicam. A total of seven cameras were used to film the scene where the hostages are finally released. A Technocrane was used for a crane shot that would cover the following moment, in which the hostages are placed in buses.


title: Inside Man

text: The film features a number of scenes which involve Detectives Frazier and Mitchell (Chiwitel Ejiofor) interrogating several hostages during the aftermath of the heist. Libatique described these scenes as a "flash-forward" to events, explaining that Lee "wanted a look that would jump out and tell you you're somewhere else." Libatique photographed the scenes with Kodak Ektachrome 100D 5285 reversal film. Technicolor then cross-processed the filmed footage before it was put through a bleach bypass, which neutralized color temperature and created more contrast. Libatique explained, "Basically, it unifies all the color ... When you try to apply correction, the film moves in very strange ways."


title: Inside Man

text: Post-production facility EFILM carried out the digital intermediate (DI), with Libatique overseeing the process and working with colorists Steve Bowen and Steve Scott: "It's difficult to match all of your shots meticulously when you have three cameras and one lighting setup, so I spent the majority of the DI just adhering to the original vision of the disparity in color temperature, which I can accentuate, versus the unified color temperature." A majority of "Inside Man" was scanned on a Northlight film scanner, while the interrogation scenes had to be scanned on a Spirit DataCine, as the negatives proved "too dense for the Northlight to perform the task."


title: Inside Man

text: The film features a scene in which Russell (Owen) interacts with Brian Robinson (Amir Ali Said), an 8-year-old boy who is playing a violent video game titled "Gangstas iz Genocide" on his PlayStation Portable. The scene is intercut with a 30-second animated sequence of the fictional game, in which a character performs a drive-by shooting, before killing an intended target with a hand grenade. Using the "Grand Theft Auto" franchise as a reference, Lee wanted the scene to serve as a social commentary on gangsta rap, violent crime among African Americans and the rising level of killings in video games.


title: Inside Man

text: Cinematographer Matthew Libatique enlisted his cousin, Eric Alba, and a team of graphic artists known as House of Pain to design the 30-second animated sequence. Lee asked for the sequence to show two black characters in a ghetto environment dressed in gangster attire. He also gave the artists mockups of two scenarios that ended in homicide—one being a robbery at an ATM, and the other a drive-by shooting.


title: Inside Man

text: House of Pain spent 10 days working on "Gangstas iz Genocide". Alba digitally photographed images of buildings near the Marcy Houses in Brooklyn, New York. Portions of the sequence were pre-visualized in 3D Studio Max, while stills were imported as texture maps and added to animated cut scenes created in 3D modeling package Maya. The artists also improvised the use of a hand grenade. When Lee saw how violent the sequence was, he improvised the line "Kill Dat Nigga!" as a subtitle. The entire sequence was rendered out to play onscreen in full frame. The original running time of the animated sequence was 60 seconds. Lee cut it to 30 seconds, feeling that a shorter length would make more of an impact. Upon "Inside Man"'s theatrical release, he remarked that, "The sad thing is somebody is probably gonna make a game out of it and take that as inspiration."


title: Inside Man

text: Jazz musician and trumpeter Terence Blanchard composed the film score, marking his eleventh collaboration with Lee. The soundtrack features the song "Chaiyya Chaiyya", composed by A. R. Rahman, which originally appeared in the 1998 Hindi film "Dil Se.." The song is featured during the opening credits of the film. A remix of the song, titled "Chaiyya, Chaiyya Bollywood Joint" plays during the end credits, and features Panjabi MC's added rap lyrics about people of different backgrounds coming together in order to survive. The soundtrack, titled "Inside Man: Original Motion Picture Soundtrack", was released on CD in North America on March 21, 2006, through record label Varèse Sarabande.


title: Inside Man

text: "Inside Man" held its premiere in New York at the Ziegfeld Theatre on March 20, 2006, coinciding with Lee's 49th birthday. On March 24, 2006, Universal Pictures released the film in 2,818 theatres in North America. The film was given the widest release of any Spike Lee film, edging out "Summer of Sam" (1999) by 1,282 theatres. "Inside Man" was also released throughout 62 foreign markets. The film was released on DVD on August 8, 2006, on HD DVD on October 23, 2007 and on Blu-ray on May 26, 2009.


title: Inside Man

text: On its opening day in North America, the film grossed $9,440,295 with an average of $3,350 per theatre. By the end of its opening weekend, it had grossed $28,954,945, securing the number one position at the box office. "Inside Man" held the record for the highest opening weekend gross as a Denzel Washington starring vehicle, surpassing "Man on Fire" (2004) which debuted with $22.7 million on its first weekend.


title: Inside Man

text: "Inside Man" had dropped 46.7% in its second weekend, earning $15,437,760; it had dropped to second place behind "". The film dropped an additional 40.9% in its third week, bringing in $9,131,410, though it remained in the Top 10 rankings for the weekend, placing fourth overall. The film remained in the top ten for the fourth weekend in a row, grossing approximately $6,427,815 and finishing sixth for the week. In its fifth weekend, "Inside Man" had grossed an additional $3,748,955, while in eighth place. In its sixth weekend, "Inside Man" fell out of the box office top ten, finishing eleventh with an estimated $2,081,690. The film ended its theatrical run in North America on July 6, 2006 after 15 weeks (105 days) of release. It grossed $88,513,495 in the United States and Canada, ranking as Lee's highest-grossing film, ahead of "Malcolm X" (1992), which had ended its North American release with over $48 million.


