CINXE.COM

<!DOCTYPE html> <html class="client-nojs skin-theme-clientpref-day mf-expand-sections-clientpref-0 mf-font-size-clientpref-small mw-mf-amc-clientpref-0" lang="en" dir="ltr"> <head> <meta charset="UTF-8"> <title>Cinema of the United States - Wikipedia</title> <script>(function(){var className="client-js skin-theme-clientpref-day mf-expand-sections-clientpref-0 mf-font-size-clientpref-small mw-mf-amc-clientpref-0";var cookie=document.cookie.match(/(?:^|; )enwikimwclientpreferences=([^;]+)/);if(cookie){cookie[1].split('%2C').forEach(function(pref){className=className.replace(new RegExp('(^| )'+pref.replace(/-clientpref-\w+$|[^\w-]+/g,'')+'-clientpref-\\w+( |$)'),'$1'+pref+'$2');});}document.documentElement.className=className;}());RLCONF={"wgBreakFrames":false,"wgSeparatorTransformTable":["",""],"wgDigitTransformTable":["",""],"wgDefaultDateFormat":"dmy","wgMonthNames":["","January","February","March","April","May","June","July","August","September","October","November","December"],"wgRequestId":"4b2f8dcf-35b0-4b50-9c0a-d5d13093d96c","wgCanonicalNamespace":"","wgCanonicalSpecialPageName":false,"wgNamespaceNumber":0,"wgPageName":"Cinema_of_the_United_States","wgTitle":"Cinema of the United States","wgCurRevisionId":1260724754,"wgRevisionId":1260724754 ,"wgArticleId":418334,"wgIsArticle":true,"wgIsRedirect":false,"wgAction":"view","wgUserName":null,"wgUserGroups":["*"],"wgPageViewLanguage":"en","wgPageContentLanguage":"en","wgPageContentModel":"wikitext","wgRelevantPageName":"Cinema_of_the_United_States","wgRelevantArticleId":418334,"wgIsProbablyEditable":true,"wgRelevantPageIsProbablyEditable":true,"wgRestrictionEdit":[],"wgRestrictionMove":[],"wgNoticeProject":"wikipedia","wgCiteReferencePreviewsActive":false,"wgFlaggedRevsParams":{"tags":{"status":{"levels":1}}},"wgMediaViewerOnClick":true,"wgMediaViewerEnabledByDefault":true,"wgPopupsFlags":0,"wgVisualEditor":{"pageLanguageCode":"en","pageLanguageDir":"ltr","pageVariantFallbacks":"en"},"wgMFMode":"stable","wgMFAmc":false,"wgMFAmcOutreachActive":false,"wgMFAmcOutreachUserEligible":false,"wgMFLazyLoadImages":true,"wgMFEditNoticesFeatureConflict":false,"wgMFDisplayWikibaseDescriptions":{"search":true,"watchlist":true,"tagline":false,"nearby":true},"wgMFIsSupportedEditRequest":true, "wgMFScriptPath":"","wgWMESchemaEditAttemptStepOversample":false,"wgWMEPageLength":100000,"wgRelatedArticlesCompat":[],"wgEditSubmitButtonLabelPublish":true,"wgSectionTranslationMissingLanguages":[{"lang":"ace","autonym":"Acèh","dir":"ltr"},{"lang":"ady","autonym":"адыгабзэ","dir":"ltr"},{"lang":"alt","autonym":"алтай тил","dir":"ltr"},{"lang":"am","autonym":"አማርኛ","dir":"ltr"},{"lang":"ami","autonym":"Pangcah","dir":"ltr"},{"lang":"ang","autonym":"Ænglisc","dir":"ltr"},{"lang":"ann","autonym":"Obolo","dir":"ltr"},{"lang":"anp","autonym":"अंगिका","dir":"ltr"},{"lang":"ary","autonym":"الدارجة","dir":"rtl"},{"lang":"arz","autonym":"مصرى","dir":"rtl"},{"lang":"as","autonym":"অসমীয়া","dir":"ltr"},{"lang":"ast","autonym":"asturianu","dir":"ltr"},{"lang":"av","autonym":"авар","dir":"ltr"},{"lang":"avk","autonym":"Kotava","dir":"ltr"},{"lang":"awa","autonym":"अवधी","dir":"ltr"},{"lang":"ay","autonym":"Aymar aru","dir" :"ltr"},{"lang":"azb","autonym":"تۆرکجه","dir":"rtl"},{"lang":"ba","autonym":"башҡортса","dir":"ltr"},{"lang":"ban","autonym":"Basa Bali","dir":"ltr"},{"lang":"bar","autonym":"Boarisch","dir":"ltr"},{"lang":"bbc","autonym":"Batak Toba","dir":"ltr"},{"lang":"bcl","autonym":"Bikol Central","dir":"ltr"},{"lang":"bdr","autonym":"Bajau Sama","dir":"ltr"},{"lang":"be","autonym":"беларуская","dir":"ltr"},{"lang":"bew","autonym":"Betawi","dir":"ltr"},{"lang":"bho","autonym":"भोजपुरी","dir":"ltr"},{"lang":"bi","autonym":"Bislama","dir":"ltr"},{"lang":"bjn","autonym":"Banjar","dir":"ltr"},{"lang":"blk","autonym":"ပအိုဝ်ႏဘာႏသာႏ","dir":"ltr"},{"lang":"bm","autonym":"bamanankan","dir":"ltr"},{"lang":"bo","autonym":"བོད་ཡིག","dir":"ltr"},{"lang":"bpy","autonym":"বিষ্ণুপ্রিয়া মণিপুরী","dir":"ltr"},{"lang":"br","autonym":"brezhoneg","dir":"ltr"},{"lang":"bs","autonym":"bosanski", "dir":"ltr"},{"lang":"btm","autonym":"Batak Mandailing","dir":"ltr"},{"lang":"bug","autonym":"Basa Ugi","dir":"ltr"},{"lang":"cdo","autonym":"閩東語 / Mìng-dĕ̤ng-ngṳ̄","dir":"ltr"},{"lang":"ce","autonym":"нохчийн","dir":"ltr"},{"lang":"ceb","autonym":"Cebuano","dir":"ltr"},{"lang":"ch","autonym":"Chamoru","dir":"ltr"},{"lang":"chr","autonym":"ᏣᎳᎩ","dir":"ltr"},{"lang":"co","autonym":"corsu","dir":"ltr"},{"lang":"cr","autonym":"Nēhiyawēwin / ᓀᐦᐃᔭᐍᐏᐣ","dir":"ltr"},{"lang":"crh","autonym":"qırımtatarca","dir":"ltr"},{"lang":"cs","autonym":"čeština","dir":"ltr"},{"lang":"cu","autonym":"словѣньскъ / ⰔⰎⰑⰂⰡⰐⰠⰔⰍⰟ","dir":"ltr"},{"lang":"da","autonym":"dansk","dir":"ltr"},{"lang":"dag","autonym":"dagbanli","dir":"ltr"},{"lang":"dga","autonym":"Dagaare","dir":"ltr"},{"lang":"din","autonym":"Thuɔŋjäŋ","dir":"ltr"},{"lang":"diq","autonym":"Zazaki","dir":"ltr"},{"lang":"dsb","autonym":"dolnoserbski","dir":"ltr"},{"lang": "dtp","autonym":"Kadazandusun","dir":"ltr"},{"lang":"dv","autonym":"ދިވެހިބަސް","dir":"rtl"},{"lang":"dz","autonym":"ཇོང་ཁ","dir":"ltr"},{"lang":"ee","autonym":"eʋegbe","dir":"ltr"},{"lang":"eml","autonym":"emiliàn e rumagnòl","dir":"ltr"},{"lang":"eo","autonym":"Esperanto","dir":"ltr"},{"lang":"et","autonym":"eesti","dir":"ltr"},{"lang":"fat","autonym":"mfantse","dir":"ltr"},{"lang":"ff","autonym":"Fulfulde","dir":"ltr"},{"lang":"fj","autonym":"Na Vosa Vakaviti","dir":"ltr"},{"lang":"fo","autonym":"føroyskt","dir":"ltr"},{"lang":"fon","autonym":"fɔ̀ngbè","dir":"ltr"},{"lang":"frp","autonym":"arpetan","dir":"ltr"},{"lang":"frr","autonym":"Nordfriisk","dir":"ltr"},{"lang":"fur","autonym":"furlan","dir":"ltr"},{"lang":"fy","autonym":"Frysk","dir":"ltr"},{"lang":"gag","autonym":"Gagauz","dir":"ltr"},{"lang":"gan","autonym":"贛語","dir":"ltr"},{"lang":"gcr","autonym":"kriyòl gwiyannen","dir":"ltr"},{"lang":"gl","autonym":"galego","dir":"ltr"},{"lang":"glk", "autonym":"گیلکی","dir":"rtl"},{"lang":"gn","autonym":"Avañe'ẽ","dir":"ltr"},{"lang":"gom","autonym":"गोंयची कोंकणी / Gõychi Konknni","dir":"ltr"},{"lang":"gor","autonym":"Bahasa Hulontalo","dir":"ltr"},{"lang":"gpe","autonym":"Ghanaian Pidgin","dir":"ltr"},{"lang":"gu","autonym":"ગુજરાતી","dir":"ltr"},{"lang":"guc","autonym":"wayuunaiki","dir":"ltr"},{"lang":"gur","autonym":"farefare","dir":"ltr"},{"lang":"guw","autonym":"gungbe","dir":"ltr"},{"lang":"gv","autonym":"Gaelg","dir":"ltr"},{"lang":"ha","autonym":"Hausa","dir":"ltr"},{"lang":"hak","autonym":"客家語 / Hak-kâ-ngî","dir":"ltr"},{"lang":"haw","autonym":"Hawaiʻi","dir":"ltr"},{"lang":"hif","autonym":"Fiji Hindi","dir":"ltr"},{"lang":"hr","autonym":"hrvatski","dir":"ltr"},{"lang":"hsb","autonym":"hornjoserbsce","dir":"ltr"},{"lang":"ht","autonym":"Kreyòl ayisyen","dir":"ltr"},{"lang":"hy","autonym":"հայերեն","dir":"ltr"},{"lang":"hyw","autonym": "Արեւմտահայերէն","dir":"ltr"},{"lang":"ia","autonym":"interlingua","dir":"ltr"},{"lang":"iba","autonym":"Jaku Iban","dir":"ltr"},{"lang":"ie","autonym":"Interlingue","dir":"ltr"},{"lang":"ig","autonym":"Igbo","dir":"ltr"},{"lang":"igl","autonym":"Igala","dir":"ltr"},{"lang":"ilo","autonym":"Ilokano","dir":"ltr"},{"lang":"io","autonym":"Ido","dir":"ltr"},{"lang":"is","autonym":"íslenska","dir":"ltr"},{"lang":"iu","autonym":"ᐃᓄᒃᑎᑐᑦ / inuktitut","dir":"ltr"},{"lang":"jam","autonym":"Patois","dir":"ltr"},{"lang":"jv","autonym":"Jawa","dir":"ltr"},{"lang":"ka","autonym":"ქართული","dir":"ltr"},{"lang":"kaa","autonym":"Qaraqalpaqsha","dir":"ltr"},{"lang":"kab","autonym":"Taqbaylit","dir":"ltr"},{"lang":"kbd","autonym":"адыгэбзэ","dir":"ltr"},{"lang":"kbp","autonym":"Kabɩyɛ","dir":"ltr"},{"lang":"kcg","autonym":"Tyap","dir":"ltr"},{"lang":"kg","autonym":"Kongo","dir":"ltr"},{"lang":"kge","autonym":"Kumoring","dir":"ltr"},{"lang":"ki","autonym" :"Gĩkũyũ","dir":"ltr"},{"lang":"kk","autonym":"қазақша","dir":"ltr"},{"lang":"kl","autonym":"kalaallisut","dir":"ltr"},{"lang":"km","autonym":"ភាសាខ្មែរ","dir":"ltr"},{"lang":"kn","autonym":"ಕನ್ನಡ","dir":"ltr"},{"lang":"koi","autonym":"перем коми","dir":"ltr"},{"lang":"krc","autonym":"къарачай-малкъар","dir":"ltr"},{"lang":"ks","autonym":"कॉशुर / کٲشُر","dir":"rtl"},{"lang":"ku","autonym":"kurdî","dir":"ltr"},{"lang":"kus","autonym":"Kʋsaal","dir":"ltr"},{"lang":"kv","autonym":"коми","dir":"ltr"},{"lang":"kw","autonym":"kernowek","dir":"ltr"},{"lang":"ky","autonym":"кыргызча","dir":"ltr"},{"lang":"lad","autonym":"Ladino","dir":"ltr"},{"lang":"lb","autonym":"Lëtzebuergesch","dir":"ltr"},{"lang":"lez","autonym":"лезги","dir":"ltr"},{"lang":"lg","autonym":"Luganda","dir":"ltr"},{"lang":"li","autonym":"Limburgs","dir":"ltr"},{"lang":"lij","autonym":"Ligure","dir":"ltr"},{"lang":"lld","autonym": "Ladin","dir":"ltr"},{"lang":"lmo","autonym":"lombard","dir":"ltr"},{"lang":"ln","autonym":"lingála","dir":"ltr"},{"lang":"lo","autonym":"ລາວ","dir":"ltr"},{"lang":"ltg","autonym":"latgaļu","dir":"ltr"},{"lang":"lv","autonym":"latviešu","dir":"ltr"},{"lang":"mad","autonym":"Madhurâ","dir":"ltr"},{"lang":"mai","autonym":"मैथिली","dir":"ltr"},{"lang":"map-bms","autonym":"Basa Banyumasan","dir":"ltr"},{"lang":"mdf","autonym":"мокшень","dir":"ltr"},{"lang":"mg","autonym":"Malagasy","dir":"ltr"},{"lang":"mhr","autonym":"олык марий","dir":"ltr"},{"lang":"mi","autonym":"Māori","dir":"ltr"},{"lang":"min","autonym":"Minangkabau","dir":"ltr"},{"lang":"mn","autonym":"монгол","dir":"ltr"},{"lang":"mni","autonym":"ꯃꯤꯇꯩ ꯂꯣꯟ","dir":"ltr"},{"lang":"mnw","autonym":"ဘာသာမန်","dir":"ltr"},{"lang":"mos","autonym":"moore","dir":"ltr"},{"lang":"mrj","autonym":"кырык мары","dir":"ltr"},{"lang":"mt","autonym":"Malti","dir":"ltr" },{"lang":"mwl","autonym":"Mirandés","dir":"ltr"},{"lang":"my","autonym":"မြန်မာဘာသာ","dir":"ltr"},{"lang":"myv","autonym":"эрзянь","dir":"ltr"},{"lang":"mzn","autonym":"مازِرونی","dir":"rtl"},{"lang":"nah","autonym":"Nāhuatl","dir":"ltr"},{"lang":"nan","autonym":"閩南語 / Bân-lâm-gú","dir":"ltr"},{"lang":"nap","autonym":"Napulitano","dir":"ltr"},{"lang":"nb","autonym":"norsk bokmål","dir":"ltr"},{"lang":"nds","autonym":"Plattdüütsch","dir":"ltr"},{"lang":"nds-nl","autonym":"Nedersaksies","dir":"ltr"},{"lang":"ne","autonym":"नेपाली","dir":"ltr"},{"lang":"new","autonym":"नेपाल भाषा","dir":"ltr"},{"lang":"nia","autonym":"Li Niha","dir":"ltr"},{"lang":"nn","autonym":"norsk nynorsk","dir":"ltr"},{"lang":"nqo","autonym":"ߒߞߏ","dir":"rtl"},{"lang":"nr","autonym":"isiNdebele seSewula","dir":"ltr"},{"lang":"nso","autonym":"Sesotho sa Leboa","dir":"ltr"},{"lang":"ny","autonym":"Chi-Chewa","dir":"ltr"},{"lang":"oc", "autonym":"occitan","dir":"ltr"},{"lang":"om","autonym":"Oromoo","dir":"ltr"},{"lang":"or","autonym":"ଓଡ଼ିଆ","dir":"ltr"},{"lang":"os","autonym":"ирон","dir":"ltr"},{"lang":"pa","autonym":"ਪੰਜਾਬੀ","dir":"ltr"},{"lang":"pag","autonym":"Pangasinan","dir":"ltr"},{"lang":"pam","autonym":"Kapampangan","dir":"ltr"},{"lang":"pap","autonym":"Papiamentu","dir":"ltr"},{"lang":"pcd","autonym":"Picard","dir":"ltr"},{"lang":"pcm","autonym":"Naijá","dir":"ltr"},{"lang":"pdc","autonym":"Deitsch","dir":"ltr"},{"lang":"pms","autonym":"Piemontèis","dir":"ltr"},{"lang":"ps","autonym":"پښتو","dir":"rtl"},{"lang":"pwn","autonym":"pinayuanan","dir":"ltr"},{"lang":"qu","autonym":"Runa Simi","dir":"ltr"},{"lang":"rm","autonym":"rumantsch","dir":"ltr"},{"lang":"rn","autonym":"ikirundi","dir":"ltr"},{"lang":"rsk","autonym":"руски","dir":"ltr"},{"lang":"rue","autonym":"русиньскый","dir":"ltr"},{"lang":"rup","autonym":"armãneashti","dir":"ltr"},{"lang":"rw", "autonym":"Ikinyarwanda","dir":"ltr"},{"lang":"sa","autonym":"संस्कृतम्","dir":"ltr"},{"lang":"sah","autonym":"саха тыла","dir":"ltr"},{"lang":"sat","autonym":"ᱥᱟᱱᱛᱟᱲᱤ","dir":"ltr"},{"lang":"sc","autonym":"sardu","dir":"ltr"},{"lang":"scn","autonym":"sicilianu","dir":"ltr"},{"lang":"sco","autonym":"Scots","dir":"ltr"},{"lang":"sd","autonym":"سنڌي","dir":"rtl"},{"lang":"se","autonym":"davvisámegiella","dir":"ltr"},{"lang":"sg","autonym":"Sängö","dir":"ltr"},{"lang":"sgs","autonym":"žemaitėška","dir":"ltr"},{"lang":"sh","autonym":"srpskohrvatski / српскохрватски","dir":"ltr"},{"lang":"shi","autonym":"Taclḥit","dir":"ltr"},{"lang":"shn","autonym":"ၽႃႇသႃႇတႆး ","dir":"ltr"},{"lang":"si","autonym":"සිංහල","dir":"ltr"},{"lang":"sk","autonym":"slovenčina","dir":"ltr"},{"lang":"skr","autonym":"سرائیکی","dir":"rtl"},{"lang":"sl","autonym":"slovenščina","dir":"ltr"},{"lang":"sm","autonym": "Gagana Samoa","dir":"ltr"},{"lang":"smn","autonym":"anarâškielâ","dir":"ltr"},{"lang":"sn","autonym":"chiShona","dir":"ltr"},{"lang":"sr","autonym":"српски / srpski","dir":"ltr"},{"lang":"srn","autonym":"Sranantongo","dir":"ltr"},{"lang":"ss","autonym":"SiSwati","dir":"ltr"},{"lang":"st","autonym":"Sesotho","dir":"ltr"},{"lang":"stq","autonym":"Seeltersk","dir":"ltr"},{"lang":"su","autonym":"Sunda","dir":"ltr"},{"lang":"sw","autonym":"Kiswahili","dir":"ltr"},{"lang":"szl","autonym":"ślůnski","dir":"ltr"},{"lang":"ta","autonym":"தமிழ்","dir":"ltr"},{"lang":"tay","autonym":"Tayal","dir":"ltr"},{"lang":"tcy","autonym":"ತುಳು","dir":"ltr"},{"lang":"tdd","autonym":"ᥖᥭᥰ ᥖᥬᥲ ᥑᥨᥒᥰ","dir":"ltr"},{"lang":"te","autonym":"తెలుగు","dir":"ltr"},{"lang":"tet","autonym":"tetun","dir":"ltr"},{"lang":"tg","autonym":"тоҷикӣ","dir":"ltr"},{"lang":"ti","autonym":"ትግርኛ","dir":"ltr"},{"lang":"tk","autonym":"Türkmençe","dir":"ltr"},{ "lang":"tl","autonym":"Tagalog","dir":"ltr"},{"lang":"tly","autonym":"tolışi","dir":"ltr"},{"lang":"tn","autonym":"Setswana","dir":"ltr"},{"lang":"to","autonym":"lea faka-Tonga","dir":"ltr"},{"lang":"tpi","autonym":"Tok Pisin","dir":"ltr"},{"lang":"trv","autonym":"Seediq","dir":"ltr"},{"lang":"ts","autonym":"Xitsonga","dir":"ltr"},{"lang":"tt","autonym":"татарча / tatarça","dir":"ltr"},{"lang":"tum","autonym":"chiTumbuka","dir":"ltr"},{"lang":"tw","autonym":"Twi","dir":"ltr"},{"lang":"ty","autonym":"reo tahiti","dir":"ltr"},{"lang":"tyv","autonym":"тыва дыл","dir":"ltr"},{"lang":"udm","autonym":"удмурт","dir":"ltr"},{"lang":"uz","autonym":"oʻzbekcha / ўзбекча","dir":"ltr"},{"lang":"ve","autonym":"Tshivenda","dir":"ltr"},{"lang":"vec","autonym":"vèneto","dir":"ltr"},{"lang":"vep","autonym":"vepsän kel’","dir":"ltr"},{"lang":"vls","autonym":"West-Vlams","dir":"ltr"},{"lang":"vo","autonym":"Volapük","dir":"ltr"},{"lang":"vro","autonym":"võro","dir": "ltr"},{"lang":"wa","autonym":"walon","dir":"ltr"},{"lang":"war","autonym":"Winaray","dir":"ltr"},{"lang":"wo","autonym":"Wolof","dir":"ltr"},{"lang":"wuu","autonym":"吴语","dir":"ltr"},{"lang":"xal","autonym":"хальмг","dir":"ltr"},{"lang":"xh","autonym":"isiXhosa","dir":"ltr"},{"lang":"xmf","autonym":"მარგალური","dir":"ltr"},{"lang":"yi","autonym":"ייִדיש","dir":"rtl"},{"lang":"yo","autonym":"Yorùbá","dir":"ltr"},{"lang":"yue","autonym":"粵語","dir":"ltr"},{"lang":"za","autonym":"Vahcuengh","dir":"ltr"},{"lang":"zgh","autonym":"ⵜⴰⵎⴰⵣⵉⵖⵜ ⵜⴰⵏⴰⵡⴰⵢⵜ","dir":"ltr"},{"lang":"zu","autonym":"isiZulu","dir":"ltr"}],"wgSectionTranslationTargetLanguages":["ace","ady","alt","am","ami","an","ang","ann","anp","ar","ary","arz","as","ast","av","avk","awa","ay","az","azb","ba","ban","bar","bbc","bcl","bdr","be","bew","bg","bho","bi","bjn","blk","bm","bn","bo","bpy","br","bs","btm","bug","ca","cdo","ce","ceb","ch","chr","ckb","co","cr", "crh","cs","cu","cy","da","dag","de","dga","din","diq","dsb","dtp","dv","dz","ee","el","eml","eo","es","et","eu","fa","fat","ff","fi","fj","fo","fon","fr","frp","frr","fur","fy","gag","gan","gcr","gl","glk","gn","gom","gor","gpe","gu","guc","gur","guw","gv","ha","hak","haw","he","hi","hif","hr","hsb","ht","hu","hy","hyw","ia","iba","ie","ig","igl","ilo","io","is","it","iu","ja","jam","jv","ka","kaa","kab","kbd","kbp","kcg","kg","kge","ki","kk","kl","km","kn","ko","koi","krc","ks","ku","kus","kv","kw","ky","lad","lb","lez","lg","li","lij","lld","lmo","ln","lo","lt","ltg","lv","mad","mai","map-bms","mdf","mg","mhr","mi","min","mk","ml","mn","mni","mnw","mos","mr","mrj","ms","mt","mwl","my","myv","mzn","nah","nan","nap","nb","nds","nds-nl","ne","new","nia","nl","nn","nqo","nr","nso","ny","oc","om","or","os","pa","pag","pam","pap","pcd","pcm","pdc","pl","pms","pnb","ps","pt","pwn","qu","rm","rn","ro","rsk","rue","rup","rw","sa","sah","sat","sc","scn","sco","sd","se","sg","sgs","sh","shi", "shn","si","sk","skr","sl","sm","smn","sn","so","sq","sr","srn","ss","st","stq","su","sv","sw","szl","ta","tay","tcy","tdd","te","tet","tg","th","ti","tk","tl","tly","tn","to","tpi","tr","trv","ts","tt","tum","tw","ty","tyv","udm","ur","uz","ve","vec","vep","vi","vls","vo","vro","wa","war","wo","wuu","xal","xh","xmf","yi","yo","yue","za","zgh","zh","zu"],"isLanguageSearcherCXEntrypointEnabled":true,"mintEntrypointLanguages":["ace","ast","azb","bcl","bjn","bh","crh","ff","fon","ig","is","ki","ks","lmo","min","sat","ss","tn","vec"],"wgWikibaseItemId":"Q380675","wgCheckUserClientHintsHeadersJsApi":["brands","architecture","bitness","fullVersionList","mobile","model","platform","platformVersion"],"GEHomepageSuggestedEditsEnableTopics":true,"wgGETopicsMatchModeEnabled":false,"wgGEStructuredTaskRejectionReasonTextInputEnabled":false,"wgGELevelingUpEnabledForUser":false,"wgMinervaPermissions":{"watchable":true,"watch":false},"wgMinervaFeatures":{"beta":false,"donate":true,"mobileOptionsLink": true,"categories":false,"pageIssues":true,"talkAtTop":true,"historyInPageActions":false,"overflowSubmenu":false,"tabsOnSpecials":true,"personalMenu":false,"mainMenuExpanded":false,"echo":true,"nightMode":true},"wgMinervaDownloadNamespaces":[0]};RLSTATE={"ext.globalCssJs.user.styles":"ready","site.styles":"ready","user.styles":"ready","ext.globalCssJs.user":"ready","user":"ready","user.options":"loading","ext.cite.styles":"ready","skins.minerva.styles":"ready","skins.minerva.content.styles.images":"ready","mediawiki.hlist":"ready","skins.minerva.codex.styles":"ready","skins.minerva.icons":"ready","jquery.tablesorter.styles":"ready","skins.minerva.amc.styles":"ready","ext.wikimediamessages.styles":"ready","mobile.init.styles":"ready","ext.relatedArticles.styles":"ready","wikibase.client.init":"ready","ext.wikimediaBadges":"ready"};RLPAGEMODULES=["ext.cite.ux-enhancements","mediawiki.page.media","ext.scribunto.logs","site","mediawiki.page.ready","jquery.tablesorter", "skins.minerva.scripts","ext.centralNotice.geoIP","ext.centralNotice.startUp","ext.gadget.switcher","ext.urlShortener.toolbar","ext.centralauth.centralautologin","ext.popups","mobile.init","ext.echo.centralauth","ext.relatedArticles.readMore.bootstrap","ext.eventLogging","ext.wikimediaEvents","ext.navigationTiming","ext.cx.eventlogging.campaigns","ext.cx.entrypoints.mffrequentlanguages","ext.cx.entrypoints.languagesearcher.init","mw.externalguidance.init","ext.checkUser.clientHints","ext.growthExperiments.SuggestedEditSession","wikibase.sidebar.tracking"];</script> <script>(RLQ=window.RLQ||[]).push(function(){mw.loader.impl(function(){return["user.options@12s5i",function($,jQuery,require,module){mw.user.tokens.set({"patrolToken":"+\\","watchToken":"+\\","csrfToken":"+\\"}); }];});});</script> <link rel="stylesheet" href="/w/load.php?lang=en&modules=ext.cite.styles%7Cext.relatedArticles.styles%7Cext.wikimediaBadges%7Cext.wikimediamessages.styles%7Cjquery.tablesorter.styles%7Cmediawiki.hlist%7Cmobile.init.styles%7Cskins.minerva.amc.styles%7Cskins.minerva.codex.styles%7Cskins.minerva.content.styles.images%7Cskins.minerva.icons%2Cstyles%7Cwikibase.client.init&only=styles&skin=minerva"> <script async="" src="/w/load.php?lang=en&modules=startup&only=scripts&raw=1&skin=minerva"></script> <meta name="ResourceLoaderDynamicStyles" content=""> <link rel="stylesheet" href="/w/load.php?lang=en&modules=site.styles&only=styles&skin=minerva"> <meta name="generator" content="MediaWiki 1.44.0-wmf.5"> <meta name="referrer" content="origin"> <meta name="referrer" content="origin-when-cross-origin"> <meta name="robots" content="max-image-preview:standard"> <meta name="format-detection" content="telephone=no"> <meta name="theme-color" content="#eaecf0"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/1200px-Hollywood_Sign_%28Zuschnitt%29.jpg"> <meta property="og:image:width" content="1200"> <meta property="og:image:height" content="750"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/800px-Hollywood_Sign_%28Zuschnitt%29.jpg"> <meta property="og:image:width" content="800"> <meta property="og:image:height" content="500"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/640px-Hollywood_Sign_%28Zuschnitt%29.jpg"> <meta property="og:image:width" content="640"> <meta property="og:image:height" content="400"> <meta name="viewport" content="width=device-width, initial-scale=1.0, user-scalable=yes, minimum-scale=0.25, maximum-scale=5.0"> <meta property="og:title" content="Cinema of the United States - Wikipedia"> <meta property="og:type" content="website"> <link rel="preconnect" href="//upload.wikimedia.org"> <link rel="manifest" href="/w/api.php?action=webapp-manifest"> <link rel="alternate" type="application/x-wiki" title="Edit this page" href="/w/index.php?title=Cinema_of_the_United_States&action=edit"> <link rel="apple-touch-icon" href="/static/apple-touch/wikipedia.png"> <link rel="icon" href="/static/favicon/wikipedia.ico"> <link rel="search" type="application/opensearchdescription+xml" href="/w/rest.php/v1/search" title="Wikipedia (en)"> <link rel="EditURI" type="application/rsd+xml" href="//en.wikipedia.org/w/api.php?action=rsd"> <link rel="canonical" href="https://en.wikipedia.org/wiki/Cinema_of_the_United_States"> <link rel="license" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en"> <link rel="dns-prefetch" href="//meta.wikimedia.org" /> <link rel="dns-prefetch" href="//login.wikimedia.org"> </head> <body class="mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject mw-editable page-Cinema_of_the_United_States rootpage-Cinema_of_the_United_States stable issues-group-B skin-minerva action-view skin--responsive mw-mf-amc-disabled mw-mf"><div id="mw-mf-viewport"> <div id="mw-mf-page-center"> <a class="mw-mf-page-center__mask" href="#"></a> <header class="header-container header-chrome"> <div class="minerva-header"> <nav class="navigation-drawer toggle-list view-border-box"> <input type="checkbox" id="main-menu-input" class="toggle-list__checkbox" role="button" aria-haspopup="true" aria-expanded="false" aria-labelledby="mw-mf-main-menu-button"> <label role="button" for="main-menu-input" id="mw-mf-main-menu-button" aria-hidden="true" data-event-name="ui.mainmenu" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet toggle-list__toggle"> </label> <div id="mw-mf-page-left" class="menu view-border-box"> <ul id="p-navigation" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--home" href="/wiki/Main_Page" data-mw="interface"> Home </a> </li> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--random" href="/wiki/Special:Random" data-mw="interface"> Random </a> </li> <li class="toggle-list-item skin-minerva-list-item-jsonly"> <a class="toggle-list-item__anchor