title: Inside Man

text: "Inside Man" was released overseas on March 23, 2006. On its opening weekend, it grossed approximately $9,600,000 in ten territories. The film grossed $95,862,759 in the overseas box office, with a worldwide total of $184,376,254. In North America, it was the twenty-second highest-grossing film of 2006, while it ranked at twenty-first place as the highest-grossing film released worldwide.


title: Inside Man

text: On review aggregator Rotten Tomatoes, the film holds a "Certified Fresh" 86% rating based on 204 reviews and an average rating of 7.33/10. The site's critical consensus reads, "Spike Lee's energetic and clever bank-heist thriller is a smart genre film that is not only rewarding on its own terms, but manages to subvert its pulpy trappings with wit and skill – and Denzel Washington is terrific as a brilliant hostage negotiator." Metacritic, another review aggregator, assigned the film a weighted average score of 76 out of 100 based on 39 critics, considered to be "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, with exit polls showing that 54% of the audience was male, while 68% was at least 30 years old or older. The American Film Institute named "Inside Man" as one of the top ten films of 2006.


title: Inside Man

text: Manohla Dargis of The New York Times wrote ""Inside Man" works because it takes a familiar setup -- in this case, a Wall Street bank heist that mutates into a hostage crisis -- and twists it ever so slightly. A particularly solid screenplay helps here, as do stars who can actually act -- this film's holy trinity being Denzel Washington, Clive Owen and Jodie Foster -- along with an excellent supporting cast and the best lineup of pusses and mugs outside "The Sopranos.""" "The Wall Street Journal wrote "Our willingness to go along with the film's flaws is a tribute to its strengths, and to a cast that includes Chiwetel Ejiofor and Willem Dafoe, plus scores of character actors in small but striking roles." "Empire" gave the film four stars out of five, concluding, "It's certainly a Spike Lee film, but no Spike Lee Joint. Still, he's delivered a pacy, vigorous and frequently masterful take on a well-worn genre. Thanks to some slick lens work and a cast on cracking form, Lee proves (perhaps above all to himself?) that playing it straight is not always a bad thing." Wesley Morris of "The Boston Globe" wrote, "The basic story is elemental, but because Lee and Gewirtz invest it with grit, comedy, and a ton of New York ethnic personality, it's fresh anyway." David Ansen of "Newsweek" commented, "As unexpected as some of its plot twists is the fact that this unapologetic genre movie was directed by Spike Lee, who has never sold himself as Mr. Entertainment. But here it is, a Spike Lee joint that's downright fun." Giving the film a B+ rating, Lisa Schwarzbaum of "Entertainment Weekly" described the film as "a hybrid of studio action pic and Spike Lee joint. Or else it's a cross between a 2006 Spike Lee joint and a 1970s-style movie indictment of urban unease."


title: Inside Man

text: Roger Ebert of the "Chicago Sun-Times" criticized the narrative, writing, "Here is a thriller that's curiously reluctant to get to the payoff, and when it does, we see why: we can't accept the motive and method of the bank robbery, we can't believe in one character and can't understand another." Peter Bradshaw of "The Guardian" called it a "supremely annoying and nonsensical film". Rex Reed of "The New York Observer" wrote, ""Inside Man" has two things going for it: better actors than usual and a slicker look. Otherwise, it's no different from nine out of 10 other preposterous, contrived, confusingly written, unevenly directed, pointless and forgettable junk films we've been getting these days."


title: Inside Man

text: In November 2006, it was announced that a sequel to "Inside Man" was in development, with Russell Gewirtz reprising screenwriting duties. Under the working title "Inside Man 2", the film would have Brian Grazer again serve as producer. Spike Lee was in negotiations to reprise his directing duties while serving as an executive producer alongside returning member Daniel M. Rosenberg. In 2008, Terry George was in negotiations to write the screenplay for the sequel; he later replaced Gewirtz, whose screenplay was abandoned. The plot for the sequel was intended to continue after the events of the first film, with Dalton Russell (played by Clive Owen) masterminding another robbery, and again matching wits with NYPD hostage negotiator Keith Frazier (Denzel Washington). Lee confirmed that Washington, Owen, Jodie Foster and Chiwetel Ejiofor would all reprise their roles. He also expressed interest in filming "Inside Man 2" during the fall of 2009.


title: Inside Man

text: In 2011, it was announced that plans to make "Inside Man 2" had been cancelled. Lee confirmed this, expressing that he could not secure funding for the project. ""Inside Man" was my most successful film, but we can't get the sequel made," he said. "And one thing Hollywood does well is sequels. The film's not getting made. We tried many times. It's not going to happen."


title: 2021–22 Bundesliga

text: The 2021–22 Bundesliga was the 59th season of the Bundesliga, Germany's premier football competition. It began on 13 August 2021 and concluded on 14 May 2022. The fixtures were announced on 25 June 2021.


title: 2021–22 Bundesliga

text: Bayern Munich were the defending champions and successfully defended their title, winning their record-extending 10th consecutive title and 32nd title overall (31st in the Bundesliga era) on 23 April with three matches to spare.


title: 2021–22 Bundesliga

text: SC Freiburg played their first three home matches at the Dreisamstadion before permanently moving to the Europa-Park Stadion.


title: Kabhi Khushi Kabhie Gham...

text: Kabhi Khushi Kabhie Gham... (Sometimes Happiness, Sometimes Sadness), also known by the initialism K3G, is a 2001 Indian Hindi-language family-drama film written and directed by Karan Johar and produced by Yash Johar. The film stars Amitabh Bachchan, Jaya Bachchan, Shah Rukh Khan, Kajol, Hrithik Roshan and Kareena Kapoor, with Rani Mukherji in an extended guest appearance. It tells the story of an Indian family, which faces troubles and misunderstandings over their adopted son's marriage to a girl belonging to a lower socio-economic group than them. The film score was composed by Babloo Chakravarty with songs by Jatin–Lalit, Sandesh Shandilya and Aadesh Shrivastava and lyrics written by Sameer and Anil Pandey.


title: Kabhi Khushi Kabhie Gham...

text: Development of the film began in 1998, soon after the release of Johar's debut film "Kuch Kuch Hota Hai" (1998). Principal photography began on 16 October 2000 in Mumbai and continued in London and Egypt. "Kabhi Khushi Kabhie Gham..." was promoted with the tag-line ""It's All About Loving Your Parents"". Initially scheduled for the Diwali festivities of 2001, the film was eventually released in India, the United Kingdom and North America on 14 December 2001.


title: Kabhi Khushi Kabhie Gham...

text: Made on a budget of (), making it the most expensive Indian film at that point, "Kabhi Khushi Kabhie Gham..." emerged as a major commercial success, both domestically and internationally, with a lifetime gross of () at the worldwide box office becoming one of the highest grossing Indian films. It received mixed reviews from critics who praised the cinematography, costume design, soundtrack, performances, emotional sequences and themes, but criticized the length and the script. Outside India, the film was the highest-grossing Indian film ever, until its record was broken by Johar's next directorial "Kabhi Alvida Naa Kehna" (2006). "Kabhi Khushi Kabhie Gham..." won several awards at popular award ceremonies the following year, including five Filmfare Awards.


title: Kabhi Khushi Kabhie Gham...

text: Yashvardhan "Yash" Raichand is a billionaire businessman. He lives in Delhi with his wife Nandini, his two sons Rahul and Rohan and his mother Lajwanti. Their household is highly patriarchal and strictly follows traditions. Rahul was adopted by Yash and Nandini at birth. This is known to everyone in the household except Rohan.


title: Kabhi Khushi Kabhie Gham...

text: Adult Rahul returns home after completing his studies in London, and falls in love with the vivacious Anjali from Chandni Chowk. Rahul learns shortly that she reciprocates his love. However, since she is from a low-income background, his father would never approve of the match. During this time Rohan, still a child, is sent to boarding school as per a family tradition. Yash announces his desire for Rahul to marry Naina, Rahul's higher-class childhood friend.


title: Kabhi Khushi Kabhie Gham...

text: After knowing of Anjali, Yash is enraged due to her status. Rahul promises not to marry her. However, he learns Anjali and her kid sister Pooja's father Om has died, leaving them behind. He spontaneously marries her despite Yash's hostility. When he brings her home, Yash disowns Rahul reminding him of his adopted status. Hurt by this, Rahul bids a tearful goodbye with Nandini and leaves home. Rohan never finds out the truth of why Rahul left home.


title: Kabhi Khushi Kabhie Gham...

text: 10 years later, Rohan returns home from boarding school; he finally learns from his grandmothers, Lajjo and Kaur, why Rahul left and the fact that he is adopted. Seeing the pain that this separation has brought upon his parents, Rohan vows to reunite the family. He learns that Rahul, Anjali, and Pooja have moved to London; he travels there, lying to Yash and Nandini to pursue further studies. Rahul and Anjali have a young son, Krish.


title: Kabhi Khushi Kabhie Gham...

text: Pooja is an ultra-modern diva studying at King's College London. She and Rohan, who were childhood friends in the past after Rahul and Anjali fell in love, reunite. She supports him in his quest to bring Rahul and Anjali back home. Rohan poses as Pooja's friend from India. Rahul lets him live with them after Rohan introduces himself as "Yash" to hide the truth: Rahul doesn't recognise his immensely-changed now-adult brother seeing him after so many years.


title: Kabhi Khushi Kabhie Gham...

text: Meanwhile, Rohan and Pooja grow closer and develop feelings for one another. Eventually, Rahul finally realises that Rohan aka "Yash" is his brother. Rohan begs him to come home but he refuses, reminding him of what Yash said. Rohan invites Yash and Nandini to London and arranges a covert reunion to bring them all to the same mall. Nandini and Rahul have an emotional reunion. However Yash is enraged at Rohan when he sees Rahul, Anjali and Pooja with him and their confrontation does not go well.


title: Kabhi Khushi Kabhie Gham...

text: Nandini stands up to Yash for the first time, telling him he did wrong by disowning Rahul and breaking the family. After their grandmother's death, Rohan and Pooja convince Rahul and Anjali to come home. Nandini gives them a proper welcome; When Rahul goes up to Yash, Yash admits his wrongdoing of disowning Rahul and tearfully asks for forgiveness, telling Rahul that he had always loved him. Rahul forgives Yash, who subsequently apologizes to Anjali for not approving their marriage at the time. Rohan and Pooja who had fallen in love, later get married. The family holds a belated celebration of Rahul and Anjali's wedding—thus living happily together and also Rohan and Pooja's wedding.


title: Kabhi Khushi Kabhie Gham...

text: After the success of Karan's directorial debut, "Kuch Kuch Hota Hai" (1998), he began work on a story dealing with the concept of "generations". The idea initially revolved around two daughters-in-law. However, on the advice of his cousin, filmmaker Aditya Chopra, who thought that the male characters would be too weak, Karan decided to tweak the story-line to make it the story of two brothers.


title: Kabhi Khushi Kabhie Gham...