menu__item--nearby" href="/wiki/Special:Nearby" data-event-name="menu.nearby" data-mw="interface"> Nearby </a> </li> </ul> <ul id="p-personal" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--login" href="/w/index.php?title=Special:UserLogin&returnto=Cinema+of+the+United+States" data-event-name="menu.login" data-mw="interface"> Log in </a> </li> </ul> <ul id="pt-preferences" class="toggle-list__list"> <li class="toggle-list-item skin-minerva-list-item-jsonly"> <a class="toggle-list-item__anchor menu__item--settings" href="/w/index.php?title=Special:MobileOptions&returnto=Cinema+of+the+United+States" data-event-name="menu.settings" data-mw="interface"> Settings </a> </li> </ul> <ul id="p-donation" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--donate" href="https://donate.wikimedia.org/wiki/Special:FundraiserRedirector?utm_source=donate&utm_medium=sidebar&utm_campaign=C13_en.wikipedia.org&uselang=en&wmf_key=minerva" data-event-name="menu.donate" data-mw="interface"> Donate </a> </li> </ul> <ul class="hlist"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--about" href="/wiki/Wikipedia:About" data-mw="interface"> About Wikipedia </a> </li> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--disclaimers" href="/wiki/Wikipedia:General_disclaimer" data-mw="interface"> Disclaimers </a> </li> </ul> </div> <label class="main-menu-mask" for="main-menu-input"></label> </nav> <div class="branding-box"> <a href="/wiki/Main_Page"> <img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </a> </div> <form action="/w/index.php" method="get" class="minerva-search-form"> <div class="search-box"> <input type="hidden" name="title" value="Special:Search"/> <input class="search skin-minerva-search-trigger" id="searchInput" type="search" name="search" placeholder="Search Wikipedia" aria-label="Search Wikipedia" autocapitalize="sentences" title="Search Wikipedia [f]" accesskey="f"> </div> <button id="searchIcon" class="cdx-button cdx-button--size-large cdx-button--icon-only cdx-button--weight-quiet skin-minerva-search-trigger"> Search </button> </form> <nav class="minerva-user-navigation" aria-label="User navigation"> </nav> </div> </header> <main id="content" class="mw-body"> <div class="banner-container"> <div id="siteNotice"></div> </div> <div class="pre-content heading-holder"> <div class="page-heading"> <h1 id="firstHeading" class="firstHeading mw-first-heading">Cinema of the United States</h1> <div class="tagline"></div> </div> <ul id="p-associated-pages" class="minerva__tab-container"> <li class="minerva__tab selected"> <a class="minerva__tab-text" href="/wiki/Cinema_of_the_United_States" rel="" data-event-name="tabs.subject">Article</a> </li> <li class="minerva__tab "> <a class="minerva__tab-text" href="/wiki/Talk:Cinema_of_the_United_States" rel="discussion" data-event-name="tabs.talk">Talk</a> </li> </ul> <nav class="page-actions-menu"> <ul id="p-views" class="page-actions-menu__list"> <li id="language-selector" class="page-actions-menu__list-item"> <a role="button" href="#p-lang" data-mw="interface" data-event-name="menu.languages" title="Language" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet language-selector"> Language </a> </li> <li id="page-actions-watch" class="page-actions-menu__list-item"> <a role="button" id="ca-watch" href="/w/index.php?title=Special:UserLogin&returnto=Cinema+of+the+United+States" data-event-name="menu.watch" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet menu__item--page-actions-watch"> Watch </a> </li> <li id="page-actions-edit" class="page-actions-menu__list-item"> <a role="button" id="ca-edit" href="/w/index.php?title=Cinema_of_the_United_States&action=edit" data-event-name="menu.edit" data-mw="interface" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet edit-page menu__item--page-actions-edit"> Edit </a> </li> </ul> </nav>  <div id="mw-content-subtitle"></div> </div> <div id="bodyContent" class="content"> <div id="mw-content-text" class="mw-body-content"><script>function mfTempOpenSection(id){var block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"American Film" redirects here. For the magazine, see <a href="/wiki/American_Film_(magazine)" title="American Film (magazine)">American Film (magazine)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style>The <a href="/wiki/Film" title="Film">cinema</a> of the <a href="/wiki/United_States" title="United States">United States</a>, consisting mainly of <a href="/wiki/Major_film_studios" title="Major film studios">major film studios</a> (also known, <a href="/wiki/Metonymy" title="Metonymy">metonymically</a>, as <a href="/wiki/Hollywood,_Los_Angeles" title="Hollywood, Los Angeles">Hollywood</a>), has remained a significant influence on the global <a href="/wiki/Film_industry" title="Film industry">film industry</a> beginning in the early <a href="/wiki/20th_century" title="20th century">20th century</a>. <table class="infobox"><tbody><tr><th colspan="2" class="infobox-above">Cinema of the United States (Hollywood) <a href="/wiki/File:United_States_film_clapperboard.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/United_States_film_clapperboard.svg/114px-United_States_film_clapperboard.svg.png" decoding="async" width="114" height="101" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/United_States_film_clapperboard.svg/171px-United_States_film_clapperboard.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/77/United_States_film_clapperboard.svg/228px-United_States_film_clapperboard.svg.png 2x" data-file-width="114" data-file-height="101"></a></th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Hollywood_Sign_(Zuschnitt).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/220px-Hollywood_Sign_%28Zuschnitt%29.jpg" decoding="async" width="220" height="138" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/330px-Hollywood_Sign_%28Zuschnitt%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Hollywood_Sign_%28Zuschnitt%29.jpg/440px-Hollywood_Sign_%28Zuschnitt%29.jpg 2x" data-file-width="11065" data-file-height="6916"></a><div class="infobox-caption">The <a href="/wiki/Hollywood_Sign" title="Hollywood Sign">Hollywood Sign</a> in the <a href="/wiki/Hollywood_Hills" title="Hollywood Hills">Hollywood Hills</a>, often regarded as the symbol of the American film industry</div></td></tr><tr><th scope="row" class="infobox-label"><abbr title="Number">No.</abbr> of <a href="/wiki/Projection_screen" title="Projection screen">screens</a></th><td class="infobox-data">40,393 (2017)<a href="#cite_note-screens_uis-1">[1]</a></td></tr><tr><th scope="row" class="infobox-label"> • Per capita</th><td class="infobox-data">14 per 100,000 (2017)<a href="#cite_note-screens_uis-1">[1]</a></td></tr><tr><th scope="row" class="infobox-label">Main distributors</th><td class="infobox-data"> <ul><li><a href="/wiki/The_Walt_Disney_Company" title="The Walt Disney Company">Disney</a> <ul><li><a href="/wiki/Walt_Disney_Pictures" title="Walt Disney Pictures">Walt Disney Pictures</a></li> <li><a href="/wiki/20th_Century_Studios" title="20th Century Studios">20th Century Studios</a></li></ul></li> <li><a href="/wiki/Sony" title="Sony">Sony</a> <ul><li><a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a></li> <li><a href="/wiki/TriStar_Pictures" title="TriStar Pictures">TriStar Pictures</a></li></ul></li> <li><a href="/wiki/Comcast" title="Comcast">Comcast</a> <ul><li><a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Pictures</a></li></ul></li> <li><a href="/wiki/Paramount_Global" title="Paramount Global">Paramount Global</a> <ul><li><a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount Pictures</a></li></ul></li> <li><a href="/wiki/Warner_Bros._Discovery" title="Warner Bros. Discovery">Warner Bros. Discovery</a> <ul><li><a href="/wiki/Warner_Bros._Pictures" title="Warner Bros. Pictures">Warner Bros. Pictures</a></li> <li><a href="/wiki/New_Line_Cinema" title="New Line Cinema">New Line Cinema</a></li></ul></li> <li><a href="/wiki/Amazon_(company)" title="Amazon (company)">Amazon</a> <ul><li><a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a></li></ul></li></ul> </td></tr><tr><th colspan="2" class="infobox-header" style="background-color: #C0C0C0">Produced feature films (2016)<a href="#cite_note-production_uis-2">[2]</a></th></tr><tr><th scope="row" class="infobox-label">Fictional</th><td class="infobox-data">646 (98.5%)</td></tr><tr><th scope="row" class="infobox-label">Animated</th><td class="infobox-data">10 (1.5%)</td></tr><tr><th colspan="2" class="infobox-header" style="background-color: #C0C0C0">Number of admissions (2017)<a href="#cite_note-adm_gross_uis-4">[4]</a></th></tr><tr><th scope="row" class="infobox-label">Total</th><td class="infobox-data">1,239,742,550</td></tr><tr><th scope="row" class="infobox-label"> • Per capita</th><td class="infobox-data">3.9 (2010)<a href="#cite_note-cine_aussie-3">[3]</a></td></tr><tr><th colspan="2" class="infobox-header" style="background-color: #C0C0C0">Gross box office (2017)<a href="#cite_note-adm_gross_uis-4">[4]</a></th></tr><tr><th scope="row" class="infobox-label">Total</th><td class="infobox-data">$11.1 billion</td></tr></tbody></table> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><style data-mw-deduplicate="TemplateStyles:r1246091330">.mw-parser-output .sidebar{width:22em;float:right;clear:right;margin:0.5em 0 1em 1em;background:var(--background-color-neutral-subtle,#f8f9fa);border:1px solid var(--border-color-base,#a2a9b1);padding:0.2em;text-align:center;line-height:1.4em;font-size:88%;border-collapse:collapse;display:table}body.skin-minerva .mw-parser-output .sidebar{display:table!important;float:right!important;margin:0.5em 0 1em 1em!important}.mw-parser-output .sidebar-subgroup{width:100%;margin:0;border-spacing:0}.mw-parser-output .sidebar-left{float:left;clear:left;margin:0.5em 1em 1em 0}.mw-parser-output .sidebar-none{float:none;clear:both;margin:0.5em 1em 1em 0}.mw-parser-output .sidebar-outer-title{padding:0 0.4em 0.2em;font-size:125%;line-height:1.2em;font-weight:bold}.mw-parser-output .sidebar-top-image{padding:0.4em}.mw-parser-output .sidebar-top-caption,.mw-parser-output .sidebar-pretitle-with-top-image,.mw-parser-output .sidebar-caption{padding:0.2em 0.4em 0;line-height:1.2em}.mw-parser-output .sidebar-pretitle{padding:0.4em 0.4em 0;line-height:1.2em}.mw-parser-output .sidebar-title,.mw-parser-output .sidebar-title-with-pretitle{padding:0.2em 0.8em;font-size:145%;line-height:1.2em}.mw-parser-output .sidebar-title-with-pretitle{padding:0.1em 0.4em}.mw-parser-output .sidebar-image{padding:0.2em 0.4em 0.4em}.mw-parser-output .sidebar-heading{padding:0.1em 0.4em}.mw-parser-output .sidebar-content{padding:0 0.5em 0.4em}.mw-parser-output .sidebar-content-with-subgroup{padding:0.1em 0.4em 0.2em}.mw-parser-output .sidebar-above,.mw-parser-output .sidebar-below{padding:0.3em 0.8em;font-weight:bold}.mw-parser-output .sidebar-collapse .sidebar-above,.mw-parser-output .sidebar-collapse .sidebar-below{border-top:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .sidebar-navbar{text-align:right;font-size:115%;padding:0 0.4em 0.4em}.mw-parser-output .sidebar-list-title{padding:0 0.4em;text-align:left;font-weight:bold;line-height:1.6em;font-size:105%}.mw-parser-output .sidebar-list-title-c{padding:0 0.4em;text-align:center;margin:0 3.3em}@media(max-width:640px){body.mediawiki .mw-parser-output .sidebar{width:100%!important;clear:both;float:none!important;margin-left:0!important;margin-right:0!important}}body.skin--responsive .mw-parser-output .sidebar a>img{max-width:none!important}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media print{body.ns-0 .mw-parser-output .sidebar{display:none!important}}</style> <a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a>, which developed from 1910 to 1962, is still typical of most films made in America today. While French filmmakers <a href="/wiki/Auguste_and_Louis_Lumi%C3%A8re" title="Auguste and Louis Lumière">Auguste and Louis Lumière</a> are generally credited with the birth of modern cinema,<a href="#cite_note-lumiere_pioneers-5">[5]</a> American cinema soon came to be a dominant force in the emerging industry, with more than 600 <a href="/wiki/Category:English-language_films" title="Category:English-language films">English-language films</a> released annually as of 2017<a class="external text" href="https://en.wikipedia.org/w/index.php?title=Cinema_of_the_United_States&action=edit">[update]</a>, it has produced the fourth-largest number of films of any <a href="/wiki/National_cinema" title="National cinema">national cinema</a>, after <a href="/wiki/Cinema_of_India" title="Cinema of India">India</a>, <a href="/wiki/Cinema_of_Japan" title="Cinema of Japan">Japan</a>, and <a href="/wiki/Cinema_of_China" title="Cinema of China">China</a>.<a href="#cite_note-6">[6]</a> While the national cinemas of the <a href="/wiki/Cinema_of_the_United_Kingdom" title="Cinema of the United Kingdom">United Kingdom</a>, <a href="/wiki/Cinema_of_Canada" title="Cinema of Canada">Canada</a>, <a href="/wiki/Cinema_of_Australia" title="Cinema of Australia">Australia</a>, and <a href="/wiki/Cinema_of_New_Zealand" title="Cinema of New Zealand">New Zealand</a>, also produce films in the same language, they are not part of the Hollywood system. Because of this, Hollywood has also been considered a <a href="/wiki/Transnational_cinema" title="Transnational cinema">transnational cinema</a>,<a href="#cite_note-7">[7]</a> and has produced multiple language versions of some titles, often in Spanish or French. Contemporary Hollywood often outsources production to the United Kingdom, Canada, Australia, and New Zealand. The <a href="/wiki/Major_film_studios" title="Major film studios">major film studios</a> of Hollywood are the primary source of the <a href="/wiki/List_of_highest_grossing_films" class="mw-redirect" title="List of highest grossing films">most commercially successful</a> and most commercially successful movies in the world.<a href="#cite_note-Kerrigan_Page_18-8">[8]</a><a href="#cite_note-Davis-9">[9]</a> Hollywood is considered to be the oldest film industry, where the earliest film studios, and production companies emerged. It is the birthplace of various genres of cinema<a href="#cite_note-10">[10]</a>—among them <a href="/wiki/Comedy" title="Comedy">comedy</a>, <a href="/wiki/Drama" title="Drama">drama</a>, <a href="/wiki/Action_film" title="Action film">action</a>, <a href="/wiki/Musical_film" title="Musical film">musical</a>, <a href="/wiki/Romance_film" title="Romance film">romance</a>, <a href="/wiki/Horror_film" title="Horror film">horror</a>, <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a>, [<a href="/wiki/Wikipedia:Accuracy_dispute#Disputed_statement" title="Wikipedia:Accuracy dispute">dubious</a> – <a href="/wiki/Talk:Cinema_of_the_United_States#Dubious" title="Talk:Cinema of the United States">discuss</a>] and <a href="/wiki/Epic_film" title="Epic film">epic</a>—and has set the example for other national film industries. In 1878, <a href="/wiki/Eadweard_Muybridge" title="Eadweard Muybridge">Eadweard Muybridge</a> demonstrated the power of <a href="/wiki/Photography" title="Photography">photography</a> to capture motion. In 1894, the world's first commercial motion-picture exhibition was given in <a href="/wiki/New_York_City" title="New York City">New York City</a>, using <a href="/wiki/Thomas_Edison" title="Thomas Edison">Thomas Edison</a>'s <a href="/wiki/Kinetoscope" title="Kinetoscope">kinetoscope</a>,<a href="#cite_note-11">[11]</a> and kinetograph.<a href="#cite_note-12">[12]</a> In the following decades, the production of <a href="/wiki/Silent_film" title="Silent film">silent films</a> greatly expanded, studios formed and migrated to <a href="/wiki/California" title="California">California</a>, and the films and stories they told became much longer. The <a href="/wiki/United_States" title="United States">United States</a> produced the world's first <a href="/wiki/Sound_film" title="Sound film">sync-sound</a> <a href="/wiki/Musical_film" title="Musical film">musical film</a>, <a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a> in 1927,<a href="#cite_note-time.com-13">[13]</a> and was at the forefront of sound-film development in the following decades. It was fully released to the public on October 6, 1927. Since the early 20th century, the U.S. film industry has primarily been based in and around the <a href="/wiki/Studio_zone" title="Studio zone">thirty-mile zone</a>, centered in the <a href="/wiki/Hollywood,_Los_Angeles" title="Hollywood, Los Angeles">Hollywood</a> neighborhood of <a href="/wiki/Los_Angeles_County,_California" title="Los Angeles County, California">Los Angeles County, California</a>. Director <a href="/wiki/D._W._Griffith" title="D. W. Griffith">D. W. Griffith</a> was central to the development of a <a href="/wiki/Film_grammar" title="Film grammar">film grammar</a>. <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a>'s <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a> (1941) is frequently cited in critics' polls as the <a href="/wiki/List_of_films_considered_the_best" class="mw-redirect" title="List of films considered the best">greatest film of all time</a>.<a href="#cite_note-14">[14]</a> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><label class="toctogglelabel" for="toctogglecheckbox"></label></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#History">1 History</a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Origins_and_Fort_Lee">1.1 Origins and Fort Lee</a></li> <li class="toclevel-2 tocsection-3"><a href="#Rise_of_Hollywood">1.2 Rise of Hollywood</a></li> <li class="toclevel-2 tocsection-4"><a href="#Classical_Hollywood_cinema_and_the_Golden_Age_of_Hollywood">1.3 Classical Hollywood cinema and the Golden Age of Hollywood</a> <ul> <li class="toclevel-3 tocsection-5"><a href="#Rise_and_decline_of_the_studio_system">1.3.1 Rise and decline of the studio system</a></li> </ul> </li> <li class="toclevel-2 tocsection-6"><a href="#New_Hollywood_and_post-classical_cinema">1.4 New Hollywood and post-classical cinema</a></li> <li class="toclevel-2 tocsection-7"><a href="#Rise_of_the_modern_blockbuster_and_independent_films">1.5 Rise of the modern blockbuster and independent films</a></li> <li class="toclevel-2 tocsection-8"><a href="#Contemporary_cinema">1.6 Contemporary cinema</a></li> </ul> </li> <li class="toclevel-1 tocsection-9"><a href="#Hollywood_and_politics">2 Hollywood and politics</a> <ul> <li class="toclevel-2 tocsection-10"><a href="#Political_endorsements">2.1 Political endorsements</a></li> <li class="toclevel-2 tocsection-11"><a href="#Political_donations">2.2 Political donations</a></li> </ul> </li> <li class="toclevel-1 tocsection-12"><a href="#Criticisms">3 Criticisms</a> <ul> <li class="toclevel-2 tocsection-13"><a href="#Covert_advertising">3.1 Covert advertising</a></li> <li class="toclevel-2 tocsection-14"><a href="#Censorship">3.2 Censorship</a> <ul> <li class="toclevel-3 tocsection-15"><a href="#Historic_examples">3.2.1 Historic examples</a></li> </ul> </li> <li class="toclevel-2 tocsection-16"><a href="#Relationship_with_the_military">3.3 Relationship with the military</a></li> <li class="toclevel-2 tocsection-17"><a href="#Sexual_abuse_scandals">3.4 Sexual abuse scandals</a></li> </ul> </li> <li class="toclevel-1 tocsection-18"><a href="#Global_Hollywood">4 Global Hollywood</a></li> <li class="toclevel-1 tocsection-19"><a href="#Role_of_women">5 Role of women</a></li> <li class="toclevel-1 tocsection-20"><a href="#Race_and_ethnicity">6 Race and ethnicity</a></li> <li class="toclevel-1 tocsection-21"><a href="#Working_conditions">7 Working conditions</a></li> <li class="toclevel-1 tocsection-22"><a href="#See_also">8 See also</a></li> <li class="toclevel-1 tocsection-23"><a href="#References">9 References</a></li> <li class="toclevel-1 tocsection-24"><a href="#Notes">10 Notes</a></li> <li class="toclevel-1 tocsection-25"><a href="#Further_reading">11 Further reading</a></li> <li class="toclevel-1 tocsection-26"><a href="#External_links">12 External links</a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><h2 id="History">History</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=1" title="Edit section: History" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/History_of_cinema_in_the_United_States" title="History of cinema in the United States">History of cinema in the United States</a></div> <div class="mw-heading mw-heading3"><h3 id="Origins_and_Fort_Lee">Origins and Fort Lee</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=2" title="Edit section: Origins and Fort Lee" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Silent_film" title="Silent film">Silent film</a></div><figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Great_train_robbery_still.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Great_train_robbery_still.jpg/220px-Great_train_robbery_still.jpg" decoding="async" width="220" height="182" class="mw-file-element" data-file-width="489" data-file-height="405"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 182px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Great_train_robbery_still.jpg/220px-Great_train_robbery_still.jpg" data-width="220" data-height="182" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Great_train_robbery_still.jpg/330px-Great_train_robbery_still.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Great_train_robbery_still.jpg/440px-Great_train_robbery_still.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Justus_D._Barnes" title="Justus D. Barnes">Justus D. Barnes</a> in <a href="/wiki/The_Great_Train_Robbery_(1903_film)" title="The Great Train Robbery (1903 film)">The Great Train Robbery</a> (1903), considered by some to be the first <a href="/wiki/Western_(genre)" title="Western (genre)">Western</a></figcaption></figure> The first recorded instance of photographs capturing and reproducing motion was <a href="/wiki/Sallie_Gardner_at_a_Gallop" class="mw-redirect" title="Sallie Gardner at a Gallop">a series of photographs of a running horse</a> by <a href="/wiki/Eadweard_Muybridge" title="Eadweard Muybridge">Eadweard Muybridge</a>, which he took in <a href="/wiki/Palo_Alto,_California" title="Palo Alto, California">Palo Alto, California</a>, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices. In the <a href="/wiki/United_States" title="United States">United States</a>, <a href="/wiki/Thomas_Edison" title="Thomas Edison">Thomas Edison</a> was among the first to produce such a device, the <a href="/wiki/Kinetoscope" title="Kinetoscope">kinetoscope and kinetograph</a>.<a href="#cite_note-15">[15]</a><a href="#cite_note-16">[16]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Safetylast-1.