text: The inspiration behind "Kabhi Khushi Kabhie Gham..." came from Yash Chopra's "Kabhi Kabhie" (1976). On being inspired by the classic, Karan quoted, "What appealed to me was the fact that the love story stretched out across generations. It began with youth and went on as the people grew older. You could say that "Kabhi Kabhie" is the starting point for my new film, that I am inspired by it. But the film, I am sure, will be very different. It will look different, feel different." Similarly, Karan added an extra "e" to the second "Kabhi" in the title of his film, due to numerological reasons. In an interview with "The Times of India", Karan dispelled comparisons with "Kuch Kuch Hota Hai" and said that while his debut film was "frothy and bubble-gummish", this one was "more classy and sophisticated". He added that there would be "plenty of drama" in this film too, but handled more maturely.


title: Kabhi Khushi Kabhie Gham...

text: Before principal photography could begin, Karan and the contracted costume designers (Manish Malhotra, Shabina Khan and Rocky S) shopped in several locations of the US, London, Milan, and New Delhi to get the right look for each of the cast members. Additionally, Karan had only one expectation from the contracted actors; to "look good and do their job". He did not organise any rehearsals for them, except for a scene involving a climatic encounter between Amitabh Bachchan and Roshan. Additional production people hired included choreographer Farah Khan, production designer Sharmishta Roy and cinematographer Kiran Deohans.


title: Kabhi Khushi Kabhie Gham...

text: The first schedule of the film began in Mumbai on 16 October 2000, with the picturisation of the song "Bole Chudiyan" involving Roshan, Kapoor, Khan and Kajol. Amitabh and Jaya Bachchan joined the schedule on 20 October. Due to the immense stress caused by the presence of these actors, Karan fainted on the sets. However, he continued directing the rest of the song while lying in bed. For the first half of "Kabhi Khushi Kabhie Gham...", the production design team led by Sharmishtha Roy, recreated Chandni Chowk in a studio at Film City of Mumbai. In order to lend authenticity, the team took several pictures of the original area and also shopped in the various alleys of Chandni Chowk. Roy later won the Filmfare Award for Best Art Direction for her work in the film. The inside of a palatial mansion was developed from scratch in the same studio to double as the home of the Raichand family. In order to lend authenticity to the house of the multi-multimillionaires, several expensive paintings were hung from the walls. A total of 18–19 elaborate sets were constructed by Roy, as Karan wanted the look of the film to be "larger-than-life".


title: Kabhi Khushi Kabhie Gham...

text: The second half of the film was shot in the city of London. Karan chose to set the film there due to his fondness for the city. He added, "I could have based my plot in New York City or anywhere else. But London is kind of close to my heart. I like to weave my films around London." Shooting locations include the Millennium Stadium, Bluewater in Kent, Blenheim Palace, St Paul's Cathedral and the banks of River Thames. The outdoor scenes of the Raichand family mansion were shot at Waddesdon Manor. The crew faced enormous difficulties while filming an emotional scene between Jaya Bachchan and Khan at the Bluewater Complex, as a massive crowd had gathered there to watch them at work. The situation, eventually, got worse and the complex officials asked them to wrap up the shoot within two hours. Another song sequence ("Suraj Hua Maddham") involving Khan and Kajol was shot with the backdrop of the Pyramids of Giza in the city of Cairo in Egypt. Due to the lighting conditions, the crew could shoot only between 7 and 9 am. As a result, the song took several days to film. In addition, Kajol suffered from a minor injury while filming for the song, as she had experienced a bad fall.


title: Kabhi Khushi Kabhie Gham...

text: British journalist, Fuad Omar, wrote extensively about the filming of the film in the United Kingdom, covering much of the shoot in a series of online articles and for regional press. Many of these were reprinted in an unedited format in his book, "Bollywood: An Insider's Guide".


title: Kabhi Khushi Kabhie Gham...

text: Film critics and academics have analysed "Kabhi Khushi Kabhie Gham..." in several ways. In the book, "Encyclopedia of Religion and Film", Eric Mazur described several "mythological subtexts" in the film. While mentioning the opening scene of the film, which features the Raichand family worshiping "Hindu deities during the annual Diwali holiday", he explained that the scene allowed the Hindu audiences to participate in the "darshan" along with the characters.


title: Kabhi Khushi Kabhie Gham...

text: Author Rajani Mazumdar compared "Kabhi Khushi Kabhie Gham..." to "Hum Aapke Hain Koun..!" (1994) and added that the film dealt with themes of family and moral values through a "spectacular stage that moves across global locations". She further stated that the buildup to the story was juxtaposed with the backdrop of two contrasting places – the Raichand home and the interiors of Chandni Chowk. While the Raichand house is described as "expensive, almost like a museum", Chandni Chowk is shown as a world of crowds, chaos and festivities. She also made a note of the use of frontal camera angles in order to ensure that the "spectators eye travels throughout the interior expanse".


title: Kabhi Khushi Kabhie Gham...

text: Writer Sangita Gopal analysed the "intensification of the aesthetic effects of Hindi cinema" in the narrative scheme of the film. During the confrontation scene between Yash and Rahul Raichand, a "thundering background score" coupled with "360° panning shots" were used to build up melodrama. She added that while such scenes simply began by reprising previous face-offs in several melodramatic Hindi films (such as "Mohabbatein" (2000)), they gradually shifted "to a more realist register as the framework moves from a sociology to a psychology of the family". Mazur mentioned the use of "dream sequences" in the film as a means of escapism. He referred to the song "Suraj Hua Maddham" as an extradiegetic sequence that allowed Rahul and Anjali to be physically intimate "in ways that they could not in the real world of the film." He added that the characters conveyed a plethora of emotions not through extensive dialogue but through the exchange of glances, which were demonstrated by extreme close-ups on their eyes.


title: Kabhi Khushi Kabhie Gham...

text: Writing for the book "Movie Blockbusters", Andrew Willis commented that the film was specifically written to appeal to the Indian diaspora. He explained that the film was aimed at invoking nostalgia among the large section of NRI's in Canada, United Kingdom and North America. In the second half of the film, Rahul and Anjali move to London, where they enjoy an affluent lifestyle, among several non-Indian neighbours and friends. However, there is a perpetual dissatisfaction among them, especially Anjali, in living away from home. Additionally, she dresses up in a traditional sari and performs the duties of a loyal housemaker. She also frets about her son and younger sister being "too influenced" by Western culture. The film, thus tries to form an emotional connection with the expatriate Indian audiences.


title: Kabhi Khushi Kabhie Gham...

text: According to Eckstein, several sequences convey a "culturally conservative" and "idealistic image" of India, while maintaining that the diaspora living in Britain lead a life of "involuntary exile". Western ideology is equated with economic success, with emphasis on Western consumerism such as Starbucks and Burger King. Creekmur believes that Rohan was the only character in the film who could navigate multiple cultural spaces with ease. He seems totally at ease both at his ancestral home in India and in London. Though the tag-line for the film was "It's all about loving your parents", Creekmur was skeptical and suggested "the film seems to actually admonish stern fathers to trust and love their children – mothers, aunties, and grandmothers, of course, love their children unconditionally even while respecting the idiotic wishes of vain patriarchs."


title: Kabhi Khushi Kabhie Gham...

text: The music of the film was composed by Jatin–Lalit, Sandesh Shandilya and Aadesh Shrivastava. The lyrics were provided by Sameer, except for "Suraj Hua Maddham" which was penned by Anil Pandey. A total of 11 tracks are present in the album, which was released by Sony Music on 26 October 2001. Explaining the album, Karan Johar said, "I wanted music that had all kinds of tunes — pop, romantic, "bhangra" – but one sound. It had to be larger than life." He added that Jatin-Lalit came up with three "haunting melodies", while Shandilya and Shrivastava came up with the pop and "bhangra" songs, respectively. A legal suit was filed against Johar for using the song "It's Raining Men" in the film without obtaining prior permission.


title: Kabhi Khushi Kabhie Gham...

text: Upon release, the soundtrack of "Kabhi Khushi Kabhie Gham..." emerged as a major success by selling 2.5 million units within 30 days. It became the best-selling album of the year in India, with 3.5million soundtrack album sales. Writing for "Rediff", Sukanya Varma praised most of the compositions, while being critical of the song "Say Shava Shava" due to the "overdose of Punjabi emotions". She summed up by saying, "The music of "K3G" has a presence. Hate it or love it, you certainly won't ignore it." "Planet Bollywood" gave it 8 of 10 stars, calling "Suraj Hua Maddham" by Sonu Nigam and Alka Yagnik the best song, and the best reason to buy the album.


title: Kabhi Khushi Kabhie Gham...

text: In 2002, Sony released another album titled "Klub K3G", featuring remixes by Indian electronic music producers Akshai Sarin, Harshdeep Sidhu, Prempal Hans and others.


title: Kabhi Khushi Kabhie Gham...

text: Initially scheduled for a theatrical release during the Diwali celebrations of 2001, "Kabhi Khushi Kabhie Gham..." released a month later on 14 December 2001. Due to the long duration of the film, theatres screened three shows daily, instead of four. Additionally, due to a massive rush in advance bookings, several theatres increased their ticket prices.


title: Kabhi Khushi Kabhie Gham...

text: The use of "Jana Gana Mana" by Rabindranath Tagore during the film was met with criticism from a certain section of the audiences, and politicians of the Bharatiya Janata Party, for being "out-of-context" and "insulting the national pride". Subsequently, a writ was issued against Dharma Productions in the Allahabad High Court by a petitioner based in Uttar Pradesh. However, the court did not entertain the complainant's petition.


title: Kabhi Khushi Kabhie Gham...

text: In India, "Kabhi Khushi Kabhie Gham..." met with mixed reviews from critics. It received praise for its visual richness and the performances of the cast, but criticism towards the lengthy run time, the script strength and inconsistencies. Khalid Mohamed of "The Times of India" applauded the film in a five-star review: ""K3G" is the complete commercial banquet delivered with fabulous finesse by Karan Johar. So, go indulge yourself. Cry your heart out and surprisingly, you'll feel life's finally alive and kicking in Mumbai's dream world." Taran Adarsh of "Bollywood Hungama" gave the film 4.5 out of 5 stars. He praised the emotional sequences, as well as the choreography, production design, costumes, and cinematography. He added that Karan Johar was the real star, for creating many memorable sequences. Rakesh Budhu of "Planet Bollywood" gave the film 8 out of 10 stars, saying "Dharma Productions has kept its promise in giving us a lovable film to remember in coming times." He pointed out several flaws in the script, but added that the positive aspects of the film managed to outweigh the negative ones. He quoted, ""K3G" is one heck of an entertainer and was worth the wait". In the film review section of his book "Bollywood: An Insider's Guide", Fuad Omar showered overwhelming praise on the film and called it a "masterpiece from the first frame to the last". In summary he said, "Overall "Kabhi Khushi Kabhie Gham..." is without a doubt the most enthralling, entertaining, emotional and complete vision and definition of Hindi cinema I have ever seen. It is simply the perfect Hindi film."


title: Kabhi Khushi Kabhie Gham...