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Safetylast-1.jpg/220px-Safetylast-1.jpg" decoding="async" width="220" height="302" class="mw-file-element" data-file-width="1102" data-file-height="1513"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 302px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Safetylast-1.jpg/220px-Safetylast-1.jpg" data-width="220" data-height="302" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Safetylast-1.jpg/330px-Safetylast-1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Safetylast-1.jpg/440px-Safetylast-1.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Harold_Lloyd" title="Harold Lloyd">Harold Lloyd</a> in the clock scene from <a href="/wiki/Safety_Last!" title="Safety Last!">Safety Last!</a> (1923)</figcaption></figure> The history of cinema in the <a href="/wiki/United_States" title="United States">United States</a> can trace its roots to the <a href="/wiki/East_Coast_of_the_United_States" title="East Coast of the United States">East Coast</a>, where, at one time, <a href="/wiki/Fort_Lee,_New_Jersey" title="Fort Lee, New Jersey">Fort Lee, New Jersey</a>, was the motion-picture capital of America. The American film industry began at the end of the 19th century, with the construction of Thomas Edison's "<a href="/wiki/Edison%27s_Black_Maria" title="Edison's Black Maria">Black Maria</a>", the first <a href="/wiki/Movie_studio" class="mw-redirect" title="Movie studio">motion-picture studio</a> in <a href="/wiki/West_Orange,_New_Jersey" title="West Orange, New Jersey">West Orange, New Jersey</a>. The cities and towns on the <a href="/wiki/North_River_(Hudson_River)" title="North River (Hudson River)">Hudson River</a> and <a href="/wiki/Hudson_Palisades" class="mw-redirect" title="Hudson Palisades">Hudson Palisades</a> 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.<a href="#cite_note-17">[17]</a> <a href="#cite_note-18">[18]</a> <a href="#cite_note-19">[19]</a><a href="#cite_note-20">[20]</a> The industry began attracting both capital and innovative work forces. In 1907, when the <a href="/wiki/Kalem_Company" title="Kalem Company">Kalem Company</a> began using Fort Lee as a location for filming in the area, other filmmakers quickly followed. In 1909, a forerunner of <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Studios</a>, the <a href="/wiki/Champion_Film_Company" title="Champion Film Company">Champion Film Company</a>, built the first studio.<a href="#cite_note-21">[21]</a> Others quickly followed and either built new studios or leased facilities in Fort Lee. In the 1910s and <a href="/wiki/American_Theatre_in_the_1920s" title="American Theatre in the 1920s">1920s</a>, film companies such as the <a href="/wiki/Independent_Moving_Pictures" title="Independent Moving Pictures">Independent Moving Pictures</a> Company, <a href="/wiki/Peerless_Pictures_Studios" title="Peerless Pictures Studios">Peerless Pictures Studios</a>, <a href="/wiki/Solax_Studios" title="Solax Studios">Solax Studios</a>, <a href="/wiki/Eclair_(company)" title="Eclair (company)">Eclair</a>, <a href="/wiki/Goldwyn_Pictures_Corporation" class="mw-redirect" title="Goldwyn Pictures Corporation">Goldwyn Pictures Corporation</a>, <a href="/wiki/Star_Film_Company" title="Star Film Company">Star Film</a> (<a href="/wiki/Georges_M%C3%A9li%C3%A8s" title="Georges Méliès">Georges Méliès</a>), <a href="/wiki/World_Film_Company" title="World Film Company">World Film Company</a>, <a href="/wiki/Biograph_Studios" title="Biograph Studios">Biograph Studios</a>, <a href="/wiki/Fox_Film_Corporation" class="mw-redirect" title="Fox Film Corporation">Fox Film Corporation</a>, <a href="/wiki/Path%C3%A9_Fr%C3%A8res" class="mw-redirect" title="Pathé Frères">Société Pathé Frères</a>, <a href="/wiki/MGM" class="mw-redirect" title="MGM">Metro-Goldwyn-Mayer Studios Inc.</a>, <a href="/wiki/Victor_Studios" title="Victor Studios">Victor Film Company</a>, and <a href="/wiki/Selznick_International_Pictures" title="Selznick International Pictures">Selznick International Pictures</a> were all making pictures in Fort Lee. Such notables as <a href="/wiki/Mary_Pickford" title="Mary Pickford">Mary Pickford</a> got their start at Biograph Studios.<a href="#cite_note-Koszarski_2004-22">[22]</a><a href="#cite_note-23">[23]</a><a href="#cite_note-FLFC-24">[24]</a> In New York, the <a href="/wiki/Kaufman_Astoria_Studios" title="Kaufman Astoria Studios">Kaufman Astoria Studios</a> in <a href="/wiki/Queens" title="Queens">Queens</a>, which was built during the silent film era, was used by the <a href="/wiki/Marx_Brothers" title="Marx Brothers">Marx Brothers</a> and <a href="/wiki/W.C._Fields" class="mw-redirect" title="W.C. Fields">W.C. Fields</a>. The <a href="/wiki/Edison_Studios" title="Edison Studios">Edison Studios</a> were located in <a href="/wiki/The_Bronx" title="The Bronx">the Bronx</a>. <a href="/wiki/Chelsea,_Manhattan" title="Chelsea, Manhattan">Chelsea, Manhattan</a>, was also frequently used. Other Eastern cities, most notably <a href="/wiki/Chicago" title="Chicago">Chicago</a> and <a href="/wiki/Cleveland" title="Cleveland">Cleveland</a>, also served as early centers for film production.<a href="#cite_note-25">[25]</a><a href="#cite_note-26">[26]</a> In the West, <a href="/wiki/California" title="California">California</a> was already quickly emerging as a major film production center. In <a href="/wiki/Colorado" title="Colorado">Colorado</a>, <a href="/wiki/Denver" title="Denver">Denver</a> was home to the <a href="/wiki/Art-O-Graf" title="Art-O-Graf">Art-O-Graf</a> Film Company, and <a href="/wiki/Walt_Disney" title="Walt Disney">Walt Disney</a>'s early <a href="/wiki/Laugh-O-Gram_Studio" title="Laugh-O-Gram Studio">Laugh-O-Gram Studio</a> was based in <a href="/wiki/Kansas_City,_Missouri" title="Kansas City, Missouri">Kansas City</a>, <a href="/wiki/Missouri" title="Missouri">Missouri</a>. From 1908, <a href="/wiki/History_of_Jacksonville,_Florida#Motion_picture_industry" title="History of Jacksonville, Florida">Jacksonville, Florida's motion picture industry</a> saw more than 30 silent film companies establish studios in town, including <a href="/wiki/Kalem_Studios" class="mw-redirect" title="Kalem Studios">Kalem Studios</a>, <a href="/wiki/Metro_Pictures" title="Metro Pictures">Metro Pictures</a> (later <a href="/wiki/MGM" class="mw-redirect" title="MGM">MGM</a>), <a href="/wiki/Edison_Studios" title="Edison Studios">Edison Studios</a>, Majestic Films,<a href="#cite_note-27">[27]</a> <a href="/wiki/King-Bee_Films" title="King-Bee Films">King-Bee Films Corporation</a>, <a href="/wiki/Vim_Comedy_Company" title="Vim Comedy Company">Vim Comedy Company</a>, <a href="/wiki/Norman_Studios" title="Norman Studios">Norman Studios</a>, <a href="/wiki/Gaumont_Studios" class="mw-redirect" title="Gaumont Studios">Gaumont Film Company</a> and the <a href="/wiki/Lubin_Manufacturing_Company" title="Lubin Manufacturing Company">Lubin Manufacturing Company</a>. <a href="/wiki/Picture_City,_Florida" title="Picture City, Florida">Picture City, Florida</a> was a planned site for a movie picture production center in the 1920s, but due to the <a href="/wiki/1928_Okeechobee_hurricane" title="1928 Okeechobee hurricane">1928 Okeechobee hurricane</a>, the idea collapsed and <a href="/wiki/Picture_City,_Florida" title="Picture City, Florida">Picture City, Florida</a> returned to its original name of <a href="/wiki/Hobe_Sound,_Florida" title="Hobe Sound, Florida">Hobe Sound</a>. An attempt to establish a film production center in <a href="/wiki/Detroit" title="Detroit">Detroit</a> also proved unsuccessful.<a href="#cite_note-28">[28]</a> The film patents wars of the early 20th century helped 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 the company sent out to seize cameras. An alternative was <a href="/wiki/Los_Angeles" title="Los Angeles">Los Angeles</a>, which had mild winters, a large selection of places to film, and, most importantly, it was only 90 miles to the border of <a href="/wiki/Mexico" title="Mexico">Mexico</a>, in case they needed to run if Edison's enforcement agents found them. By 1912, most major film companies had set up production facilities in <a href="/wiki/Southern_California" title="Southern California">Southern California</a>, near or in <a href="/wiki/Los_Angeles" title="Los Angeles">Los Angeles</a>, because of the region's favorable year-round weather.<a href="#cite_note-29">[29]</a> <div class="mw-heading mw-heading3"><h3 id="Rise_of_Hollywood">Rise of Hollywood</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=3" title="Edit section: Rise of Hollywood" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">"History of Hollywood" redirects here. For the history of the Los Angeles neighborhood, see <a href="/wiki/Hollywood,_Los_Angeles#History" title="Hollywood, Los Angeles">Hollywood, Los Angeles § History</a>.</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Sylvester_Stallone_Cannes_2019.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/84/Sylvester_Stallone_Cannes_2019.jpg/220px-Sylvester_Stallone_Cannes_2019.jpg" decoding="async" width="220" height="312" class="mw-file-element" data-file-width="677" data-file-height="960"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 312px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/84/Sylvester_Stallone_Cannes_2019.jpg/220px-Sylvester_Stallone_Cannes_2019.jpg" data-width="220" data-height="312" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/84/Sylvester_Stallone_Cannes_2019.jpg/330px-Sylvester_Stallone_Cannes_2019.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/84/Sylvester_Stallone_Cannes_2019.jpg/440px-Sylvester_Stallone_Cannes_2019.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Sylvester_Stallone" title="Sylvester Stallone">Sylvester Stallone</a></figcaption></figure> The 1908 <a href="/wiki/Selig_Polyscope_Company" title="Selig Polyscope Company">Selig Polyscope Company</a> production of <a href="/wiki/The_Count_of_Monte_Cristo" title="The Count of Monte Cristo">The Count of Monte Cristo</a>, directed by <a href="/wiki/Francis_Boggs" title="Francis Boggs">Francis Boggs</a> and starring <a href="/wiki/Hobart_Bosworth" title="Hobart Bosworth">Hobart Bosworth</a>, was claimed as the first to have been filmed in <a href="/wiki/Los_Angeles" title="Los Angeles">Los Angeles</a>, in 1907. A plaque was unveiled by the city, in 1957, at <a href="/wiki/Dearden%27s" title="Dearden's">Dearden's</a> flagship store on the corner of <a href="/wiki/Main_Street_(Los_Angeles)" title="Main Street (Los Angeles)">Main Street</a> and 7th Street, to mark the filming on the site when it had been a Chinese laundry.<a href="#cite_note-edendale-30">[30]</a> Bosworth's widow suggested the city had got the date and location wrong, and that the film was actually shot in nearby <a href="/wiki/Venice,_Los_Angeles" title="Venice, Los Angeles">Venice</a>, which at the time was an independent city.<a href="#cite_note-plaque-31">[31]</a> In the Sultan's Power, directed by Boggs for Selig Polyscope Company, also starring Bosworth, is considered the first film shot entirely in Los Angeles, with shooting at 7th and Olive Streets, in 1909.<a href="#cite_note-32">[32]</a><a href="#cite_note-plaque-31">[31]</a> In early 1910, director <a href="/wiki/D._W._Griffith" title="D. W. Griffith">D. W. Griffith</a> was sent by the <a href="/wiki/American_Mutoscope_and_Biograph_Company" class="mw-redirect" title="American Mutoscope and Biograph Company">Biograph Company</a> to the West Coast with his acting troupe, consisting of actors: <a href="/wiki/Blanche_Sweet" title="Blanche Sweet">Blanche Sweet</a>, <a href="/wiki/Lillian_Gish" title="Lillian Gish">Lillian Gish</a>, <a href="/wiki/Mary_Pickford" title="Mary Pickford">Mary Pickford</a>, <a href="/wiki/Lionel_Barrymore" title="Lionel Barrymore">Lionel Barrymore</a> 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, <a href="/wiki/In_Old_California_(1910_film)" title="In Old California (1910 film)">In Old California</a>, a Biograph melodrama about California in the 19th century, when <a href="/wiki/History_of_California_before_1900#Mexican_Alta_California_(1821%E2%80%931846)" title="History of California before 1900">the state was under Mexican rule</a>. Griffith stayed there for months and made several films before returning to New York. Also in 1910, Selig Polyscope Company of Chicago established the first film studio in the Los Angeles area in <a href="/wiki/Edendale,_Los_Angeles" title="Edendale, Los Angeles">Edendale</a>,<a href="#cite_note-edendale-30">[30]</a> and the first studio in Hollywood opened in 1912.<a href="#cite_note-Passion-33">[33]</a>: 447 After hearing about Griffith's success in Hollywood, in 1913, many movie-makers headed west to avoid the fees imposed by <a href="/wiki/Thomas_Edison" title="Thomas Edison">Thomas Edison</a>, who owned patents on the movie-making process.<a href="#cite_note-34">[34]</a> <a href="/wiki/Nestor_Studios" class="mw-redirect" title="Nestor Studios">Nestor Studios</a> of <a href="/wiki/Bayonne,_New_Jersey" title="Bayonne, New Jersey">Bayonne, New Jersey</a>, built the first studio in the Hollywood neighborhood in 1911.[<a href="/wiki/Wikipedia:Accuracy_dispute#Disputed_statement" title="Wikipedia:Accuracy dispute">dubious</a> – <a href="/wiki/Talk:Cinema_of_the_United_States#Dubious" title="Talk:Cinema of the United States">discuss</a>] 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, presently called the Hollywood Digital Laboratory. <a href="/wiki/California" title="California">California</a>'s more hospitable and cost-effective climate led to the eventual shift of virtually all filmmaking to the <a href="/wiki/West_Coast_of_the_United_States" title="West Coast of the United States">West Coast</a> by the 1930s. At the time, <a href="/wiki/Thomas_Edison" title="Thomas Edison">Thomas Edison</a> 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.<a href="#cite_note-35">[35]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Aleja_Gwiazd_w_Hollywood_84.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Aleja_Gwiazd_w_Hollywood_84.JPG/220px-Aleja_Gwiazd_w_Hollywood_84.JPG" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="2816" data-file-height="2112"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Aleja_Gwiazd_w_Hollywood_84.JPG/220px-Aleja_Gwiazd_w_Hollywood_84.JPG" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Aleja_Gwiazd_w_Hollywood_84.JPG/330px-Aleja_Gwiazd_w_Hollywood_84.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Aleja_Gwiazd_w_Hollywood_84.JPG/440px-Aleja_Gwiazd_w_Hollywood_84.JPG 2x" data-class="mw-file-element"> </a><figcaption>The <a href="/wiki/Hollywood_Walk_of_Fame" title="Hollywood Walk of Fame">Hollywood Walk of Fame</a> on <a href="/wiki/Hollywood_Boulevard" title="Hollywood Boulevard">Hollywood Boulevard</a></figcaption></figure> In Los Angeles, the <a href="/wiki/List_of_film_production_companies" title="List of film production companies">studios</a> and Hollywood grew. Before <a href="/wiki/World_War_I" title="World War I">World War I</a>, films were made in several American cities, but filmmakers tended to gravitate towards <a href="/wiki/Southern_California" title="Southern California">southern California</a> as the industry developed. They were attracted by the warm, predictable climate with reliable sunlight, which made it possible to film their films outdoors year-round alongside the varied scenery that was available.<a href="#cite_note-36">[36]</a> War damage contributed to the decline of the then-dominant European film industry, in favor of the <a href="/wiki/United_States" title="United States">United States</a>, where infrastructure was still intact.<a href="#cite_note-marketplace-37">[37]</a> The stronger early public health response to the <a href="/wiki/1918_flu" class="mw-redirect" title="1918 flu">1918 flu</a> epidemic by Los Angeles<a href="#cite_note-38">[38]</a> 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.<a href="#cite_note-marketplace-37">[37]</a> 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 <a href="/wiki/Roaring_Twenties" title="Roaring Twenties">Roaring Twenties</a>.<a href="#cite_note-39">[39]</a> 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 <a href="/wiki/Nickelodeon_movie_theater" class="mw-redirect" title="Nickelodeon movie theater">nickelodeons</a>, after their admission price of a <a href="/wiki/Nickel_(United_States_coin)" title="Nickel (United States coin)">nickel</a> (five cents). Within a few years, men like <a href="/wiki/Samuel_Goldwyn" title="Samuel Goldwyn">Samuel Goldwyn</a>, <a href="/wiki/William_Fox_(producer)" title="William Fox (producer)">William Fox</a>, <a href="/wiki/Carl_Laemmle" title="Carl Laemmle">Carl Laemmle</a>, <a href="/wiki/Adolph_Zukor" title="Adolph Zukor">Adolph Zukor</a>, <a href="/wiki/Louis_B._Mayer" title="Louis B. Mayer">Louis B. Mayer</a>, and the <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Brothers</a> (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 <a href="/wiki/Movie_studio" class="mw-redirect" title="Movie studio">movie studio</a>. The US had at least two female directors, producers and studio heads in these early years: <a href="/wiki/Lois_Weber" title="Lois Weber">Lois Weber</a> and French-born <a href="/wiki/Alice_Guy-Blach%C3%A9" title="Alice Guy-Blaché">Alice Guy-Blaché</a>. They also set the stage for the industry's internationalism; the industry is often accused of <a href="/wiki/Amerocentric" class="mw-redirect" title="Amerocentric">Amero centric</a> <a href="/wiki/Provincialism" class="mw-redirect" title="Provincialism">provincialism</a>. Other movie makers arrived from Europe after World War I: directors like <a href="/wiki/Ernst_Lubitsch" title="Ernst Lubitsch">Ernst Lubitsch</a>, <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a>, <a href="/wiki/Fritz_Lang" title="Fritz Lang">Fritz Lang</a> and <a href="/wiki/Jean_Renoir" title="Jean Renoir">Jean Renoir</a>; and actors like <a href="/wiki/Rudolph_Valentino" title="Rudolph Valentino">Rudolph Valentino</a>, <a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a>, <a href="/wiki/Ronald_Colman" title="Ronald Colman">Ronald Colman</a>, and <a href="/wiki/Charles_Boyer" title="Charles Boyer">Charles Boyer</a>. 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.<a href="#cite_note-britannica1-40">[40]</a> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Buster_Keaton_in_costume.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Buster_Keaton_in_costume.jpg/190px-Buster_Keaton_in_costume.jpg" decoding="async" width="190" height="236" class="mw-file-element" data-file-width="721" data-file-height="897"></noscript><span class="lazy-image-placeholder" style="width: 190px;height: 236px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Buster_Keaton_in_costume.jpg/190px-Buster_Keaton_in_costume.jpg" data-width="190" data-height="236" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Buster_Keaton_in_costume.jpg/285px-Buster_Keaton_in_costume.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Buster_Keaton_in_costume.jpg/380px-Buster_Keaton_in_costume.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Buster_Keaton" title="Buster Keaton">Buster Keaton</a> in costume with his signature <a href="/wiki/Pork_pie_hat" title="Pork pie hat">pork pie hat</a>, c. 1939</figcaption></figure> Sound also became widely used in Hollywood in the late 1920s.<a href="#cite_note-41">[41]</a> After <a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a>, the first film with synchronized voices was successfully released as a <a href="/wiki/Vitaphone" title="Vitaphone">Vitaphone</a> 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.<a href="#cite_note-britannica1-40">[40]</a> A side effect of these "<a href="/wiki/Talkies" class="mw-redirect" title="Talkies">talkies</a>" 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 <a href="/wiki/Will_H._Hays" title="Will H. Hays">Will H. Hays</a> left politics and formed the movie studio boss organization known as the Motion Picture Producers and Distributors of America (MPPDA).<a href="#cite_note-42">[42]</a> The organization became the <a href="/wiki/Motion_Picture_Association_of_America" class="mw-redirect" title="Motion Picture Association of America">Motion Picture Association of America</a> after Hays retired in 1945. 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 <a href="/wiki/Lip_sync" title="Lip sync">synchronization</a> technology was still too primitive for <a href="/wiki/Dubbing_(filmmaking)" class="mw-redirect" title="Dubbing (filmmaking)">dubbing</a>. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies[<a href="/wiki/Wikipedia:Avoid_weasel_words" class="mw-redirect" title="Wikipedia:Avoid weasel words">which?</a>] opened a studio in <a href="/wiki/Joinville-le-Pont" title="Joinville-le-Pont">Joinville-le-Pont</a>, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews. Also, foreign unemployed actors, playwrights, and winners of photogenic 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 <a href="/wiki/Luis_Bu%C3%B1uel" title="Luis Buñuel">Luis Buñuel</a>, <a href="/wiki/Enrique_Jardiel_Poncela" title="Enrique Jardiel Poncela">Enrique Jardiel Poncela</a>, <a href="/wiki/Xavier_Cugat" title="Xavier Cugat">Xavier Cugat</a>, and <a href="/wiki/Edgar_Neville" title="Edgar Neville">Edgar Neville</a>. The productions were not very successful in their intended markets, due to the following reasons: <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Brown_Derby_Restaurant,_Los_Angeles,_Kodachrome_by_Chalmers_Butterfield.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg/250px-Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg" decoding="async" width="250" height="128" class="mw-file-element" data-file-width="2656" data-file-height="1356"></noscript><span class="lazy-image-placeholder" style="width: 250px;height: 128px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg/250px-Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg" data-width="250" data-height="128" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg/375px-Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg/500px-Brown_Derby_Restaurant%2C_Los_Angeles%2C_Kodachrome_by_Chalmers_Butterfield.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Brown_Derby" title="Brown Derby">Brown Derby</a>, an icon that became synonymous with the Golden Age of Hollywood.</figcaption></figure> <ul><li>The lower budgets were apparent.</li> <li>Many theater actors had no previous experience in cinema.</li> <li>The original movies were often second-rate themselves since studios expected that the top productions would sell by themselves.</li> <li>The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.</li> <li>Some markets lacked sound-equipped theaters.</li></ul> <div class="mw-heading mw-heading3"><h3 id="Classical_Hollywood_cinema_and_the_Golden_Age_of_Hollywood">Classical Hollywood cinema and the Golden Age of Hollywood</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=4" title="Edit section: Classical Hollywood cinema and the Golden Age of Hollywood" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Golden_Age_of_Hollywood.