text: Contrary to the positive reviews, Anjum N., writing for "Rediff", said that despite an extraordinary cast and a big budget, "Karan Johar disappoints." He praised Amitabh and Jaya Bachchan's performance and noted Roshan for holding his own against the veteran actors. However, in summary he called the film "a bad remix of "Mohabbatein" and "Kuch Kuch Hota Hai"". Writing for "The Hindu", Ziya Us Salam praised Kajol's performance and Karan's ability to "keep the viewer occupied". She commented, "Watch "Kabhi Khushi Kabhie Gham..." not because of the hype which preceded its release but because in these meagre times not many have come up with better fare. The film at least partially redeems the hope surrounding it. Again, just like its name. Some joy, some disappointment." Namrata Joshi of "Outlook" gave a mixed review and said that while the film "makes you laugh and cry alternately", the shenanigans were nevertheless "fake and affected" and "monochromatic despite the profusion of colours".


title: Kabhi Khushi Kabhie Gham...

text: The reviews were mostly mixed outside of India too, with several critics praising the technical production details of the film, while being somewhat less enthusiastic about the story line. Shamaila Khan of BBC gave the film 9 out of 10 stars and praised the performances of Khan, Kajol and Kapoor. She summed up by saying, "("K3G" is) a well made film, with some magical moments (hilarious and weepy) and possibly the world's best looking family!"


title: Kabhi Khushi Kabhie Gham...

text: Derek Elley of "Variety" said that it "is a highly enjoyable, often dazzlingly staged vehicle dragged down by a sluggish final half-hour". He also praised the cinematography, and the picturisation of the song, "Say Shava Shava".


title: Kabhi Khushi Kabhie Gham...

text: Upon release, "Kabhi Khushi Kabhie Gham..." broke all opening records. The film opened to around net collections in its first weekend in India, with the first week total at around . The domestic opening week collections were 70% higher than the previous record and never before had opening records been eclipsed by such large margins. It also set new records for the second and third weeks, by collecting and respectively. The film went on to become the second highest grosser of 2001 domestically, netting in India, and earning "Blockbuster" status.


title: Kabhi Khushi Kabhie Gham...

text: The film was released in around 125 prints in the overseas markets, grossing a total of $8.9 million at the end of its theatrical run. It performed very well in the United Kingdom, with a gross of $689,000 in its opening weekend. It thus debuted at the third position at the British box-office. The total earnings of the film reached over $3.2 million in the UK. The film also had the biggest opening ever for a Bollywood film in North America, with a gross of $1.1 million in 73 screens. However, according to a report by "Rediff", the numbers were so high that the official reporting agency did not believe it, and asked for evidence that could not be furnished until after the reporting deadline had passed. If reported on time, the film would have opened at the number 10 spot in the North American box-office. However, according to figures from Box Office Mojo, the film debuted at the 32nd place at the American box office during the week of 4 January 2002. It eventually gathered a total of $2.9 million there. Additionally, in 2003, the film became the first from India to be given a theatrical release in Germany.


title: Kabhi Khushi Kabhie Gham...

text: "Kabhi Khushi Kabhie Gham..." earned a worldwide gross of (). It was the highest-grossing film of the year in the overseas market, surpassing "", which was the top grosser of the year. Its record of being the highest grosser in the overseas was broken only by Johar's next directorial, "Kabhi Alvida Naa Kehna" (2006). When adjusted for inflation, the film is still among the highest grossers worldwide.


title: Kabhi Khushi Kabhie Gham...

text: "Kabhi Khushi Kabhie Gham..." received a leading 16 nominations at the 47th Filmfare Awards, ultimately winning five awards. In an interview with "Filmfare", Karan Johar said that he was not dejected to have not won many awards at the ceremony, as he felt that "Lagaan" was "a classic" and deserved to win.


title: Kabhi Khushi Kabhie Gham...

text: The film won several awards at the International Indian Film Academy Awards (IIFA), and some at the Zee Cine Awards and Screen Awards ceremonies, among others. At the 13th annual Valenciennes International Film Festival, the film won five major awards, including three Best Film awards and Best Actress for Kajol.


title: Kabhi Khushi Kabhie Gham...

text: Prior to the film's release, the film's music rights, overseas distribution rights and telecast rights were reportedly sold for (). This reportedly includes for the overseas rights sold to Sony.


title: Kabhi Khushi Kabhie Gham...

text: During the production and filming process, a book entitled "The Making of Kabhi Khushi Kabhie Gham..." was written by Niranjan Iyengar. It features materials and interviews concerning the producer, director, cinematographer, art director, cast and crew that Iyengar gathered over an 18-month period during the production of the film. The book was released a few days prior to the theatrical release of the film.


title: Kabhi Khushi Kabhie Gham...

text: "Kabhi Khushi Kabhie Gham..." has been released on VHS and DVD (one and two disc version) formats, beginning in 2002, and in the Blu-ray format beginning in 2010. The two disc DVD version of the film contains a 45-minute documentary entitled "The Making of Kabhi Khushi Kabhie Gham..." along with deleted scenes, a theatrical trailer, and several television promos.


title: Cinema of the United States

text: The cinema of the United States, consisting mainly of major film studios (also known 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 1913 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, American cinema soon came to be a dominant force in the emerging industry. , 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. 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. That said, Hollywood has also been considered a transnational cinema, 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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, 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.


title: Cinema of the United States

text: The major film studios of Hollywood are the primary source of the most commercially successful and most ticket selling movies in the world. 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.


title: Cinema of the United States

text: 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".