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Golden_Age_of_Hollywood.png/450px-Golden_Age_of_Hollywood.png" decoding="async" width="450" height="338" class="mw-file-element" data-file-width="960" data-file-height="720"></noscript><span class="lazy-image-placeholder" style="width: 450px;height: 338px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Golden_Age_of_Hollywood.png/450px-Golden_Age_of_Hollywood.png" data-width="450" data-height="338" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Golden_Age_of_Hollywood.png/675px-Golden_Age_of_Hollywood.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/06/Golden_Age_of_Hollywood.png/900px-Golden_Age_of_Hollywood.png 2x" data-class="mw-file-element"> </a><figcaption>Stars of the <a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a> era (<abbr title="circa">c.</abbr> 1913–1962). Top row, l-r: <a href="/wiki/Greta_Garbo" title="Greta Garbo">Greta Garbo</a>, <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a>, <a href="/wiki/Lauren_Bacall" title="Lauren Bacall">Lauren Bacall</a>, <a href="/wiki/Clark_Gable" title="Clark Gable">Clark Gable</a>, <a href="/wiki/Katharine_Hepburn" title="Katharine Hepburn">Katharine Hepburn</a>, <a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a>, <a href="/wiki/Ginger_Rogers" title="Ginger Rogers">Ginger Rogers</a>, <a href="/wiki/Marlon_Brando" title="Marlon Brando">Marlon Brando</a>, the <a href="/wiki/Marx_Brothers" title="Marx Brothers">Marx Brothers</a>, <a href="/wiki/Joan_Crawford" title="Joan Crawford">Joan Crawford</a>. Second row, l-r: <a href="/wiki/John_Wayne" title="John Wayne">John Wayne</a>, <a href="/wiki/James_Stewart" title="James Stewart">James Stewart</a>, <a href="/wiki/Buster_Keaton" title="Buster Keaton">Buster Keaton</a>, <a href="/wiki/Claudette_Colbert" title="Claudette Colbert">Claudette Colbert</a>, <a href="/wiki/Gene_Kelly" title="Gene Kelly">Gene Kelly</a>, <a href="/wiki/Burt_Lancaster" title="Burt Lancaster">Burt Lancaster</a>, <a href="/wiki/Judy_Garland" title="Judy Garland">Judy Garland</a>, <a href="/wiki/Gregory_Peck" title="Gregory Peck">Gregory Peck</a>, <a href="/wiki/Elizabeth_Taylor" title="Elizabeth Taylor">Elizabeth Taylor</a>, <a href="/wiki/Kirk_Douglas" title="Kirk Douglas">Kirk Douglas</a>. Third row, l-r: <a href="/wiki/Bette_Davis" title="Bette Davis">Bette Davis</a>, <a href="/wiki/Audrey_Hepburn" title="Audrey Hepburn">Audrey Hepburn</a>, <a href="/wiki/Jean_Harlow" title="Jean Harlow">Jean Harlow</a>, <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a>, <a href="/wiki/John_Ford" title="John Ford">John Ford</a>, <a href="/wiki/Howard_Hawks" title="Howard Hawks">Howard Hawks</a>, <a href="/wiki/Grace_Kelly" title="Grace Kelly">Grace Kelly</a>, <a href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</a>, <a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a>, <a href="/wiki/James_Cagney" title="James Cagney">James Cagney</a>. Fourth row, l-r: <a href="/wiki/Ava_Gardner" title="Ava Gardner">Ava Gardner</a>, <a href="/wiki/Cary_Grant" title="Cary Grant">Cary Grant</a>, <a href="/wiki/Ingrid_Bergman" title="Ingrid Bergman">Ingrid Bergman</a>, <a href="/wiki/Henry_Fonda" title="Henry Fonda">Henry Fonda</a>, <a href="/wiki/Marilyn_Monroe" title="Marilyn Monroe">Marilyn Monroe</a>, <a href="/wiki/James_Dean" title="James Dean">James Dean</a>, <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a>, <a href="/wiki/Mae_West" title="Mae West">Mae West</a>, <a href="/wiki/William_Holden" title="William Holden">William Holden</a>, <a href="/wiki/Sophia_Loren" title="Sophia Loren">Sophia Loren</a>. Bottom row, l-r: <a href="/wiki/Vivien_Leigh" title="Vivien Leigh">Vivien Leigh</a>, <a href="/wiki/Joan_Fontaine" title="Joan Fontaine">Joan Fontaine</a> and <a href="/wiki/Gary_Cooper" title="Gary Cooper">Gary Cooper</a>, <a href="/wiki/Spencer_Tracy" title="Spencer Tracy">Spencer Tracy</a>, <a href="/wiki/Barbara_Stanwyck" title="Barbara Stanwyck">Barbara Stanwyck</a>, <a href="/wiki/Lillian_Gish" title="Lillian Gish">Lillian Gish</a>, <a href="/wiki/Tyrone_Power" title="Tyrone Power">Tyrone Power</a>, <a href="/wiki/Shirley_Temple" title="Shirley Temple">Shirley Temple</a>, <a href="/wiki/Janet_Leigh" title="Janet Leigh">Janet Leigh</a> with <a href="/wiki/Charlton_Heston" title="Charlton Heston">Charlton Heston</a>, <a href="/wiki/Rita_Hayworth" title="Rita Hayworth">Rita Hayworth</a>, <a href="/wiki/Mary_Pickford" title="Mary Pickford">Mary Pickford</a>. </figcaption></figure> <a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a>, or the Golden Age of Hollywood, is defined as a technical and narrative style characteristic of American cinema from 1913 to 1962, 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 <a href="/wiki/World_War_I" title="World War I">World War I</a>, and finally solidified when the film <a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a> was released in 1927, ending the silent film era and increasing box-office profits for the film industry by introducing sound to feature films. Most Hollywood pictures adhered closely to a formula—<a href="/wiki/Western_(genre)" title="Western (genre)">Western</a>, <a href="/wiki/Slapstick" title="Slapstick">slapstick comedy</a>, <a href="/wiki/Musical_film" title="Musical film">musical</a>, <a href="/wiki/Animation" title="Animation">animated cartoon</a>, <a href="/wiki/Biographical_film" title="Biographical film">biographical</a>—and the same creative teams often worked on films made by the same studio. For example, <a href="/wiki/Cedric_Gibbons" title="Cedric Gibbons">Cedric Gibbons</a> and <a href="/wiki/Herbert_Stothart" title="Herbert Stothart">Herbert Stothart</a> always worked on <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a> films, <a href="/wiki/Alfred_Newman_(composer)" class="mw-redirect" title="Alfred Newman (composer)">Alfred Newman</a> worked at <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">20th Century Fox</a> for twenty years, <a href="/wiki/Cecil_B._De_Mille" class="mw-redirect" title="Cecil B. De Mille">Cecil B. De Mille</a>'s films were almost all made at <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount</a>, and director <a href="/wiki/Henry_King_(director)" title="Henry King (director)">Henry King</a>'s films were mostly made for <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">20th Century Fox</a>. At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>, 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 exists today. For example, <a href="/wiki/To_Have_and_Have_Not_(film)" title="To Have and Have Not (film)">To Have and Have Not</a> (1944) is notable not only for the first pairing of actors <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a> (1899–1957) and <a href="/wiki/Lauren_Bacall" title="Lauren Bacall">Lauren Bacall</a> (1924–2014), but because it was written by two future winners of the <a href="/wiki/Nobel_Prize_in_Literature" title="Nobel Prize in Literature">Nobel Prize in Literature</a>: <a href="/wiki/Ernest_Hemingway" title="Ernest Hemingway">Ernest Hemingway</a> (1899–1961), the author of the novel on which the script was nominally based, and <a href="/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a> (1897–1962), who worked on the screen adaptation. After <a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a> was released in 1927, <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> gained huge success and were able to acquire their own string of movie theaters after purchasing Stanley Theaters and <a href="/wiki/First_National_Pictures" title="First National Pictures">First National</a> Productions in 1928. In contrast, <a href="/wiki/Loews_Theaters" class="mw-redirect" title="Loews Theaters">Loews theaters</a> owned <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a> since forming in 1924, while the Fox Film Corporation owned the <a href="/wiki/Fox_Theatres" title="Fox Theatres">Fox Theatre</a>. <a href="/wiki/RKO_Pictures" title="RKO Pictures">RKO</a> (a 1928 merger between <a href="/wiki/Keith-Albee-Orpheum" title="Keith-Albee-Orpheum">Keith-Orpheum Theaters</a> and the <a href="/wiki/RCA" title="RCA">Radio Corporation of America</a><a href="#cite_note-43">[43]</a>) also responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as <a href="/wiki/Photophone" title="Photophone">Photophone</a>, to put sound in films.<a href="#cite_note-britannica1-40">[40]</a> Paramount, which acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO by purchasing a number of theaters in the late 1920s, and would hold a monopoly on theaters in <a href="/wiki/Detroit" title="Detroit">Detroit, Michigan</a>.<a href="#cite_note-44">[44]</a> By the 1930s, almost all of the first-run metropolitan theaters in the <a href="/wiki/United_States" title="United States">United States</a> were owned by the Big Five studios—<a href="/wiki/MGM" class="mw-redirect" title="MGM">MGM</a>, <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount Pictures</a>, <a href="/wiki/RKO" class="mw-redirect" title="RKO">RKO</a>, <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a>, and <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">20th Century Fox</a>.<a href="#cite_note-45">[45]</a> <div class="mw-heading mw-heading4"><h4 id="Rise_and_decline_of_the_studio_system">Rise and decline of the studio system</h4> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=5" title="Edit section: Rise and decline of the studio system" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Hollywood-Studios-1922.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/Hollywood-Studios-1922.jpg/220px-Hollywood-Studios-1922.jpg" decoding="async" width="220" height="171" class="mw-file-element" data-file-width="800" data-file-height="621"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 171px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/Hollywood-Studios-1922.jpg/220px-Hollywood-Studios-1922.jpg" data-width="220" data-height="171" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/Hollywood-Studios-1922.jpg/330px-Hollywood-Studios-1922.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/09/Hollywood-Studios-1922.jpg/440px-Hollywood-Studios-1922.jpg 2x" data-class="mw-file-element"> </a><figcaption>Hollywood movie studios in 1922</figcaption></figure> Motion picture companies operated under the <a href="/wiki/Studio_system" title="Studio system">studio system</a>. The major studios kept thousands of people on salary—actors, producers, directors, writers, stunt men, crafts persons, and technicians. They owned or leased <a href="/wiki/Movie_ranches" class="mw-redirect" title="Movie ranches">Movie Ranches</a> in rural Southern California for <a href="/wiki/Location_shooting" title="Location shooting">location shooting</a> of <a href="/wiki/Western_(genre)" title="Western (genre)">westerns</a> 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. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Spencer_Tracy.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Spencer_Tracy.jpg/220px-Spencer_Tracy.jpg" decoding="async" width="220" height="275" class="mw-file-element" data-file-width="360" data-file-height="450"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 275px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Spencer_Tracy.jpg/220px-Spencer_Tracy.jpg" data-width="220" data-height="275" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Spencer_Tracy.jpg/330px-Spencer_Tracy.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/8/8b/Spencer_Tracy.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Spencer_Tracy" title="Spencer Tracy">Spencer Tracy</a>, who was the first actor to win <a href="/wiki/Academy_Award_for_Best_Actor" title="Academy Award for Best Actor">Best Actor</a> award over two consecutive years for his roles in <a href="/wiki/Captains_Courageous_(1937_film)" title="Captains Courageous (1937 film)">Captains Courageous</a> (1937) and <a href="/wiki/Boys_Town_(film)" title="Boys Town (film)">Boys Town</a> (1938) (and received seven other nominations)</figcaption></figure> In 1930, MPPDA President Will Hays created the <a href="/wiki/Hays_Code" title="Hays Code">Hays (Production) Code</a>, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930.<a href="#cite_note-46">[46]</a> However, the code was never enforced until 1934, after the Catholic watchdog organization <a href="/wiki/National_Legion_of_Decency" title="National Legion of Decency">The Legion of Decency</a>—appalled by some of the provocative films and lurid advertising of the era later classified <a href="/wiki/Pre-Code_Hollywood" title="Pre-Code Hollywood">Pre-Code Hollywood</a>—threatened a boycott of motion pictures if it did not go into effect.<a href="#cite_note-47">[47]</a> The films that did not obtain a seal of approval from the Production Code Administration had to pay a $25,000 fine (equivalent to $455,976 in 2023) and could not profit in the theaters, as the MPPDA controlled every theater in the country through the Big Five studios. Throughout the 1930s, as well as most of the golden age, <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a> dominated the film screen and had the top stars in Hollywood, and they were also credited for creating the <a href="/wiki/Star_system_(filmmaking)" title="Star system (filmmaking)">Hollywood star system</a> altogether.<a href="#cite_note-mediaroom1-48">[48]</a> Some <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a> stars included "King of Hollywood" <a href="/wiki/Clark_Gable" title="Clark Gable">Clark Gable</a>, <a href="/wiki/Lionel_Barrymore" title="Lionel Barrymore">Lionel Barrymore</a>, <a href="/wiki/Jean_Harlow" title="Jean Harlow">Jean Harlow</a>, <a href="/wiki/Norma_Shearer" title="Norma Shearer">Norma Shearer</a>, <a href="/wiki/Greta_Garbo" title="Greta Garbo">Greta Garbo</a>, <a href="/wiki/Joan_Crawford" title="Joan Crawford">Joan Crawford</a>, <a href="/wiki/Jeanette_MacDonald" title="Jeanette MacDonald">Jeanette MacDonald</a>, <a href="/wiki/Gene_Raymond" title="Gene Raymond">Gene Raymond</a>, <a href="/wiki/Spencer_Tracy" title="Spencer Tracy">Spencer Tracy</a>, <a href="/wiki/Judy_Garland" title="Judy Garland">Judy Garland</a>, and <a href="/wiki/Gene_Kelly" title="Gene Kelly">Gene Kelly</a>.<a href="#cite_note-mediaroom1-48">[48]</a> Another great achievement of American cinema during this era came through Walt Disney's <a href="/wiki/Walt_Disney_Pictures" title="Walt Disney Pictures">animation company</a>. In 1937, Disney created the most successful film of its time, <a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a>.<a href="#cite_note-49">[49]</a> 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 <a href="/wiki/Gone_with_the_Wind_(film)" title="Gone with the Wind (film)">Gone with the Wind</a>.<a href="#cite_note-50">[50]</a> 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 everyone had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a>, directed by <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a> (1915–1985) and often regarded as the <a href="/wiki/List_of_movies_that_have_been_considered_the_greatest_ever" class="mw-redirect" title="List of movies that have been considered the greatest ever">greatest film of all time</a>, fits this description. In other cases, strong-willed directors like <a href="/wiki/Howard_Hawks" title="Howard Hawks">Howard Hawks</a> (1896–1977), <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a> (1899–1980), and <a href="/wiki/Frank_Capra" title="Frank Capra">Frank Capra</a> (1897–1991) battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as <a href="/wiki/The_Wizard_of_Oz_(1939_film)" class="mw-redirect" title="The Wizard of Oz (1939 film)">The Wizard of Oz</a>, <a href="/wiki/Gone_with_the_Wind_(film)" title="Gone with the Wind (film)">Gone with the Wind</a>, <a href="/wiki/Stagecoach_(1939_film)" title="Stagecoach (1939 film)">Stagecoach</a>, <a href="/wiki/Mr._Smith_Goes_to_Washington" title="Mr. Smith Goes to Washington">Mr. Smith Goes to Washington</a>, <a href="/wiki/Wuthering_Heights_(1939_film)" title="Wuthering Heights (1939 film)">Wuthering Heights</a>, <a href="/wiki/Only_Angels_Have_Wings" title="Only Angels Have Wings">Only Angels Have Wings</a>, <a href="/wiki/Ninotchka" title="Ninotchka">Ninotchka</a> and <a href="/wiki/Midnight_(1939_film)" title="Midnight (1939 film)">Midnight</a>. Among the other films from the Golden Age period that are now considered to be classics: <a href="/wiki/Casablanca_(film)" title="Casablanca (film)">Casablanca</a>, <a href="/wiki/It%27s_a_Wonderful_Life" title="It's a Wonderful Life">It's a Wonderful Life</a>, <a href="/wiki/It_Happened_One_Night" title="It Happened One Night">It Happened One Night</a>, the original <a href="/wiki/King_Kong_(1933_film)" title="King Kong (1933 film)">King Kong</a>, <a href="/wiki/Mutiny_on_the_Bounty_(1935_film)" title="Mutiny on the Bounty (1935 film)">Mutiny on the Bounty</a>, <a href="/wiki/Top_Hat" title="Top Hat">Top Hat</a>, <a href="/wiki/City_Lights" title="City Lights">City Lights</a>, <a href="/wiki/Red_River_(1948_film)" title="Red River (1948 film)">Red River</a>, <a href="/wiki/The_Lady_from_Shanghai" title="The Lady from Shanghai">The Lady from Shanghai</a>, <a href="/wiki/Rear_Window" title="Rear Window">Rear Window</a>, <a href="/wiki/On_the_Waterfront" title="On the Waterfront">On the Waterfront</a>, <a href="/wiki/Rebel_Without_a_Cause" title="Rebel Without a Cause">Rebel Without a Cause</a>, <a href="/wiki/Some_Like_It_Hot" title="Some Like It Hot">Some Like It Hot</a>, and <a href="/wiki/The_Manchurian_Candidate_(1962_film)" title="The Manchurian Candidate (1962 film)">The Manchurian Candidate</a>. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average,_Weekly,_1930-2000.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/85/Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png/220px-Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png" decoding="async" width="220" height="102" class="mw-file-element" data-file-width="1455" data-file-height="676"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 102px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/85/Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png/220px-Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png" data-width="220" data-height="102" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/85/Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png/330px-Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/85/Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png/440px-Percentage_of_the_US_Population_that_went_to_the_Cinema_on_Average%2C_Weekly%2C_1930-2000.png 2x" data-class="mw-file-element"> </a><figcaption>Percentage of the U..S population that went to the cinema on average, weekly between 1930 and 2000</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Walt_Disney_Snow_white_1937_trailer_screenshot_(13).jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg/220px-Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg" decoding="async" width="220" height="171" class="mw-file-element" data-file-width="500" data-file-height="388"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 171px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg/220px-Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg" data-width="220" data-height="171" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg/330px-Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg/440px-Walt_Disney_Snow_white_1937_trailer_screenshot_%2813%29.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Walt_Disney" title="Walt Disney">Walt Disney</a> introduces each of the <a href="/wiki/Seven_dwarfs" class="mw-redirect" title="Seven dwarfs">seven dwarfs</a> in a scene from the original 1937 <a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White</a> movie trailer</figcaption></figure> The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s: <ul><li>a <a href="/wiki/United_States_v._Paramount_Pictures,_Inc." title="United States v. Paramount Pictures, Inc.">federal antitrust action</a> that separated the production of films from their exhibition; and</li> <li>the advent of <a href="/wiki/Television_in_the_United_States" title="Television in the United States">television</a>.</li></ul> In 1938, Walt Disney's <a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a> 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.<a href="#cite_note-51">[51]</a> This stoked already widespread frustration at the practice of <a href="/wiki/Block-booking" class="mw-redirect" title="Block-booking">block-booking</a>, in which studios would only sell an entire year's schedule of films at a time to theaters and use the <a href="/wiki/Vendor_lock-in" title="Vendor lock-in">lock-in</a> to cover for releases of mediocre quality. Assistant Attorney General <a href="/wiki/Thurman_Arnold" title="Thurman Arnold">Thurman Arnold</a>—a noted "<a href="/wiki/Trust-busting" class="mw-redirect" title="Trust-busting">trust buster</a>" of the Roosevelt administration—took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the <a href="/wiki/Sherman_Antitrust_Act" title="Sherman Antitrust Act">Sherman Antitrust Act</a>.<a href="#cite_note-time-consent-decree-52">[52]</a><a href="#cite_note-part3-53">[53]</a> The federal suit resulted in five of the eight studios (the "Big Five": <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a>, <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>, <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">Fox</a>, <a href="/wiki/RKO_Pictures" title="RKO Pictures">RKO</a> and <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount</a>) reaching a compromise with Arnold in October 1940 and signing a <a href="/wiki/Consent_decree" title="Consent decree">consent decree</a> agreeing to, within three years: <ul><li>Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.</li> <li>Eliminate the block-booking of any more than five features in their theaters.</li> <li>No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in the US would see films every two weeks before showing movies in theaters.</li> <li>Set up an administration board in each theater district to enforce these requirements.<a href="#cite_note-time-consent-decree-52">[52]</a></li></ul> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg/220px-Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg" decoding="async" width="220" height="275" class="mw-file-element" data-file-width="394" data-file-height="492"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 275px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg/220px-Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg" data-width="220" data-height="275" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg/330px-Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/d/d8/Humphrey_Bogart_Ingrid_Bergman_Casablanca_Promo_Still.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a> with <a href="/wiki/Ingrid_Bergman" title="Ingrid Bergman">Ingrid Bergman</a> in <a href="/wiki/Casablanca_(film)" title="Casablanca (film)">Casablanca</a> (1942)</figcaption></figure> The "Little Three" (<a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Studios</a>, <a href="/wiki/United_Artists" title="United Artists">United Artists</a>, and <a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a>), who did not own any theaters, refused to participate in the consent decree.<a href="#cite_note-time-consent-decree-52">[52]</a><a href="#cite_note-part3-53">[53]</a> 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 <a href="/wiki/Gary_Cooper" title="Gary Cooper">Gary Cooper</a> 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.<a href="#cite_note-54">[54]</a> The <a href="/wiki/United_States_Supreme_Court" class="mw-redirect" title="United States Supreme Court">United States Supreme Court</a> eventually ruled in <a href="/wiki/United_States_v._Paramount_Pictures,_Inc." title="United States v. Paramount Pictures, Inc.">United States v. Paramount Pictures, Inc.</a> that the major studios ownership of theaters and film distribution was a violation of the <a href="/wiki/Sherman_Antitrust_Act" title="Sherman Antitrust Act">Sherman Antitrust Act</a>. 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. 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 <a href="/wiki/Cecil_B._DeMille" title="Cecil B. DeMille">Cecil B. DeMille</a>, 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. <div class="mw-heading mw-heading3"><h3 id="New_Hollywood_and_post-classical_cinema">New Hollywood and post-classical cinema</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=6" title="Edit section: New Hollywood and post-classical cinema" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/New_Hollywood" title="New Hollywood">New Hollywood</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Steven_Spielberg_by_Gage_Skidmore.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/67/Steven_Spielberg_by_Gage_Skidmore.jpg/220px-Steven_Spielberg_by_Gage_Skidmore.jpg" decoding="async" width="220" height="296" class="mw-file-element" data-file-width="2416" data-file-height="3248"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 296px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/6/67/Steven_Spielberg_by_Gage_Skidmore.jpg/220px-Steven_Spielberg_by_Gage_Skidmore.jpg" data-width="220" data-height="296" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/67/Steven_Spielberg_by_Gage_Skidmore.jpg/330px-Steven_Spielberg_by_Gage_Skidmore.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/67/Steven_Spielberg_by_Gage_Skidmore.jpg/440px-Steven_Spielberg_by_Gage_Skidmore.jpg 2x" data-class="mw-file-element"> </a><figcaption>Director and producer <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a>, co-founder of <a href="/wiki/DreamWorks_Pictures" title="DreamWorks Pictures">DreamWorks Studios</a> and Amblin Entertainment, Inc</figcaption></figure> 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 "<a href="/wiki/Twist_ending" class="mw-redirect" title="Twist ending">twist endings</a>", and lines between the <a href="/wiki/Antagonist" title="Antagonist">antagonist</a> and <a href="/wiki/Protagonist" title="Protagonist">protagonist</a> may be blurred. The roots of post-classical storytelling may be seen in film noir, in <a href="/wiki/Rebel_Without_a_Cause" title="Rebel Without a Cause">Rebel Without a Cause</a> (1955), and in Hitchcock's storyline-shattering <a href="/wiki/Psycho_(1960_film)" title="Psycho (1960 film)">Psycho</a>. The <a href="/wiki/New_Hollywood" title="New Hollywood">New Hollywood</a> 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; the 1967 film <a href="/wiki/Bonnie_and_Clyde_(film)" title="Bonnie and Clyde (film)">Bonnie and Clyde</a> 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.<a href="#cite_note-55">[55]</a> Filmmakers like <a href="/wiki/Francis_Ford_Coppola" title="Francis Ford Coppola">Francis Ford Coppola</a>, <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a>, <a href="/wiki/George_Lucas" title="George Lucas">George Lucas</a>, <a href="/wiki/Brian_De_Palma" title="Brian De Palma">Brian De Palma</a>, <a href="/wiki/Stanley_Kubrick" title="Stanley Kubrick">Stanley Kubrick</a>, <a href="/wiki/Martin_Scorsese" title="Martin Scorsese">Martin Scorsese</a>, <a href="/wiki/Roman_Polanski" title="Roman Polanski">Roman Polanski</a>, and <a href="/wiki/William_Friedkin" title="William Friedkin">William Friedkin</a> 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 <a href="/wiki/Andy_Warhol" title="Andy Warhol">Andy Warhol</a>'s <a href="/wiki/Blue_Movie" title="Blue Movie">Blue Movie</a>, the phenomenon of <a href="/wiki/Erotic_art" title="Erotic art">adult erotic films</a> being publicly discussed by celebrities (like <a href="/wiki/Johnny_Carson" title="Johnny Carson">Johnny Carson</a> and <a href="/wiki/Bob_Hope" title="Bob Hope">Bob Hope</a>),<a href="#cite_note-TM-20050329-56">[56]</a> and taken seriously by critics (like <a href="/wiki/Roger_Ebert" title="Roger Ebert">Roger Ebert</a>),<a href="#cite_note-RE-19730613-57">[57]</a><a href="#cite_note-RE-19761124-58">[58]</a> a development referred to, by Ralph Blumenthal of <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>, as "<a href="/wiki/Golden_Age_of_Porn#%22Porno_chic%22" title="Golden Age of Porn">porno chic</a>", and later known as the <a href="/wiki/Golden_Age_of_Porn" title="Golden Age of Porn">Golden Age of Porn</a>, began, for the first time, in modern American culture.<a href="#cite_note-TM-20050329-56">[56]</a><a href="#cite_note-NYT-19730121-59">[59]</a><a href="#cite_note-60">[60]</a> According to award-winning author <a href="/wiki/Toni_Bentley" title="Toni Bentley">Toni Bentley</a>, <a href="/wiki/Radley_Metzger" title="Radley Metzger">Radley Metzger</a>'s 1976 film <a href="/wiki/The_Opening_of_Misty_Beethoven" title="The Opening of Misty Beethoven">The Opening of Misty Beethoven</a>, based on the play <a href="/wiki/Pygmalion_(play)" title="Pygmalion (play)">Pygmalion</a> by <a href="/wiki/George_Bernard_Shaw" title="George Bernard Shaw">George Bernard Shaw</a> (and its derivative, <a href="/wiki/My_Fair_Lady_(film)" title="My Fair Lady (film)">My Fair Lady</a>), and due to attaining a mainstream level in storyline and sets,<a href="#cite_note-61">[61]</a> is considered the "crown jewel" of this '<a href="/wiki/Golden_Age_of_Porn" title="Golden Age of Porn">Golden Age</a>'.<a href="#cite_note-PB-201406-62">[62]</a><a href="#cite_note-TB-201406-63">[63]</a> At the height of his fame in the early 1970s, <a href="/wiki/Charles_Bronson" title="Charles Bronson">Charles Bronson</a> was the world's No. 1 box office attraction, commanding $1 million per film.<a href="#cite_note-Lardine-1-64">[64]</a> In the 1970s, the films of New Hollywood filmmakers were often both critically acclaimed and commercially successful. While the early New Hollywood films like <a href="/wiki/Bonnie_and_Clyde_(film)" title="Bonnie and Clyde (film)">Bonnie and Clyde</a> and <a href="/wiki/Easy_Rider" title="Easy Rider">Easy Rider</a> had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with <a href="/wiki/The_Exorcist_(film)" class="mw-redirect" title="The Exorcist (film)">The Exorcist</a>, Spielberg with <a href="/wiki/Jaws_(film)" title="Jaws (film)">Jaws</a>, Coppola with <a href="/wiki/The_Godfather" title="The Godfather">The Godfather</a> and <a href="/wiki/Apocalypse_Now" title="Apocalypse Now">Apocalypse Now</a>, Scorsese with <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a>, Kubrick with <a href="/wiki/2001:_A_Space_Odyssey_(film)" class="mw-redirect" title="2001: A Space Odyssey (film)">2001: A Space Odyssey</a>, Polanski with <a href="/wiki/Chinatown_(1974_film)" title="Chinatown (1974 film)">Chinatown</a>, and Lucas with <a href="/wiki/American_Graffiti" title="American Graffiti">American Graffiti</a> and <a href="/wiki/Star_Wars_(film)" title="Star Wars (film)">Star Wars</a>, respectively helped to give rise to the modern "<a href="/wiki/Blockbuster_(entertainment)" title="Blockbuster (entertainment)">blockbuster</a>", and induced studios to focus ever more heavily on trying to produce enormous hits.<a href="#cite_note-AmCinema-65">[65]</a> <div class="mw-heading mw-heading3"><h3 id="Rise_of_the_modern_blockbuster_and_independent_films">Rise of the modern blockbuster and independent films</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=7" title="Edit section: Rise of the modern blockbuster and independent films" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:TomHanksJan2009.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/TomHanksJan2009.jpg/220px-TomHanksJan2009.jpg" decoding="async" width="220" height="277" class="mw-file-element" data-file-width="1189" data-file-height="1499"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 277px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/TomHanksJan2009.jpg/220px-TomHanksJan2009.jpg" data-width="220" data-height="277" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/TomHanksJan2009.jpg/330px-TomHanksJan2009.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d0/TomHanksJan2009.jpg/440px-TomHanksJan2009.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Tom_Hanks" title="Tom Hanks">Tom Hanks</a>, who has won two Academy Awards for Best Actor for his performances in <a href="/wiki/Philadelphia_(film)" title="Philadelphia (film)">Philadelphia</a> and <a href="/wiki/Forrest_Gump" title="Forrest Gump">Forrest Gump</a> and has starred in numerous beloved films such as <a href="/wiki/Saving_Private_Ryan" title="Saving Private Ryan">Saving Private Ryan</a>, <a href="/wiki/Cast_Away" title="Cast Away">Cast Away</a> and <a href="/wiki/Toy_Story" title="Toy Story">Toy Story</a></figcaption></figure> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Missing_information plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span">This section is missing information about film as an artistic medium beyond being a form of technology or an entertainment product; cinematic styles such as, for instance, neo-noir and American Eccentric Cinema; Pixar; and the entire 1980s. Please expand the section to include this information. Further details may exist on the <a href="/wiki/Talk:Cinema_of_the_United_States" title="Talk:Cinema of the United States">talk page</a>. (August 2023)</div></td></tr></tbody></table> In the US, the <a href="/wiki/PG-13_(Motion_Picture_Association)" class="mw-redirect" title="PG-13 (Motion Picture Association)">PG-13</a> rating was introduced in 1984 to accommodate films that straddled the line between PG and R, which was mainly due to the controversies surrounding the violent content of the PG films <a href="/wiki/Indiana_Jones_and_the_Temple_of_Doom" title="Indiana Jones and the Temple of Doom">Indiana Jones and the Temple of Doom</a> and <a href="/wiki/Gremlins" title="Gremlins">Gremlins</a> (both 1984).<a href="#cite_note-66">[66]</a> Film makers in the 1990s had access to technological, political and economic innovations that had not been available in previous decades. <a href="/wiki/Dick_Tracy_(1990_film)" title="Dick Tracy (1990 film)">Dick Tracy</a> (1990) became the first <a href="/wiki/35_mm_movie_film" title="35 mm movie film">35 mm</a> feature film with a <a href="/wiki/Digital_data" title="Digital data">digital</a> soundtrack. <a href="/wiki/Batman_Returns" title="Batman Returns">Batman Returns</a> (1992) was the first film to make use of the <a href="/wiki/Dolby_Digital" title="Dolby Digital">Dolby Digital</a> 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 <a href="/wiki/James_Cameron" title="James Cameron">James Cameron</a>'s <a href="/wiki/Terminator_2:_Judgment_Day" title="Terminator 2: Judgment Day">Terminator 2: Judgment Day</a> (1991), in images of the shape-changing character <a href="/wiki/T-1000" title="T-1000">T-1000</a>. <a href="/wiki/Computer_graphics" title="Computer graphics">Computer graphics</a> or CG advanced to a point where <a href="/wiki/Jurassic_Park" title="Jurassic Park">Jurassic Park</a> (1993) was able to use the techniques to create realistic looking animals. <a href="/wiki/Jackpot_(2001_film)" title="Jackpot (2001 film)">Jackpot</a> (2001) became the first film that was shot entirely in digital.<a href="#cite_note-cin08-67">[67]</a> In the film <a href="/wiki/Titanic_(1997_film)" title="Titanic (1997 film)">Titanic</a>, Cameron wanted to push the boundary of special effects with his film, and enlisted <a href="/wiki/Digital_Domain" title="Digital Domain">Digital Domain</a> and <a href="/wiki/Pacific_Data_Images" title="Pacific Data Images">Pacific Data Images</a> to continue the developments in digital technology which the director pioneered while working on <a href="/wiki/The_Abyss" title="The Abyss">The Abyss</a> and <a href="/wiki/Terminator_2:_Judgment_Day" title="Terminator 2: Judgment Day">Terminator 2: Judgment Day</a>. Many previous films about the RMS Titanic shot water in <a href="/wiki/Slow_motion" title="Slow motion">slow motion</a>, which did not look wholly convincing.<a href="#cite_note-unreality-68">[68]</a> Cameron encouraged his crew to shoot their 45-foot-long (14 m) <a href="/wiki/Scale_model" title="Scale model">miniature</a> of the ship as if "we're making a commercial for the White Star Line". <table class="wikitable sortable" style="float: right; margin-left: 10px; margin-right: 10px; clear: right;"> <caption>American film industry (1995–2017) All values in billions </caption> <tbody><tr> <th>Year</th> <th>Tickets</th> <th>Revenue </th></tr> <tr> <td>1995</td> <td>1.22</td> <td>$5.31 </td></tr> <tr> <td>1996</td> <td>1.31</td> <td>$5.79 </td></tr> <tr> <td>1997</td> <td>1.39</td> <td>$6.36 </td></tr> <tr> <td>1998</td> <td>1.44</td> <td>$6.77 </td></tr> <tr> <td>1999</td> <td>1.44</td> <td>$7.34 </td></tr> <tr> <td>2000</td> <td>1.40</td> <td>$7.54 </td></tr> <tr> <td>2001</td> <td>1.48</td> <td>$8.36 </td></tr> <tr> <td>2002</td> <td>1.58</td> <td>$9.16 </td></tr> <tr> <td>2003</td> <td>1.52</td> <td>$9.20 </td></tr> <tr> <td>2004</td> <td>1.50</td> <td>$9.29 </td></tr> <tr> <td>2005</td> <td>1.37</td> <td>$8.80 </td></tr> <tr> <td>2006</td> <td>1.40</td> <td>$9.16 </td></tr> <tr> <td>2007</td> <td>1.42</td> <td>$9.77 </td></tr> <tr> <td>2008</td> <td>1.36</td> <td>$9.75 </td></tr> <tr> <td>2009</td> <td>1.42</td> <td>$10.64 </td></tr> <tr> <td>2010</td> <td>1.33</td> <td>$10.48 </td></tr> <tr> <td>2011</td> <td>1.28</td> <td>$10.17 </td></tr> <tr> <td>2012</td> <td>1.40</td> <td>$11.16 </td></tr> <tr> <td>2013</td> <td>1.34</td> <td>$10.89 </td></tr> <tr> <td>2014</td> <td>1.26</td> <td>$10.27 </td></tr> <tr> <td>2015 </td> <td>1.32 </td> <td>$11.16 </td></tr> <tr> <td>2016 </td> <td>1.30 </td> <td>$11.26 </td></tr> <tr> <td>2017 </td> <td>1.23 </td> <td>$10.99 </td></tr> <tr> <td colspan="3">As compiled by <a href="/wiki/The_Numbers_(website)" title="The Numbers (website)">The Numbers</a><a href="#cite_note-69">[69]</a> </td></tr></tbody></table> Even <a href="/wiki/The_Blair_Witch_Project" title="The Blair Witch Project">The Blair Witch Project</a> (1999), a low-budget indie <a href="/wiki/Horror_film" title="Horror film">horror film</a> by <a href="/wiki/Eduardo_S%C3%A1nchez_(director)" title="Eduardo Sánchez (director)">Eduardo Sanchez</a> and <a href="/wiki/Daniel_Myrick" title="Daniel Myrick">Daniel Myrick</a>, 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 <a href="/wiki/George_Lucas" title="George Lucas">George Lucas</a>'s $1 billion prequel to the <a href="/wiki/Star_Wars_original_trilogy" title="Star Wars original trilogy">Star Wars Trilogy</a>, The Blair Witch Project earned the distinction of being the most profitable film of all time, in terms of percentage gross.<a href="#cite_note-cin08-67">[67]</a> The success of Blair Witch as an indie project remains among the few exceptions, however, and control of <a href="/wiki/Big_Five_(movie_studios)" class="mw-redirect" title="Big Five (movie studios)">The Big Five</a> studios over film making 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 <a href="/wiki/Sylvester_Stallone" title="Sylvester Stallone">Sylvester Stallone</a>, <a href="/wiki/Russell_Crowe" title="Russell Crowe">Russell Crowe</a>, <a href="/wiki/Tom_Cruise" title="Tom Cruise">Tom Cruise</a>, <a href="/wiki/Nicole_Kidman" title="Nicole Kidman">Nicole Kidman</a>, <a href="/wiki/Sandra_Bullock" title="Sandra Bullock">Sandra Bullock</a>, <a href="/wiki/Arnold_Schwarzenegger" title="Arnold Schwarzenegger">Arnold Schwarzenegger</a>, <a href="/wiki/Mel_Gibson" title="Mel Gibson">Mel Gibson</a>, <a href="/wiki/Kevin_Bacon" title="Kevin Bacon">Kevin Bacon</a>, and <a href="/wiki/Julia_Roberts" title="Julia Roberts">Julia Roberts</a> received between $15–$20 million per film and in some cases were even given a share of the film's profits.<a href="#cite_note-cin08-67">[67]</a> <a href="/wiki/Screenwriters" class="mw-redirect" title="Screenwriters">Screenwriters</a> 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 <a href="/wiki/Blockbuster_(entertainment)" title="Blockbuster (entertainment)">blockbuster film</a> was $60 million before marketing and promotion, which cost another $80 million.<a href="#cite_note-cin08-67">[67]</a> <div class="mw-heading mw-heading3"><h3 id="Contemporary_cinema">Contemporary cinema</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=8" title="Edit section: Contemporary cinema" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Missing_information plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span">This section is missing information about other types of films other than superhero or blockbuster, discussion about studios other than the typical A-list, discussion regarding superhero fatigue, and information on the 2023 Hollywood labor disputes. Please expand the section to include this information. Further details may exist on the <a href="/wiki/Talk:Cinema_of_the_United_States" title="Talk:Cinema of the United States">talk page</a>. (May 2023)</div></td></tr></tbody></table> Since the beginning of 21st century, the theatrical marketplace has slowly been dominated by the <a href="/wiki/Superhero_film" title="Superhero film">superhero</a> genre. As of 2022<a class="external text" href="https://en.wikipedia.org/w/index.php?title=Cinema_of_the_United_States&action=edit">[update]</a>, they are the best-paying productions for actors, because paychecks in other genres have shrunk for even top actors.<a href="#cite_note-thr20221021-70">[70]</a> In 2023 and 2024, however, Hollywood experts pointed to 'superhero fatigue' as an emerging trend.<a href="#cite_note-71">[71]</a> Actors such as <a href="/wiki/Paul_Dano" title="Paul Dano">Paul Dano</a> and directors like <a href="/wiki/Matthew_Vaughn" title="Matthew Vaughn">Matthew Vaughn</a> have made similar arguments.<a href="#cite_note-72">[72]</a><a href="#cite_note-73">[73]</a> In 2021, despite the <a href="/wiki/COVID-19_pandemic_in_the_United_States" title="COVID-19 pandemic in the United States">COVID-19 pandemic in the United States</a>, blockbuster films such as <a href="/wiki/Black_Widow_(2021_film)" title="Black Widow (2021 film)">Black Widow</a>, <a href="/wiki/F9_(film)" title="F9 (film)">F9</a>, <a href="/wiki/Death_on_the_Nile_(2021_film)" class="mw-redirect" title="Death on the Nile (2021 film)">Death on the Nile</a> and <a href="/wiki/West_Side_Story_(2021_film)" title="West Side Story (2021 film)">West Side Story</a> were released in theaters after being postponed from their initial 2020 release dates.<a href="#cite_note-74">[74]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ocean%27s11Cast.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Ocean%27s11Cast.jpg/220px-Ocean%27s11Cast.jpg" decoding="async" width="220" height="143" class="mw-file-element" data-file-width="2000" data-file-height="1300"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 143px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Ocean%27s11Cast.jpg/220px-Ocean%27s11Cast.jpg" data-width="220" data-height="143" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Ocean%27s11Cast.jpg/330px-Ocean%27s11Cast.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Ocean%27s11Cast.jpg/440px-Ocean%27s11Cast.jpg 2x" data-class="mw-file-element"> </a><figcaption>The <a href="/wiki/Ocean%27s_Eleven" title="Ocean's Eleven">Ocean's Eleven</a> cast (left to right): <a href="/wiki/Brad_Pitt" title="Brad Pitt">Brad Pitt</a>, <a href="/wiki/George_Clooney" title="George Clooney">George Clooney</a>, <a href="/wiki/Matt_Damon" title="Matt Damon">Matt Damon</a>, <a href="/wiki/Andy_Garc%C3%ADa" title="Andy García">Andy García</a>, <a href="/wiki/Julia_Roberts" title="Julia Roberts">Julia Roberts</a>, and <a href="/wiki/Steven_Soderbergh" title="Steven Soderbergh">Steven Soderbergh</a>.<a href="#cite_note-75">[75]</a><a href="#cite_note-76">[76]</a></figcaption></figure> Various studios responded to the crisis with controversial decisions to <a href="/wiki/Film_distribution#Shrinking_of_the_theatrical_window" title="Film distribution">forgo the theatrical window</a> and give their films <a href="/wiki/Simultaneous_release" title="Simultaneous release">day-and-date releases</a>. <a href="/wiki/NBCUniversal" title="NBCUniversal">NBCUniversal</a> released <a href="/wiki/Trolls_World_Tour" title="Trolls World Tour">Trolls World Tour</a> directly to <a href="/wiki/Video_on_demand" title="Video on demand">video-on-demand</a> rental on April 10,<a href="#cite_note-:0-77">[77]</a> while simultaneously receiving limited domestic theatrical screenings via drive-in cinemas;<a href="#cite_note-78">[78]</a> CEO <a href="/wiki/Jeff_Shell" title="Jeff Shell">Jeff Shell</a> claims that the film had reached nearly $100 million in revenue within the first three weeks.<a href="#cite_note-79">[79]</a><a href="#cite_note-80">[80]</a> The decision was opposed by <a href="/wiki/AMC_Theatres" title="AMC Theatres">AMC Theatres</a>, 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.<a href="#cite_note-81">[81]</a><a href="#cite_note-82">[82]</a><a href="#cite_note-83">[83]</a><a href="#cite_note-84">[84]</a><a href="#cite_note-85">[85]</a> By December 2020, <a href="/wiki/Warner_Bros._Pictures" title="Warner Bros. Pictures">Warner Bros. Pictures</a> announced their decision to simultaneously release its slate of 2021 films in both theaters and its streaming site <a href="/wiki/HBO_Max" class="mw-redirect" title="HBO Max">HBO Max</a> for a period of one month in order to maximize viewership.<a href="#cite_note-variety_wb_2021_films-86">[86]</a> 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.