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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. 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.


title: Cinema of the United States

text: 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. 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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. 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. 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.


title: Cinema of the United States

text: 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 and the first studio in Hollywood opened in 1912. 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. Nestor Studios of Bayonne, New Jersey, built the first studio in the Hollywood neighborhood in 1911. 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.


title: Cinema of the United States

text: 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. War damage contributed to the decline of the then-dominant European film industry, in favor of the United States, where infrastructure was still intact. The stronger early public health response to the 1918 flu epidemic by Los Angeles 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. 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: Sound also became widely used in Hollywood in the late 1920s. 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.


title: Cinema of the United States

text: 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). The organization became the Motion Picture Association of America after Hays retired in 1945.


title: Cinema of the United States

text: 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 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.


title: Cinema of the United States

text: Also, foreign unemployed actors, playwrights, 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:


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: Most Hollywood pictures adhered closely to a formula – Western, Slapstick Comedy, Musical, Animated Cartoon, Biographical Film (biographical picture) – and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.


title: Cinema of the United States

text: At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; 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 – a trait that rarely exist today.


title: Cinema of the United States

text: For example, "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.


title: Cinema of the United States

text: 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 Productions in 1928. In contrast Loews theaters owned MGM since forming in 1924, while the Fox Film Corporation owned the Fox Theatre. RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America) 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.


title: Cinema of the United States

text: 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, Michigan. 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 20th Century Fox.


title: Cinema of the United States

text: 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 in rural Southern California for location shooting of 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.


title: Cinema of the United States

text: In 1930, MPPDA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930. However, the code was never enforced until 1934, after the Catholic watchdog organization 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. 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.


title: Cinema of the United States

text: Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and they were also credited for creating the Hollywood star system altogether. Some 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. But MGM did not stand alone.


title: Cinema of the United States

text: Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, "Snow White and the Seven Dwarfs". 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.


title: Cinema of the United States

text: 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 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.


title: Cinema of the United States

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


title: Cinema of the United States

text: The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:


title: Cinema of the United States

text: In 1938, Walt Disney's "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. 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 lock-in to cover for releases of mediocre quality.


title: Cinema of the United States

text: Assistant Attorney General Thurman Arnold—a noted "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. The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:


title: Cinema of the United States

text: The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree. 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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 endings", 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".


title: Cinema of the United States

text: 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" 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. 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 "Blue Movie", the phenomenon of adult erotic films being publicly discussed by celebrities (like Johnny Carson and Bob Hope), and taken seriously by critics (like Roger Ebert), a development referred to, by Ralph Blumenthal of "The New York Times", as "porno chic", and later known as the Golden Age of Porn, began, for the first time, in modern American culture. According to award-winning author Toni Bentley, Radley Metzger 1976 film "The Opening of Misty Beethoven", based on the play "Pygmalion" by George Bernard Shaw (and its derivative, "My Fair Lady"), and due to attaining a mainstream level in storyline and sets, is considered the "crown jewel" of this 'Golden Age'.


title: Cinema of the United States

text: 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. 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" 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", Spielberg with "Jaws", Coppola with "The Godfather" and "Apocalypse Now", Scorsese with "Taxi Driver", Kubrick with "", Polanski with "Chinatown", and Lucas with "American Graffiti" and "Star Wars", respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.


title: Cinema of the United States

text: The increasing indulgence of these young directors did not help. Often, they would go overschedule, and overbudget, thus bankrupting themselves or the studio. 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", 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.


title: Cinema of the United States

text: Filmmakers in the 1990 had access to technological, political and economic innovations that had not been available in previous decades. "Dick Tracy" (1990) became the first 35 mm feature film with a 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 (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) became the first film that was shot entirely in digital. In the 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 "". Many previous films about the RMS "Titanic" shot water in slow motion, which did not look wholly convincing. Cameron encouraged his crew to shoot their miniature of the ship as if "we're making a commercial for the White Star Line".


title: Cinema of the United States

text: Even "The Blair Witch Project" (1999), a low-budget indie horror film by 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 million with the use of modern marketing techniques and online promotion. Though not on the scale of George Lucas's $1 billion prequel to the "Star Wars Trilogy", "The Blair Witch Project" earned the distinction of being the most profitable film of all time, in terms of percentage gross.


title: Cinema of the United States

text: The success of "Blair Witch" as an indie project remains among the few exceptions, however, and control of The Big Five studios over filmmaking 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 million per film and in some cases were even given a share of the film's profits.


title: Cinema of the United States

text: Screenwriters on the other hand were generally paid less than the top actors or directors, usually under $1 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 million before marketing and promotion, which cost another $80 million.


title: Cinema of the United States

text: Since the early 21st century, the theatrical market place has been dominated by the superhero genre. they are the best-paying productions for actors, because paychecks in other genres have shrunk for even top actors. The decade of the involved many significant developments in the film industries around the world, especially in the technology used. Building on developments in the 1990s, computers 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" sequels and "300".


title: Cinema of the United States

text: The 2000s saw the resurgence of several genres. Fantasy film franchises dominated the box office with "The Lord of the Rings", "Harry Potter", "Pirates of the Caribbean", the "Star Wars" prequel trilogy (beginning in 1999), "The Chronicles of Narnia", etc. Comic book superhero films became a mainstream blockbuster genre following the releases of "X-Men", "Unbreakable", and "Spider-Man". "Gladiator" similarly sparked the revival of epic films, while the Bollywood-inspired "Moulin Rouge!" did the same for musical films. 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 films are principally designed for young adult audiences.


title: Cinema of the United States

text: 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". On March 16, 2020, Universal announced that "The Invisible Man", "The Hunt", and "Emma"—all films in theaters at the time—would be available through Premium video on demand as early as March 20 at a suggested price of each. After suffering poor box office since its release at the start of March, "Onward" was made available to purchase digitally on March 21, and was added to Disney+ on April 3. Paramount announced on March 20, "Sonic the Hedgehog" is also planning to have an early release to video on demand, on March 31. On March 16, Warner Bros. announced that "Birds of Prey" would be released early to video on demand on March 24. On April 3, Disney announced that "Artemis Fowl", a film adaptation of the 2001 book of the same name, would move straight to Disney+ on June 12, skipping a theatrical release entirely.


title: Cinema of the United States

text: As the virus continued to keep theaters closed, studios that have produced various films such as "Black Widow", "F9", "Death on the Nile" and "West Side Story" were forced to postponed or delayed their releases to after 2020.


title: Cinema of the United States

text: Various studios have responded to the crisis with controversial decisions to forgo the theatrical window and give their films day-and-date releases. NBCUniversal released "Trolls World Tour" directly to video-on-demand rental on April 10, while simultaneously receiving limited domestic theatrical screenings via drive-in cinemas; CEO Jeff Shell claims that the film had reached nearly $100 million in revenue within the first three weeks. 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. 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. 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.


title: Cinema of the United States

text: Industry commentators have noted the increasing treatment of films as "content" by corporations that correlate with the rise of streaming platforms such as Netflix, Disney+, Paramount+, and Apple TV+. 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. Critic Matt Zoller Seitz has described the release of "" 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. The films "" and "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", "The Matrix" and "Austin Powers", 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." 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."


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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 liberal ideas.


title: Cinema of the United States

text: 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. Despite most celebrities and producers being left-leaning and tending to support the Democratic Party, this era produced some 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 2003.


title: Cinema of the United States

text: Today, donations from Hollywood help to fund federal politics. On February 20, 2007, for example, Democratic then-presidential candidate Barack Obama had a $2,300-a-plate Hollywood gala, being hosted by DreamWorks founders David Geffen, Jeffrey Katzenberg, and Steven Spielberg at the Beverly Hilton.


title: Cinema of the United States

text: 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, 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" from Chinese to North Koreans. Due to many topics forbidden in China, such as Dalai Lama and 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. The 2018 film "Christopher Robin", the new Winnie-the-Pooh movie, was denied a Chinese release.


title: Cinema of the United States

text: 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. In 2016, Marvel Entertainment attracted criticism for its decision to cast Tilda Swinton as "The Ancient One" in the film adaptation "Doctor Strange", using a white woman to play a traditionally Tibetan character. 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 2008 Summer Olympics in Beijing.


title: Cinema of the United States

text: 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, Janet Wasko and Mary Erickson, Kerry Segrave, John Trumpbour and Tanner Mirrlees examine the international political economy of Hollywood's power.


title: Cinema of the United States

text: 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."


title: Cinema of the United States

text: 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 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: 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 ... made times as much money as the top-paid actresses." "[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."


title: Cinema of the United States

text: 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."


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: A "New York Times" article stated that only 15% of the top films in 2013 had women for a lead acting role. 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."


title: Cinema of the United States

text: 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 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.


title: Cinema of the United States

text: 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 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.


title: Cinema of the United States

text: American cinema has often reflected and propagated negative stereotypes towards foreign nationals and ethnic minorities. For example, Russians and Russian Americans are usually portrayed as brutal mobsters, ruthless agents and villains. 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." Italians and Italian Americans are usually associated with organized crime and the Mafia. Hispanic and Latino Americans are largely depicted as sexualized figures such as the Latino macho or the Latina vixen, gang members, (illegal) immigrants, or entertainers. 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." 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" (1987), "Selena" (1997), The Mask of Zorro (1998), (2007), Overboard (2018), Father of the Bride (2022) and Josefina López's "Real Women Have Curves", originally a play which premiered in 1990 and was later released as a film in 2002.


title: Cinema of the United States

text: 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. In old Hollywood, when racial prejudices were socially acceptable, it was not uncommon for white actors to wear black face. In Moonlight, masculinity is portrayed as rigid and aggressive, amongst the behavior of young black males in Chiron's teenage peer group. The expression of hyper-masculinity among black men has been associated with peer acceptance and community. 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.


title: Cinema of the United States

text: According to Korean-American actor Daniel Dae Kim, Asian and Asian American men "have been portrayed as inscrutable villains and asexualized kind of eunuchs." Seen as exceedingly polite and sumbissive. The Media Action Network for Asian Americans accused the director and studio of whitewashing the cast of the 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. Throughout the 20th century, acting roles film were relatively few, and many available roles were narrow characters. More recently, young Asian American comedians and film-makers have found an outlet on YouTube allowing them to gain a strong and loyal fanbase among their fellow Asian Americans. Although more recently the film Crazy Rich Asians film has been lauded in the United States for featuring a predominantly Asian cast, it was criticized elsewhere for casting biracial and non-Chinese actors as ethnically Chinese characters. Another 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


title: Cinema of the United States

text: Before 9/11, Arabs and Arab Americans were often portrayed as terrorists. The decision to hire Naomi Scott, in the Aladdin film, the daughter of an English father and a Gujarati 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. 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." The field of American comedy includes many Jews. 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.


title: Cinema of the United States

text: 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 (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" (1970), "Billy Jack" (1971), and "The Outlaw Josey Wales" (1976), which depicted Native Americans in minor supporting roles.


title: Cinema of the United States

text: 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.


title: Cinema of the United States

text: While the role of labor in America has waned in many parts of the country, the 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.