<a href="#cite_note-87">[87]</a> 2019 onwards has seen the rise of American streaming platforms, such as <a href="/wiki/Netflix" title="Netflix">Netflix</a>, <a href="/wiki/Disney%2B" title="Disney+">Disney+</a>, <a href="/wiki/Paramount%2B" title="Paramount+">Paramount+</a>, and <a href="/wiki/Apple_TV%2B" title="Apple TV+">Apple TV+</a>, which came to rival traditional cinema.<a href="#cite_note-RE-88">[88]</a><a href="#cite_note-89">[89]</a> Industry commentators have noted the increasing treatment of films as "<a href="/wiki/Content_(media)" class="mw-redirect" title="Content (media)">content</a>" by corporations that correlate with the increased popularity of streaming platforms.<a href="#cite_note-90">[90]</a> 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.<a href="#cite_note-RE-88">[88]</a><a href="#cite_note-91">[91]</a> Critic <a href="/wiki/Matt_Zoller_Seitz" title="Matt Zoller Seitz">Matt Zoller Seitz</a> has described the release of <a href="/wiki/Avengers:_Endgame" title="Avengers: Endgame">Avengers: Endgame</a> 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.<a href="#cite_note-RE-88">[88]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Tom_Cruise_by_Gage_Skidmore_2.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Tom_Cruise_by_Gage_Skidmore_2.jpg/220px-Tom_Cruise_by_Gage_Skidmore_2.jpg" decoding="async" width="220" height="277" class="mw-file-element" data-file-width="1762" data-file-height="2220"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 277px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Tom_Cruise_by_Gage_Skidmore_2.jpg/220px-Tom_Cruise_by_Gage_Skidmore_2.jpg" data-width="220" data-height="277" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Tom_Cruise_by_Gage_Skidmore_2.jpg/330px-Tom_Cruise_by_Gage_Skidmore_2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/Tom_Cruise_by_Gage_Skidmore_2.jpg/440px-Tom_Cruise_by_Gage_Skidmore_2.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Tom_Cruise" title="Tom Cruise">Tom Cruise</a>, in a pre-recorded segment, skydived from the <a href="/wiki/Stade_de_France" title="Stade de France">Stade de France</a> to the <a href="/wiki/Hollywood_Sign" title="Hollywood Sign">Hollywood Sign</a>, where he landed and affixed the five Olympic rings, marking the handover of the <a href="/wiki/2028_Summer_Olympics" title="2028 Summer Olympics">Games to Los Angeles</a> in 2028 during the Olympics <a href="/wiki/2024_Summer_Olympics_closing_ceremony" title="2024 Summer Olympics closing ceremony">closing ceremony</a>.</figcaption></figure> The films <a href="/wiki/Space_Jam:_A_New_Legacy" title="Space Jam: A New Legacy">Space Jam: A New Legacy</a> and <a href="/wiki/Red_Notice_(film)" title="Red Notice (film)">Red Notice</a> 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 <a href="/wiki/Casablanca_(film)" title="Casablanca (film)">Casablanca</a>, <a href="/wiki/The_Matrix" title="The Matrix">The Matrix</a> and <a href="/wiki/Austin_Powers" title="Austin Powers">Austin Powers</a>,<a href="#cite_note-92">[92]</a><a href="#cite_note-Polygon-93">[93]</a><a href="#cite_note-Forbes-94">[94]</a><a href="#cite_note-95">[95]</a> 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."<a href="#cite_note-96">[96]</a><a href="#cite_note-97">[97]</a><a href="#cite_note-98">[98]</a> Some have expressed that Space Jam demonstrates the industry's increasingly cynical treatment of films as mere <a href="/wiki/Intellectual_property" title="Intellectual property">intellectual property</a> (IP) to be exploited, an approach which critic Scott Mendelson called "IP for the sake of IP."<a href="#cite_note-Polygon-93">[93]</a><a href="#cite_note-99">[99]</a><a href="#cite_note-100">[100]</a><a href="#cite_note-Forbes-94">[94]</a> <a href="/wiki/Martin_Scorsese" title="Martin Scorsese">Martin Scorsese</a> has warned that cinema as an art form is "being systematically devalued, sidelined, demeaned, and reduced" to "content" and called blockbusters' overemphasis on box-office returns "repulsive".<a href="#cite_note-101">[101]</a><a href="#cite_note-102">[102]</a> <a href="/wiki/Quentin_Tarantino" title="Quentin Tarantino">Quentin Tarantino</a> opined that the 2020s were one of the "worst" eras "in Hollywood history" on a podcast interview.<a href="#cite_note-103">[103]</a><a href="#cite_note-104">[104]</a> During a masterclass at the 2023 <a href="/wiki/Sarajevo_Film_Festival" title="Sarajevo Film Festival">Sarajevo Film Festival</a>, <a href="/wiki/Charlie_Kaufman" title="Charlie Kaufman">Charlie Kaufman</a> criticized mainstream blockbusters, stating that "[a]t this point, the only thing that makes money is garbage" and encouraged industry professionals to "make movies outside of the studio system as much as possible".<a href="#cite_note-105">[105]</a><a href="#cite_note-106">[106]</a> <a href="/wiki/James_Gray_(director)" title="James Gray (director)">James Gray</a> noted in an interview with <a href="/wiki/Deadline_Hollywood" title="Deadline Hollywood">Deadline</a>, "When you make movies that only make a ton of money and only one kind of movie, you begin to get a large segment of the population out of the habit of going to the movies", which causes viewership to decrease, though clarified that he has "no problem with a comic book movie". As a solution to the lack of "investment in the broad-based engagement with the product", he suggests that studios "be willing to lose money for a couple of years on art film divisions, and in the end they will be happier."<a href="#cite_note-107">[107]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><h2 id="Hollywood_and_politics">Hollywood and politics</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=9" title="Edit section: Hollywood and politics" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Good_Neighbor_policy" title="Good Neighbor policy">Good Neighbor policy</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:81st_Academy_Awards_Ceremony.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/81st_Academy_Awards_Ceremony.JPG/220px-81st_Academy_Awards_Ceremony.JPG" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="3264" data-file-height="2448"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/81st_Academy_Awards_Ceremony.JPG/220px-81st_Academy_Awards_Ceremony.JPG" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/81st_Academy_Awards_Ceremony.JPG/330px-81st_Academy_Awards_Ceremony.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d9/81st_Academy_Awards_Ceremony.JPG/440px-81st_Academy_Awards_Ceremony.JPG 2x" data-class="mw-file-element"> </a><figcaption>The 81st <a href="/wiki/Academy_Awards" title="Academy Awards">Academy Awards</a> at the <a href="/wiki/Dolby_Theatre" title="Dolby Theatre">Dolby Theatre</a> in <a href="/wiki/Hollywood,_Los_Angeles" title="Hollywood, Los Angeles">Hollywood</a> in 2009</figcaption></figure> In the 1930s, the <a href="/wiki/Democratic_Party_(United_States)" title="Democratic Party (United States)">Democrats</a> and the <a href="/wiki/Republican_Party_(United_States)" title="Republican Party (United States)">Republicans</a> saw money in Hollywood. President <a href="/wiki/Franklin_Roosevelt" class="mw-redirect" title="Franklin Roosevelt">Franklin Roosevelt</a> saw a huge partnership with Hollywood. He used the first real potential of Hollywood's stars in a national campaign. <a href="/wiki/Melvyn_Douglas" title="Melvyn Douglas">Melvyn Douglas</a> and his wife Helen toured <a href="/wiki/Washington,_D.C." title="Washington, D.C.">Washington, D.C.</a>, in 1939 and met the key New Dealers.<a href="#cite_note-108">[108]</a> <div class="mw-heading mw-heading3"><h3 id="Political_endorsements">Political endorsements</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=10" title="Edit section: Political endorsements" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Hollywood_blacklist" title="Hollywood blacklist">Hollywood blacklist</a> and <a href="/wiki/List_of_Joe_Biden_2020_presidential_campaign_celebrity_endorsements" title="List of Joe Biden 2020 presidential campaign celebrity endorsements">List of Joe Biden 2020 presidential campaign celebrity endorsements</a></div> 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, <a href="/wiki/John_F._Kennedy" title="John F. Kennedy">John F. Kennedy</a> was a new, young face for Washington, and his strong friendship with <a href="/wiki/Frank_Sinatra" title="Frank Sinatra">Frank Sinatra</a> exemplified this new era of glamour. The last moguls of Hollywood were gone, and younger, newer executives and producers began pushing more <a href="/wiki/Modern_liberalism_in_the_United_States" title="Modern liberalism in the United States">liberal</a> ideas.<a href="#cite_note-109">[109]</a><a href="#cite_note-110">[110]</a> Celebrities and money attracted politicians into the high-class, glittering Hollywood lifestyle. As <a href="/wiki/Ron_Brownstein" title="Ron Brownstein">Ron Brownstein</a> 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 <a href="/wiki/Jane_Fonda" title="Jane Fonda">Jane Fonda</a> against the Vietnam War.<a href="#cite_note-Brownstein,_Ronald_1990-111">[111]</a> Despite most celebrities and producers being left-leaning and tending to support the <a href="/wiki/Democratic_Party_(United_States)" title="Democratic Party (United States)">Democratic Party</a>,<a href="#cite_note-112">[112]</a><a href="#cite_note-113">[113]</a> this era produced some <a href="/wiki/Republican_Party_(United_States)" title="Republican Party (United States)">Republican</a> actors and producers such as <a href="/wiki/Clint_Eastwood" title="Clint Eastwood">Clint Eastwood</a> and <a href="/wiki/Jerry_Bruckheimer" title="Jerry Bruckheimer">Jerry Bruckheimer</a>. Support groups such as the <a href="/wiki/Friends_of_Abe" title="Friends of Abe">Friends of Abe</a> were set up to support conservative causes in Hollywood, which is perceived as biased against conservatives.<a href="#cite_note-114">[114]</a> Former actor <a href="/wiki/Ronald_Reagan" title="Ronald Reagan">Ronald Reagan</a> became <a href="/wiki/Governor_of_California" title="Governor of California">governor of California</a> and subsequently became the 40th <a href="/wiki/President_of_the_United_States" title="President of the United States">president of the United States</a>. It continued with <a href="/wiki/Arnold_Schwarzenegger" title="Arnold Schwarzenegger">Arnold Schwarzenegger</a> as California's governor in <a href="/wiki/2003_California_gubernatorial_recall_election" title="2003 California gubernatorial recall election">2003</a>.<a href="#cite_note-115">[115]</a> <div class="mw-heading mw-heading3"><h3 id="Political_donations">Political donations</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=11" title="Edit section: Political donations" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Highsmithmaycompanywilshire.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Highsmithmaycompanywilshire.jpg/220px-Highsmithmaycompanywilshire.jpg" decoding="async" width="220" height="173" class="mw-file-element" data-file-width="4362" data-file-height="3433"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 173px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Highsmithmaycompanywilshire.jpg/220px-Highsmithmaycompanywilshire.jpg" data-width="220" data-height="173" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Highsmithmaycompanywilshire.jpg/330px-Highsmithmaycompanywilshire.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Highsmithmaycompanywilshire.jpg/440px-Highsmithmaycompanywilshire.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Academy_Museum_of_Motion_Pictures" title="Academy Museum of Motion Pictures">Academy Museum of Motion Pictures</a></figcaption></figure> Today, donations from Hollywood help to fund federal politics.<a href="#cite_note-NewYorkTimes-20070206-116">[116]</a> On February 20, 2007, for example, Democratic then-presidential candidate <a href="/wiki/Barack_Obama" title="Barack Obama">Barack Obama</a> had a $2,300-a-plate Hollywood gala, being hosted by <a href="/wiki/DreamWorks_Pictures" title="DreamWorks Pictures">DreamWorks</a> founders <a href="/wiki/David_Geffen" title="David Geffen">David Geffen</a>, <a href="/wiki/Jeffrey_Katzenberg" title="Jeffrey Katzenberg">Jeffrey Katzenberg</a>, and <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a> at the Beverly Hilton.<a href="#cite_note-NewYorkTimes-20070206-116">[116]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><h2 id="Criticisms">Criticisms</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=12" title="Edit section: Criticisms" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <div class="mw-heading mw-heading3"><h3 id="Covert_advertising">Covert advertising</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=13" title="Edit section: Covert advertising" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <a href="/wiki/Native_advertising" title="Native advertising">Native advertising</a> is information designed to persuade in more subtle ways than classic <a href="/wiki/Propaganda" title="Propaganda">propaganda</a>. A modern example common in the <a href="/wiki/United_States" title="United States">United States</a> is <a href="/wiki/Copaganda" title="Copaganda">Copaganda</a>, in which TV shows display unrealistically flattering portrayals of law enforcement, in part to borrow equipment and get their assistance in blocking off streets to more easily film on location.<a href="#cite_note-117">[117]</a> Other <a href="/wiki/Reputation_laundering" title="Reputation laundering">reputation laundering</a> accusations have been leveled in the entertainment industry, including the burnishing the image of the Mafia.<a href="#cite_note-118">[118]</a> <a href="/wiki/Product_placement" title="Product placement">Product placement</a> also has been a point of criticism, with the tobacco industry promoting smoking on screen.<a href="#cite_note-119">[119]</a> The Centers for Disease Control cites that 18% of teen smokers would not start smoking if films with smoking were automatically given an 'R' rating, which would save 1 million lives.<a href="#cite_note-120">[120]</a> <div class="mw-heading mw-heading3"><h3 id="Censorship">Censorship</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=14" title="Edit section: Censorship" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Overseas_censorship_of_Chinese_issues" class="mw-redirect" title="Overseas censorship of Chinese issues">Overseas censorship of Chinese issues</a> and <a href="/wiki/List_of_TV_and_films_critical_of_Chinese_Communist_Party" class="mw-redirect" title="List of TV and films critical of Chinese Communist Party">List of TV and films critical of Chinese Communist Party</a></div> Hollywood producers generally seek to comply with the <a href="/wiki/Chinese_government" class="mw-redirect" title="Chinese government">Chinese government</a>'s censorship requirements in a bid to access the country's restricted and lucrative cinema market,<a href="#cite_note-wp-8oct2019-121">[121]</a> 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 <a href="/wiki/Red_Dawn_(2012_film)" title="Red Dawn (2012 film)">Red Dawn</a> from Chinese to North Koreans.<a href="#cite_note-wp-8oct2019-121">[121]</a> Due to many topics forbidden in China, such as Dalai Lama and <a href="/wiki/Winnie-the-Pooh#Censorship_in_China" title="Winnie-the-Pooh">Winnie-the-Pooh</a> being involved in the <a href="/wiki/South_Park" title="South Park">South Park</a>'s episode "<a href="/wiki/Band_in_China" title="Band in China">Band in China</a>", South Park was entirely banned in China after the episode's broadcast.<a href="#cite_note-pooh-122">[122]</a> The 2018 film <a href="/wiki/Christopher_Robin_(film)" title="Christopher Robin (film)">Christopher Robin</a>, the new Winnie-the-Pooh movie, was denied a Chinese release.<a href="#cite_note-pooh-122">[122]</a> Although <a href="/wiki/Tibet" title="Tibet">Tibet</a> was previously a <a href="/wiki/Cause_c%C3%A9l%C3%A8bre" title="Cause célèbre">cause célèbre</a> in Hollywood, featuring in films including <a href="/wiki/Kundun" title="Kundun">Kundun</a> and <a href="/wiki/Seven_Years_in_Tibet" title="Seven Years in Tibet">Seven Years in Tibet</a>, in the 21st century this is no longer the case.<a href="#cite_note-qz-tibet-2019-123">[123]</a> In 2016, <a href="/wiki/Marvel_Entertainment" title="Marvel Entertainment">Marvel Entertainment</a> attracted criticism for its decision to cast Tilda Swinton as "The Ancient One" in the film adaptation <a href="/wiki/Doctor_Strange_(2016_film)" title="Doctor Strange (2016 film)">Doctor Strange</a>, using a white woman to play a traditionally Tibetan character.<a href="#cite_note-124">[124]</a> Actor and high-profile Tibet supporter <a href="/wiki/Richard_Gere" title="Richard Gere">Richard Gere</a> 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 <a href="/wiki/2008_Summer_Olympics" title="2008 Summer Olympics">2008 Summer Olympics</a> in Beijing.<a href="#cite_note-qz-tibet-2019-123">[123]</a><a href="#cite_note-hr-gere-2017-125">[125]</a> <div class="mw-heading mw-heading4"><h4 id="Historic_examples">Historic examples</h4> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=15" title="Edit section: Historic examples" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Hollywood also <a href="/wiki/Nazism_and_cinema" title="Nazism and cinema">self-censored any negative depictions of Nazis</a> for most of the 1930s in order to maintain access to German audiences.<a href="#cite_note-:12-126">[126]</a> Around that time <a href="/wiki/Economic_censorship" class="mw-redirect" title="Economic censorship">economic censorship</a> resulted in the <a href="/wiki/Self-censorship" title="Self-censorship">self-censoring</a> of content to please the group wielding their economic influence.<a href="#cite_note-:12-126">[126]</a> The <a href="/wiki/Hays_Code" title="Hays Code">Hays Code</a> was an industry-led effort from 1930–1967 to strict self-censorship in order to appease religious objections to certain content and stave off any government censorship that could have resulted.<a href="#cite_note-:12-126">[126]</a> <div class="mw-heading mw-heading3"><h3 id="Relationship_with_the_military">Relationship with the military</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=16" title="Edit section: Relationship with the military" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Military%E2%80%93entertainment_complex" title="Military–entertainment complex">Military–entertainment complex</a></div> <div class="mw-heading mw-heading3"><h3 id="Sexual_abuse_scandals">Sexual abuse scandals</h3> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=17" title="Edit section: Sexual abuse scandals" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Sexual_abuse_in_the_American_film_industry" title="Sexual abuse in the American film industry">Sexual abuse in the American film industry</a></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><h2 id="Global_Hollywood">Global Hollywood</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=18" title="Edit section: Global Hollywood" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Grauman%27s_Chinese_Theatre,_by_Carol_Highsmith_fixed_%26_straightened.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg/220px-Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg" decoding="async" width="220" height="277" class="mw-file-element" data-file-width="3445" data-file-height="4343"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 277px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg/220px-Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg" data-width="220" data-height="277" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg/330px-Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg/440px-Grauman%27s_Chinese_Theatre%2C_by_Carol_Highsmith_fixed_%26_straightened.jpg 2x" data-class="mw-file-element"> </a><figcaption>The <a href="/wiki/TCL_Chinese_Theatre" class="mw-redirect" title="TCL Chinese Theatre">Chinese Theatre</a> before 2007</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:El_Capitan_Theatre_2009_Academy_Awards.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/El_Capitan_Theatre_2009_Academy_Awards.JPG/220px-El_Capitan_Theatre_2009_Academy_Awards.JPG" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="1024" data-file-height="768"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/El_Capitan_Theatre_2009_Academy_Awards.JPG/220px-El_Capitan_Theatre_2009_Academy_Awards.JPG" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/El_Capitan_Theatre_2009_Academy_Awards.JPG/330px-El_Capitan_Theatre_2009_Academy_Awards.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7f/El_Capitan_Theatre_2009_Academy_Awards.JPG/440px-El_Capitan_Theatre_2009_Academy_Awards.JPG 2x" data-class="mw-file-element"> </a><figcaption>The <a href="/wiki/El_Capitan_Theatre" title="El Capitan Theatre">El Capitan Theatre</a></figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Egyptian2.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Egyptian2.jpg/220px-Egyptian2.jpg" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="400" data-file-height="300"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Egyptian2.jpg/220px-Egyptian2.jpg" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Egyptian2.jpg/330px-Egyptian2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/b/ba/Egyptian2.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Grauman%27s_Egyptian_Theatre" title="Grauman's Egyptian Theatre">Egyptian Theatre</a> main entry</figcaption></figure> 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,<a href="#cite_note-127">[127]</a> Janet Wasko and Mary Erickson,<a href="#cite_note-128">[128]</a> Kerry Segrave,<a href="#cite_note-129">[129]</a> John Trump Bour<a href="#cite_note-130">[130]</a> and Tanner Mirles<a href="#cite_note-131">[131]</a> examine the international political economy of Hollywood's power. According to Tanner Mirles, 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."<a href="#cite_note-132">[132]</a> 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 <a href="/wiki/Nickelodeon_(movie_theater)" title="Nickelodeon (movie theater)">nickelodeon</a> boom. <a href="/wiki/Motion_Picture_Patents_Company" title="Motion Picture Patents Company">Motion Picture Patents Company</a> members such as <a href="/wiki/Edison_Studios" title="Edison Studios">Edison Studios</a>, also sought to limit competition from French, Italian, and other imported films. Exporting films, then, became lucrative to these companies. <a href="/wiki/Vitagraph_Studios" title="Vitagraph Studios">Vitagraph Studios</a> 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.<a href="#cite_note-Thompson-133">[133]</a> 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.<a href="#cite_note-Thompson-133">[133]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Dolby_Theatre_v2.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Dolby_Theatre_v2.jpg/220px-Dolby_Theatre_v2.jpg" decoding="async" width="220" height="176" class="mw-file-element" data-file-width="2000" data-file-height="1598"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 176px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Dolby_Theatre_v2.jpg/220px-Dolby_Theatre_v2.jpg" data-width="220" data-height="176" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Dolby_Theatre_v2.jpg/330px-Dolby_Theatre_v2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Dolby_Theatre_v2.jpg/440px-Dolby_Theatre_v2.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Dolby_Theatre" title="Dolby Theatre">Dolby Theatre</a>, Hollywood's renowned venue for the prestigious Academy Awards ceremony, which honors excellence in film</figcaption></figure> 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 <a href="/wiki/United_States" title="United States">United States</a> was also doing well in Germany, Australia, and New Zealand.<a href="#cite_note-Thompson-133">[133]</a> More recently, as globalization has started to intensify, and the <a href="/wiki/United_States" title="United States">United States</a> 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.<a href="#cite_note-134">[134]</a> With globalization, movie production has been clustered in Hollywood for several reasons: the <a href="/wiki/United_States" title="United States">United States</a> has the largest single home market in dollar terms, entertaining and highly visible Hollywood movies have global appeal, and the role of English as a universal language contributes to compensating for higher fixed costs of production. 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.<a href="#cite_note-135">[135]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><h2 id="Role_of_women">Role of women</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=19" title="Edit section: Role of women" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Women_in_film" title="Women in film">Women in film</a></div><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Update plainlinks metadata ambox ambox-content ambox-Update" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span">This section needs to be updated. Please help update this article to reflect recent events or newly available information. (August 2023)</div></td></tr></tbody></table><style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:292px;max-width:292px"><div class="trow"><div class="tsingle" style="width:144px;max-width:144px"><div class="thumbimage" style="height:158px;overflow:hidden"><a href="/wiki/File:The_Laundromat_09_(48816216163).jpg" class="mw-file-description"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/The_Laundromat_09_%2848816216163%29.jpg/142px-The_Laundromat_09_%2848816216163%29.jpg" decoding="async" width="142" height="199" class="mw-file-element" data-file-width="1925" data-file-height="2696"></noscript><span class="lazy-image-placeholder" style="width: 142px;height: 199px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/The_Laundromat_09_%2848816216163%29.jpg/142px-The_Laundromat_09_%2848816216163%29.jpg" data-alt="" data-width="142" data-height="199" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/The_Laundromat_09_%2848816216163%29.jpg/213px-The_Laundromat_09_%2848816216163%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/The_Laundromat_09_%2848816216163%29.jpg/284px-The_Laundromat_09_%2848816216163%29.jpg 2x" data-class="mw-file-element"> </a></div></div><div class="tsingle" style="width:144px;max-width:144px"><div class="thumbimage" style="height:158px;overflow:hidden"><a href="/wiki/File:Katharine_Hepburn_publicity_photograph.jpg" class="mw-file-description"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Katharine_Hepburn_publicity_photograph.jpg/142px-Katharine_Hepburn_publicity_photograph.jpg" decoding="async" width="142" height="188" class="mw-file-element" data-file-width="2095" data-file-height="2776"></noscript><span class="lazy-image-placeholder" style="width: 142px;height: 188px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Katharine_Hepburn_publicity_photograph.jpg/142px-Katharine_Hepburn_publicity_photograph.jpg" data-alt="" data-width="142" data-height="188" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Katharine_Hepburn_publicity_photograph.jpg/213px-Katharine_Hepburn_publicity_photograph.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/89/Katharine_Hepburn_publicity_photograph.jpg/284px-Katharine_Hepburn_publicity_photograph.jpg 2x" data-class="mw-file-element"> </a></div></div></div><div class="trow" style="display:flex"><div class="thumbcaption"><a href="/wiki/Meryl_Streep" title="Meryl Streep">Meryl Streep</a> is cited as one of the most influential women in Hollywood and <a href="/wiki/Katharine_Hepburn" title="Katharine Hepburn">Katharine Hepburn</a> received four Academy Awards for Best Actress—a record for any performer.</div></div></div></div> Women are statistically underrepresented in creative positions in the center of the US film industry, Hollywood. This underrepresentation has been called the "<a href="/wiki/Celluloid_ceiling" title="Celluloid ceiling">celluloid ceiling</a>", a variant on the <a href="/wiki/Employment_discrimination" title="Employment discrimination">employment discrimination</a> term "<a href="/wiki/Glass_ceiling" title="Glass ceiling">glass ceiling</a>". In 2013, the "top-paid actors ... made <style data-mw-deduplicate="TemplateStyles:r1154941027">.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}</style>2+1⁄2 times as much money as the top-paid actresses."<a href="#cite_note-slate.com-136">[136]</a> "[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."<a href="#cite_note-137">[137]</a> The 2013 Celluloid Ceiling Report conducted by the Center for the Study of Women in Television and Film at <a href="/wiki/San_Diego_State_University" title="San Diego State University">San Diego State University</a> collected a list of statistics gathered from "2,813 individuals employed by the 250 top domestic grossing films of 2012."<a href="#cite_note-SanDiego-138">[138]</a> Women accounted for: <ul><li>"18% of all directors, executive producers, producers, writers, cinematographers, and editors. This reflected no change from 2011 and only a 1% increase from 1998."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"9% of all directors."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"15% of writers."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"25% of all producers."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"20% of all editors."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"2% of all cinematographers."<a href="#cite_note-SanDiego-138">[138]</a></li> <li>"38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3 to 5 women, and 10% employed 6 to 9 women."<a href="#cite_note-SanDiego-138">[138]</a></li></ul> A <a href="/wiki/The_New_York_Times" title="The New York Times">New York Times</a> article stated that only 15% of the top films in 2013 had women for a lead acting role.<a href="#cite_note-NYTstudy-139">[139]</a> 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."<a href="#cite_note-slate.com-136">[136]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><h2 id="Race_and_ethnicity">Race and ethnicity</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=20" title="Edit section: Race and ethnicity" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/African-American_representation_in_Hollywood" title="African-American representation in Hollywood">African-American representation in Hollywood</a>, <a href="/wiki/Representation_of_African_Americans_in_media" title="Representation of African Americans in media">Representation of African Americans in media</a>, <a href="/wiki/Portrayal_of_East_Asians_in_Hollywood" class="mw-redirect" title="Portrayal of East Asians in Hollywood">Portrayal of East Asians in Hollywood</a>, <a href="/wiki/Portrayal_of_Native_Americans_in_film" class="mw-redirect" title="Portrayal of Native Americans in film">Portrayal of Native Americans in film</a>, <a href="/wiki/Portrayal_of_Arabs_in_film" title="Portrayal of Arabs in film">Portrayal of Arabs in film</a>, <a href="/wiki/White_savior_narrative_in_film" title="White savior narrative in film">White savior narrative in film</a>, <a href="/wiki/Whitewashing_in_film" title="Whitewashing in film">Whitewashing in film</a>, <a href="/wiki/Chicano_films" class="mw-redirect" title="Chicano films">Chicano films</a>, <a href="/wiki/Racism_in_early_American_film" title="Racism in early American film">Racism in early American film</a>, and <a href="/wiki/Racism_in_horror_films" class="mw-redirect" title="Racism in horror films">Racism in horror films</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg/220px-Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg" decoding="async" width="220" height="147" class="mw-file-element" data-file-width="2700" data-file-height="1800"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 147px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg/220px-Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg" data-width="220" data-height="147" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg/330px-Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/27/Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg/440px-Michael_Pe%C3%B1a_Labor_Cesar_E._Chavez_Memorial_Auditorium.jpg 2x" data-class="mw-file-element"> </a><figcaption><a href="/wiki/Michael_Pe%C3%B1a" title="Michael Peña">Michael Peña</a> was master-of-ceremonies at the induction of the <a href="/wiki/Farm_Worker_Movement" class="mw-redirect" title="Farm Worker Movement">Farm Worker Movement</a> into the <a href="/wiki/Labor_Hall_of_Fame" class="mw-redirect" title="Labor Hall of Fame">Labor Hall of Fame</a> and dedication of the Cesar E. Chavez Memorial Auditorium at the <a href="/wiki/United_States_Department_of_Labor" title="United States Department of Labor">U.S. Department of Labor</a> in March 2012. During the time, he was cast for the film <a href="/wiki/Cesar_Chavez_(film)" title="Cesar Chavez (film)">Cesar Chavez</a>.</figcaption></figure> On May 10, 2021, <a href="/wiki/NBC" title="NBC">NBC</a> announced that it would not televise the <a href="/wiki/79th_Golden_Globe_Awards" title="79th Golden Globe Awards">79th Golden Globe Awards</a> in 2022 in support of a boycott of the <a href="/wiki/Hollywood_Foreign_Press_Association" title="Hollywood Foreign Press Association">Hollywood Foreign Press Association</a> (HFPA) by multiple media companies over inadequate efforts to address <a href="/wiki/Hollywood_Foreign_Press_Association" title="Hollywood Foreign Press Association">lack of diversity</a> within the membership of the association with <a href="/wiki/Person_of_color" title="Person of color">people of color</a>, but that it would be open to televise the ceremony in 2023 if the HFPA were successful in its efforts to reform.<a href="#cite_note-140">[140]</a> The HFPA would be disbanded two years later as a result of this and other scandals.<a href="#cite_note-141">[141]</a><a href="#cite_note-142">[142]</a> American cinema has often reflected and propagated negative <a href="/wiki/Stereotype" title="Stereotype">stereotypes</a> towards foreign nationals and ethnic minorities.<a href="#cite_note-143">[143]</a> For example, <a href="/wiki/Russians" title="Russians">Russians</a> and <a href="/wiki/Russian_Americans" title="Russian Americans">Russian Americans</a> are usually portrayed as brutal mobsters, ruthless agents and villains.<a href="#cite_note-144">[144]</a><a href="#cite_note-145">[145]</a><a href="#cite_note-146">[146]</a> According to Russian American professor <a href="/wiki/Nina_L._Khrushcheva" class="mw-redirect" title="Nina L. Khrushcheva">Nina L. Khrushcheva</a>, "You can't even turn the TV on and go to the movies without reference to Russians as horrible."<a href="#cite_note-147">[147]</a> <a href="/wiki/Italians" title="Italians">Italians</a> and <a href="/wiki/Italian_Americans" title="Italian Americans">Italian Americans</a> are usually associated with organized crime and the <a href="/wiki/American_Mafia" title="American Mafia">American Mafia</a>.<a href="#cite_note-148">[148]</a><a href="#cite_note-149">[149]</a><a href="#cite_note-stereotypes-150">[150]</a> <a href="/wiki/Hispanic_and_Latino_Americans" title="Hispanic and Latino Americans">Hispanic and Latino Americans</a> are largely depicted as sexualized figures such as the Latino <a href="/wiki/Machismo" title="Machismo">macho</a> or the Latina <a href="/wiki/Sex_kitten" title="Sex kitten">vixen</a>, <a href="/wiki/Gang" title="Gang">gang</a> members, (illegal) <a href="/wiki/Immigration" title="Immigration">immigrants</a>, or <a href="/wiki/Entertainer" class="mw-redirect" title="Entertainer">entertainers</a>.<a href="#cite_note-151">[151]</a> However, representation in Hollywood has improved in recent years, gaining traction in the 1990s, and no longer emphasizes oppression, exploitation, or resistance as primary themes. According to Charles Ramírez Berg, third wave films "do not accentuate <a href="/wiki/Chicano" title="Chicano">Chicano</a> oppression or resistance; ethnicity in these films exists as one fact of several that shape characters' lives and stamps their personalities."<a href="#cite_note-:14-152">[152]</a> Filmmakers like <a href="/wiki/Edward_James_Olmos" title="Edward James Olmos">Edward James Olmos</a> and <a href="/wiki/Robert_Rodriguez" title="Robert Rodriguez">Robert Rodriguez</a> were able to represent the Hispanic and Latino American experience like none had on screen before, and actors like <a href="/wiki/Hilary_Swank" title="Hilary Swank">Hilary Swank</a>, <a href="/wiki/Jordana_Brewster" title="Jordana Brewster">Jordana Brewster</a>, <a href="/wiki/Jessica_Alba" title="Jessica Alba">Jessica Alba</a>, <a href="/wiki/Camilla_Belle" title="Camilla Belle">Camilla Belle</a>, <a href="/wiki/Al_Madrigal" title="Al Madrigal">Al Madrigal</a>, <a href="/wiki/Alexis_Bledel" title="Alexis Bledel">Alexis Bledel</a>, <a href="/wiki/Sof%C3%ADa_Vergara" title="Sofía Vergara">Sofía Vergara</a>, <a href="/wiki/Ana_de_Armas" title="Ana de Armas">Ana de Armas</a>, and <a href="/wiki/Rachel_Zegler" title="Rachel Zegler">Rachel Zegler</a> have become successful. In the last decade, minority filmmakers like <a href="/wiki/Chris_Weitz" title="Chris Weitz">Chris Weitz</a>, <a href="/wiki/Alfonso_Gomez-Rejon" title="Alfonso Gomez-Rejon">Alfonso Gomez-Rejon</a>, and <a href="/wiki/Patricia_Riggen" title="Patricia Riggen">Patricia Riggen</a> have been given applier[<a href="/wiki/Wikipedia:Manual_of_Style" title="Wikipedia:Manual of Style">spelling?</a>] narratives. Films that portray Hispanic and Latino Americans include <a href="/wiki/La_Bamba_(film)" title="La Bamba (film)">La Bamba</a> (1987), <a href="/wiki/Selena_(film)" title="Selena (film)">Selena</a> (1997), <a href="/wiki/The_Mask_of_Zorro" title="The Mask of Zorro">The Mask of Zorro</a> (1998), <a href="/wiki/Goal_II:_Living_the_Dream" title="Goal II: Living the Dream">Goal II</a> (2007), <a href="/wiki/Overboard_(2018_film)" title="Overboard (2018 film)">Overboard</a> (2018), <a href="/wiki/Father_of_the_Bride_(2022_film)" title="Father of the Bride (2022 film)">Father of the Bride</a> (2022), and <a href="/wiki/Josefina_L%C3%B3pez" title="Josefina López">Josefina López</a>'s <a href="/wiki/Real_Women_Have_Curves" title="Real Women Have Curves">Real Women Have Curves</a>, originally <a href="/wiki/Real_Women_Have_Curves_(play)" title="Real Women Have Curves (play)">a play</a> which premiered in 1990 and was later released as a film in 2002.<a href="#cite_note-:14-152">[152]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg/220px-Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg" decoding="async" width="220" height="165" class="mw-file-element" data-file-width="640" data-file-height="480"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 165px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg/220px-Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg" data-width="220" data-height="165" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg/330px-Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg/440px-Jews_Say_No_to_Genocide-Hollywood_Protest_for_a_Ceasefire_in_Gaza.jpg 2x" data-class="mw-file-element"> </a><figcaption>Pro-Palestinian protest in <a href="/wiki/Los_Angeles" title="Los Angeles">Los Angeles</a> against the <a href="/wiki/Israel%E2%80%93Hamas_war" title="Israel–Hamas war">war in Gaza</a> and Hollywood's role in <a href="/wiki/Islamophobia" title="Islamophobia">dehumanizing Muslims</a> in November 2023</figcaption></figure> <a href="/wiki/African-American_representation_in_Hollywood" title="African-American representation in Hollywood">African-American representation in Hollywood</a> improved drastically towards the end of the 20th century after the fall of the studio system and that trend endures in the 21st century as minority representation continues to increase.<a href="#cite_note-153">[153]</a><a href="#cite_note-154">[154]</a><a href="#cite_note-155">[155]</a><a href="#cite_note-156">[156]</a> In old Hollywood, it was not uncommon for <a href="/wiki/List_of_entertainers_who_performed_in_blackface" title="List of entertainers who performed in blackface">white actors to wear black face</a>.<a href="#cite_note-157">[157]</a> In the 2016 film <a href="/wiki/Moonlight_(2016_film)" title="Moonlight (2016 film)">Moonlight</a>, masculinity is portrayed as rigid and aggressive, as seen in the behavior of young black males in Chiron's teenage peer group.<a href="#cite_note-Watts-158">[158]</a> The expression of <a href="/wiki/Hypermasculinity" title="Hypermasculinity">hyper-masculinity</a> among black men has been associated with peer acceptance and community.<a href="#cite_note-159">[159]</a> Being a <a href="/wiki/Homosexuality" title="Homosexuality">gay</a> man in the black community, on the other hand, has been associated with social alienation and homophobic judgement by peers. 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 <a href="/wiki/Homophobia" title="Homophobia">homophobia</a>. As an adult, Chiron chooses to embrace the stereotypical black male gender performance by becoming muscular and a drug dealer.<a href="#cite_note-Watts-158">[158]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Crossroads_of_the_World.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Crossroads_of_the_World.jpg/220px-Crossroads_of_the_World.jpg" decoding="async" width="220" height="173" class="mw-file-element" data-file-width="1024" data-file-height="805"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 173px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Crossroads_of_the_World.jpg/220px-Crossroads_of_the_World.jpg" data-width="220" data-height="173" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Crossroads_of_the_World.jpg/330px-Crossroads_of_the_World.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/63/Crossroads_of_the_World.jpg/440px-Crossroads_of_the_World.jpg 2x" data-class="mw-file-element"> </a><figcaption>Crossroads of the World</figcaption></figure> According to <a href="/wiki/Korean_Americans" title="Korean Americans">Korean American</a> actor <a href="/wiki/Daniel_Dae_Kim" title="Daniel Dae Kim">Daniel Dae Kim</a>, Asian and <a href="/wiki/Asian_Americans" title="Asian Americans">Asian American</a> men "have been portrayed as inscrutable villains and asexualized kind of eunuchs."<a href="#cite_note-stereotypes-150">[150]</a> The Media Action Network for Asian Americans accused the director and studio of <a href="/wiki/Aloha_(2015_film)" title="Aloha (2015 film)">Aloha</a> of <a href="/wiki/Whitewashing_in_film" title="Whitewashing in film">whitewashing</a> the cast of the film, and the director, Cameron Crowe, apologized about <a href="/wiki/Emma_Stone" title="Emma Stone">Emma Stone</a> being miscast as a character who is meant to be of one quarter <a href="/wiki/Han_Chinese" title="Han Chinese">Chinese</a> and one quarter <a href="/wiki/Native_Hawaiians" title="Native Hawaiians">Hawaiian</a> descent.<a href="#cite_note-160">[160]</a><a href="#cite_note-161">[161]</a><a href="#cite_note-162">[162]</a> Throughout the 20th century, acting roles in film were relatively few, and many available roles were narrow characters. In the 21st century, young Asian American comedians and filmmakers have found an outlet on <a href="/wiki/YouTube" title="YouTube">YouTube</a> allowing them to gain a strong and loyal fanbase among their fellow Asian Americans.<a href="#cite_note-163">[163]</a> Although more recently the film <a href="/wiki/Crazy_Rich_Asians_(film)" title="Crazy Rich Asians (film)">Crazy Rich Asians</a> has been lauded in the United States for featuring a predominantly Asian cast,<a href="#cite_note-164">[164]</a> it was criticized elsewhere for casting <a href="/wiki/Multiracial_Americans" title="Multiracial Americans">biracial</a> and non-Chinese actors as ethnically Chinese characters. The film <a href="/wiki/Always_Be_My_Maybe_(2019_film)" title="Always Be My Maybe (2019 film)">Always Be My Maybe</a> was lauded for taking familiar rom-com beats and cleverly layering in smart social commentary.<a href="#cite_note-165">[165]</a> Before the <a href="/wiki/September_11_attacks" title="September 11 attacks">September 11 attacks</a>, <a href="/wiki/Arabs" title="Arabs">Arabs</a> and <a href="/wiki/Arab_Americans" title="Arab Americans">Arab Americans</a> were often portrayed as <a href="/wiki/Terrorism" title="Terrorism">terrorists</a>.<a href="#cite_note-stereotypes-150">[150]</a> The decision to hire <a href="/wiki/Naomi_Scott" title="Naomi Scott">Naomi Scott</a>, the daughter of an <a href="/wiki/English_people" title="English people">English</a> father and a <a href="/wiki/Gujarati_people" title="Gujarati people">Gujarati</a> <a href="/wiki/Indians_in_Uganda" title="Indians in Uganda">Ugandan-Indian</a> mother, to play the lead of <a href="/wiki/Jasmine_(Aladdin)" title="Jasmine (Aladdin)">Jasmine</a> in the film <a href="/wiki/Aladdin_(2019_film)" title="Aladdin (2019 film)">Aladdin</a> also drew criticism as well as accusations of <a href="/wiki/Discrimination_based_on_skin_color" class="mw-redirect" title="Discrimination based on skin color">colorism</a>, as some commentators expected the role to go to an actress of Arab or Middle Eastern origin.<a href="#cite_note-166">[166]</a> 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."<a href="#cite_note-167">[167]</a><a href="#cite_note-168">[168]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(7)"><h2 id="Working_conditions">Working conditions</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=21" title="Edit section: Working conditions" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-7 collapsible-block" id="mf-section-7"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_Hollywood_strikes" title="List of Hollywood strikes">List of Hollywood strikes</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg/220px-Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg" decoding="async" width="220" height="368" class="mw-file-element" data-file-width="1952" data-file-height="3264"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 368px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg/220px-Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg" data-width="220" data-height="368" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg/330px-Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg/440px-Kill_Bill_the_Whole_Bloody_Affair_screening_at_the_New_Beverly.jpg 2x" data-class="mw-file-element"> </a><figcaption>The <a href="/wiki/New_Beverly_Cinema" title="New Beverly Cinema">New Beverly Cinema</a> known for showcasing a diverse range of movies from various genres and eras. The theater retained its vintage charm, featuring 35mm film projections and maintaining an old-school moviegoing experience.</figcaption></figure> Hollywood's work flow is unique in that much of its work force does not 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.<a href="#cite_note-Polone-169">[169]</a><a href="#cite_note-Long_Hours-170">[170]</a> While the role of labor in America has waned in many parts of the country, the <a href="/wiki/Trade_union" title="Trade union">unions</a> have maintained a firm grip in Hollywood since their start during <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a> 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.<a href="#cite_note-Class_Struggle-171">[171]</a> Due to the <a href="/wiki/Contingent_work" title="Contingent work">casual</a> nature of employment in Hollywood, it is only through <a href="/wiki/Collective_bargaining" title="Collective bargaining">collective bargaining</a> can individual workers express their rights to minimum wage guarantees and access to pension and health plans that carry over from film to film or TV series to TV series, and offer the studios access to a trained workforce able to step onto a set on day one with the knowledge and experience to handle the highly technical equipment they are asked to operate.<a href="#cite_note-Vogue-172">[172]</a> The majority of the workers in Hollywood are represented by several unions and guilds. The 150,000 member-strong <a href="/wiki/International_Alliance_of_Theatrical_Stage_Employees" title="International Alliance of Theatrical Stage Employees">International Alliance of Theatrical Stage Employees</a> (IATSE) represents most of the <a href="/wiki/Craft" title="Craft">crafts</a>, such as the grips, electricians, and camera people, as well as editors, sound engineers, and hair & make-up artists. The <a href="/wiki/Screen_Actors_Guild" title="Screen Actors Guild">Screen Actors Guild</a> (SAG) is the next largest group representing some 130,000 actors and performers, the <a href="/wiki/Directors_Guild_of_America" title="Directors Guild of America">Directors Guild of America</a> (DGA) represents the directors and production managers, the <a href="/wiki/Writers_Guild_of_America" title="Writers Guild of America">Writers Guild of America</a> (WGA) representing writers, and the <a href="/wiki/International_Brotherhood_of_Teamsters" title="International Brotherhood of Teamsters">International Brotherhood of Teamsters</a> (IBT) represents the drivers.<a href="#cite_note-173">[173]</a><a href="#cite_note-174">[174]</a> The unions and guilds serve as the <a href="/wiki/Collective_bargaining" title="Collective bargaining">collective bargaining</a> unit for their membership, negotiating on regular intervals (most currently on 3 year contracts) with the <a href="/wiki/Alliance_of_Motion_Picture_and_Television_Producers" title="Alliance of Motion Picture and Television Producers">Alliance of Motion Picture and Television Producers</a> (AMPTP), a trade alliance representing the film studios and television networks that hire the crews to create their content. While the relationship between labor and management has generally been amicable over the years, working together with the state to develop safe protocols to continue working during <a href="/wiki/COVID-19" title="COVID-19">COVID-19</a> and lobbying together in favor of <a href="/wiki/Tax_incentive" title="Tax incentive">tax incentives</a>, contract negotiations have been known to get contentious over changes in the industry and as a response to rising <a href="/wiki/Income_inequality_in_the_United_States" title="Income inequality in the United States">income inequality</a>. The relationship even turned <a href="/wiki/Hollywood_Black_Friday" title="Hollywood Black Friday">bloody</a> in 1945 as a six-month strike by set decorators turned into a bloody melee on a sweltering October day between strikers, scabs, strikebreakers, and studio security.<a href="#cite_note-covid-175">[175]</a><a href="#cite_note-Tax_Credit-176">[176]</a><a href="#cite_note-IA_strike-177">[177]</a><a href="#cite_note-Bloody-178">[178]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(8)"><h2 id="See_also">See also</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=22" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-8 collapsible-block" id="mf-section-8"> <style data-mw-deduplicate="TemplateStyles:r1259569809">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid var(--border-color-base,#a2a9b1);padding:0.1em;background:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .portalbox-entry{display:table-row;font-size:85%;line-height:110%;height:1.9em;font-style:italic;font-weight:bold}.mw-parser-output .portalbox-image{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portalbox-link{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}@media(min-width:720px){.mw-parser-output .portalleft{clear:left;float:left;margin:0.5em 1em 0.5em 0}.mw-parser-output .portalright{clear:right;float:right;margin:0.5em 0 0.5em 1em}}</style><ul role="navigation" aria-label="Portals" class="noprint portalbox portalborder portalright"> <li class="portalbox-entry"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/28px-Video-x-generic.svg.png" decoding="async" width="28" height="28" class="mw-file-element" data-file-width="48" data-file-height="48"></noscript><span class="lazy-image-placeholder" style="width: 28px;height: 28px;" data-src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/28px-Video-x-generic.svg.png" data-alt="" data-width="28" data-height="28" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/42px-Video-x-generic.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/56px-Video-x-generic.svg.png 2x" data-class="mw-file-element"> <a href="/wiki/Portal:Film" title="Portal:Film">Film portal</a></li><li class="portalbox-entry"><noscript><img alt="flag" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png" decoding="async" width="32" height="17" class="mw-file-element" data-file-width="1235" data-file-height="650"></noscript><span class="lazy-image-placeholder" style="width: 32px;height: 17px;" data-src="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png" data-alt="flag" data-width="32" data-height="17" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/48px-Flag_of_the_United_States.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/64px-Flag_of_the_United_States.svg.png 2x" data-class="mw-file-element"> <a href="/wiki/Portal:United_States" title="Portal:United States">United States portal</a></li></ul> <ul><li><a href="/wiki/African_American_cinema" title="African American cinema">African American cinema</a></li> <li><a href="/wiki/Category:Documentary_films_about_Hollywood,_Los_Angeles" title="Category:Documentary films about Hollywood, Los Angeles">Category:Documentary films about Hollywood, Los Angeles</a></li> <li><a href="/wiki/Category:Documentary_films_about_the_cinema_of_the_United_States" title="Category:Documentary films about the cinema of the United States">Category:Documentary films about the cinema of the United States</a></li> <li><a href="/wiki/Category:Films_about_Hollywood,_Los_Angeles" title="Category:Films about Hollywood, Los Angeles">Category:Films about Hollywood, Los Angeles</a></li> <li><a href="/wiki/Lists_of_American_films" title="Lists of American films">Lists of American films</a></li> <li><a href="/wiki/American_comedy_films" title="American comedy films">American comedy films</a></li> <li><a href="/wiki/American_Film_Institute" title="American Film Institute">American Film Institute</a></li> <li><a href="/wiki/History_of_animation#History_of_United_States_animation" title="History of animation">History of animation in the United States</a></li> <li><a href="/wiki/List_of_films_in_the_public_domain_in_the_United_States" title="List of films in the public domain in the United States">List of films in the public domain in the United States</a></li> <li><a href="/wiki/Motion_Picture_Association_of_America_film_rating_system" class="mw-redirect" title="Motion Picture Association of America film rating system">Motion Picture Association of America film rating system</a></li> <li><a href="/wiki/National_Film_Registry" title="National Film Registry">National Film Registry</a></li></ul> <dl><dt>General</dt></dl> <ul><li><a href="/wiki/List_of_cinema_of_the_world" title="List of cinema of the world">List of cinema of the world</a></li> <li><a href="/wiki/Photography_in_the_United_States_of_America" class="mw-redirect" title="Photography in the United States of America">Photography in the United States of America</a> <ul><li><a href="/wiki/Cinema_of_North_America" title="Cinema of North America">Cinema of North America</a></li></ul></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(9)"><h2 id="References">References</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=23" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-9 collapsible-block" id="mf-section-9"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-screens_uis-1">^ <a href="#cite_ref-screens_uis_1-0">a</a> <a href="#cite_ref-screens_uis_1-1">b</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20181224225516/http://data.uis.unesco.org/?ReportId=5542">"Table 8: Cinema Infrastructure—Capacity"</a>. UNESCO Institute for Statistics. Archived from <a rel="nofollow" class="external text" href="http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5542">the original</a> on December 24, 2018. Retrieved November 5, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Table+8%3A+Cinema+Infrastructure%E2%80%94Capacity&rft.pub=UNESCO+Institute+for+Statistics&rft_id=http%3A%2F%2Fstats.uis.unesco.org%2Funesco%2FTableViewer%2FtableView.aspx%3FReportId%3D5542&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-production_uis-2"><a href="#cite_ref-production_uis_2-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20181224225519/http://data.uis.unesco.org/?ReportId=5545">"Table 1: Feature Film Production—Genre/Method of Shooting"</a>. UNESCO Institute for Statistics. Archived from <a rel="nofollow" class="external text" href="http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5545">the original</a> on December 24, 2018. Retrieved May 30, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Table+1%3A+Feature+Film+Production%E2%80%94Genre%2FMethod+of+Shooting&rft.pub=UNESCO+Institute+for+Statistics&rft_id=http%3A%2F%2Fstats.uis.unesco.org%2Funesco%2FTableViewer%2FtableView.aspx%3FReportId%3D5545&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-cine_aussie-3"><a href="#cite_ref-cine_aussie_3-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20131109233447/http://www.screenaustralia.gov.au/research/statistics/acompadmitper.aspx">"Cinema—Admissions per capita"</a>. Screen Australia. Archived from <a rel="nofollow" class="external text" href="http://www.screenaustralia.gov.au/research/statistics/acompadmitper.aspx">the original</a> on November 9, 2013. Retrieved November 9, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cinema%E2%80%94Admissions+per+capita&rft.pub=Screen+Australia&rft_id=http%3A%2F%2Fwww.screenaustralia.gov.au%2Fresearch%2Fstatistics%2Facompadmitper.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-adm_gross_uis-4">^ <a href="#cite_ref-adm_gross_uis_4-0">a</a> <a href="#cite_ref-adm_gross_uis_4-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20181224225511/http://data.uis.unesco.org/?ReportId=5538">"Table 11: Exhibition—Admissions & Gross Box Office (GBO)"</a>. UNESCO Institute for Statistics. Archived from <a rel="nofollow" class="external text" href="http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5538">the original</a> on December 24, 2018. Retrieved May 30, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Table+11%3A+Exhibition%E2%80%94Admissions+%26+Gross+Box+Office+%28GBO%29&rft.pub=UNESCO+Institute+for+Statistics&rft_id=http%3A%2F%2Fstats.uis.unesco.org%2Funesco%2FTableViewer%2FtableView.aspx%3FReportId%3D5538&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-lumiere_pioneers-5"><a href="#cite_ref-lumiere_pioneers_5-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.history.com/news/the-lumiere-brothers-pioneers-of-cinema">"The Lumière Brothers, Pioneers of Cinema"</a>. History Channel. Retrieved January 15, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Lumi%C3%A8re+Brothers%2C+Pioneers+of+Cinema&rft.pub=History+Channel&rft_id=http%3A%2F%2Fwww.history.com%2Fnews%2Fthe-lumiere-brothers-pioneers-of-cinema&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFUIS" class="citation web cs1">UIS. <a rel="nofollow" class="external text" href="http://data.uis.unesco.org/?ReportId=5538">"UIS Statistics"</a>. data.uis.unesco.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=data.uis.unesco.org&rft.atitle=UIS+Statistics&rft.au=UIS&rft_id=http%3A%2F%2Fdata.uis.unesco.org%2F%3FReportId%3D5538&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> Hudson, Dale. Vampires, Race, and Transnational Hollywoods. Edinburgh University Press, 2017. <a rel="nofollow" class="external text" href="https://www.vampires-race-transnational-hollywoods.com/">Website</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191222133607/https://www.vampires-race-transnational-hollywoods.com/">Archived</a> December 22, 2019, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-Kerrigan_Page_18-8"><a href="#cite_ref-Kerrigan_Page_18_8-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKerrigan2010" class="citation book cs1">Kerrigan, Finola (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ufMdvuuTQ7MC&pg=PA18">Film Marketing</a>. Oxford: Butterworth-Heinemann. p. 18. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780750686839" title="Special:BookSources/9780750686839"><bdi>9780750686839</bdi></a>. Retrieved February 4, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Film+Marketing&rft.place=Oxford&rft.pages=18&rft.pub=Butterworth-Heinemann&rft.date=2010&rft.isbn=9780750686839&rft.aulast=Kerrigan&rft.aufirst=Finola&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DufMdvuuTQ7MC%26pg%3DPA18&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Davis-9"><a href="#cite_ref-Davis_9-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavisDickinsonPattiVillarejo2015" class="citation book cs1">Davis, Glyn; Dickinson, Kay; Patti, Lisa; Villarejo, Amy (2015). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=dnXABgAAQBAJ&pg=PA299">Film Studies: A Global Introduction</a>. Abingdon: Routledge. p. 299. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781317623380" title="Special:BookSources/9781317623380"><bdi>9781317623380</bdi></a>. Retrieved August 24, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Film+Studies%3A+A+Global+Introduction&rft.place=Abingdon&rft.pages=299&rft.pub=Routledge&rft.date=2015&rft.isbn=9781317623380&rft.aulast=Davis&rft.aufirst=Glyn&rft.au=Dickinson%2C+Kay&rft.au=Patti%2C+Lisa&rft.au=Villarejo%2C+Amy&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DdnXABgAAQBAJ%26pg%3DPA299&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRosenstone1985" class="citation journal cs1">Rosenstone, Robert A. (1985). Schatz, Thomas; Isenberg, Michael T.; Roffman, Peter; Purdy, Jim; Cavell, Stanley; Alexander, William (eds.). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/178501?seq=1">"Genres, History, and Hollywood. A Review Article"</a>. Comparative Studies in Society and History. 27 (2): 367–375. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0010-4175">0010-4175</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Comparative+Studies+in+Society+and+History&rft.atitle=Genres%2C+History%2C+and+Hollywood.+A+Review+Article&rft.volume=27&rft.issue=2&rft.pages=367-375&rft.date=1985&rft.issn=0010-4175&rft.aulast=Rosenstone&rft.aufirst=Robert+A.&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F178501%3Fseq%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/bub_gb_cBoEAAAAMBAJ">Billboard</a>. Nielsen Business Media. April 29, 1944. p. <a rel="nofollow" class="external text" href="https://archive.org/details/bub_gb_cBoEAAAAMBAJ/page/n67">68</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0006-2510">0006-2510</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Billboard&rft.pages=68&rft.pub=Nielsen+Business+Media&rft.date=1944-04-29&rft.issn=0006-2510&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbub_gb_cBoEAAAAMBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHistory.com_Editors2010" class="citation web cs1">History.com Editors (February 9, 2010). <a rel="nofollow" class="external text" href="https://www.history.com/this-day-in-history/edison-patents-the-kinetograph">"Thomas Edison patents the Kinetograph"</a>. HISTORY. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HISTORY&rft.atitle=Thomas+Edison+patents+the+Kinetograph&rft.date=2010-02-09&rft.au=History.com+Editors&rft_id=https%3A%2F%2Fwww.history.com%2Fthis-day-in-history%2Fedison-patents-the-kinetograph&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> <code class="cs1-code">{{<a href="/wiki/Template:Cite_web" title="Template:Cite web">cite web</a>}}</code>: <code class="cs1-code">|last=</code> has generic name (<a href="/wiki/Help:CS1_errors#generic_name" title="Help:CS1 errors">help</a>) </li> <li id="cite_note-time.com-13"><a href="#cite_ref-time.com_13-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://time.com/3457278/the-jazz-singer/">"Why Contemporary Commentators Missed the Point With 'The Jazz Singer'"</a>. <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=Why+Contemporary+Commentators+Missed+the+Point+With+%27The+Jazz+Singer%27&rft_id=https%3A%2F%2Ftime.com%2F3457278%2Fthe-jazz-singer%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <a rel="nofollow" class="external text" href="http://www.filmsite.org/villvoice.html">Village Voice: 100 Best Films of the 20th century (2001)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140331174817/http://www.filmsite.org/villvoice.html">Archived</a> March 31, 2014, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. Filmsite.org; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120515211647/http://www.bfi.org.uk/sightandsound/topten/poll/critics-long.html">"Sight and Sound Top Ten Poll 2002"</a>. BFI. Archived from <a rel="nofollow" class="external text" href="http://www.bfi.org.uk/sightandsound/topten/poll/critics-long.html">the original</a> on May 15, 2012. Retrieved June 19, 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Sight+and+Sound+Top+Ten+Poll+2002&rft.pub=BFI&rft_id=http%3A%2F%2Fwww.bfi.org.uk%2Fsightandsound%2Ftopten%2Fpoll%2Fcritics-long.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.loc.gov/static/collections/edison-company-motion-pictures-and-sound-recordings/articles-and-essays/history-of-edison-motion-pictures/origins-of-motion-pictures.html">"The Kinetoscope"</a>. www.loc.gov. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.loc.gov&rft.atitle=The+Kinetoscope&rft_id=https%3A%2F%2Fwww.loc.gov%2Fstatic%2Fcollections%2Fedison-company-motion-pictures-and-sound-recordings%2Farticles-and-essays%2Fhistory-of-edison-motion-pictures%2Forigins-of-motion-pictures.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOnionSullivanMullenZapata2010" class="citation web cs1">Onion, Amanda; Sullivan, Missy; Mullen, Matt; Zapata, Christian (February 9, 2010). <a rel="nofollow" class="external text" href="https://www.history.com/this-day-in-history/edison-patents-the-kinetograph">"Thomas Edison patents the Kinetograph"</a>. HISTORY. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HISTORY&rft.atitle=Thomas+Edison+patents+the+Kinetograph&rft.date=2010-02-09&rft.aulast=Onion&rft.aufirst=Amanda&rft.au=Sullivan%2C+Missy&rft.au=Mullen%2C+Matt&rft.au=Zapata%2C+Christian&rft_id=https%3A%2F%2Fwww.history.com%2Fthis-day-in-history%2Fedison-patents-the-kinetograph&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKannapell,_Andrea1998" class="citation web cs1">Kannapell, Andrea (October 4, 1998). <a rel="nofollow" class="external text" href="https://www.nytimes.com/1998/10/04/nyregion/getting-big-picture-film-industry-started-here-left-now-it-s-back-state-says.html">"Getting the Big Picture; The Film Industry Started Here and Left. Now It's Back, and the State Says the Sequel Is Huge"</a>. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191219034718/https://www.nytimes.com/1998/10/04/nyregion/getting-big-picture-film-industry-started-here-left-now-it-s-back-state-says.html">Archived</a> from the original on December 19, 2019. Retrieved January 19, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=Getting+the+Big+Picture%3B+The+Film+Industry+Started+Here+and+Left.+Now+It%27s+Back%2C+and+the+State+Says+the+Sequel+Is+Huge.&rft.date=1998-10-04&rft.au=Kannapell%2C+Andrea&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1998%2F10%2F04%2Fnyregion%2Fgetting-big-picture-film-industry-started-here-left-now-it-s-back-state-says.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.the-numbers.com/market/">"Market Data"</a>. The Numbers. Retrieved July 11, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Numbers&rft.atitle=Market+Data&rft_id=https%3A%2F%2Fwww.the-numbers.com%2Fmarket%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAmith,_Dennis2011" class="citation web cs1">Amith, Dennis (January 1, 2011). <a rel="nofollow" class="external text" href="https://j-entonline.com/before-hollywood-there-was-fort-lee-n-j-early-movie-making-in-new-jersey-a-j-ent-dvd-review/">"Before Hollywood There Was Fort Lee, N.J.: Early Movie Making in New Jersey (a J!-ENT DVD Review)"</a>. J!-ENT. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191222043615/http://j-entonline.com/blu-ray-dvd-reviews/dvd-reviews-film-tv/before-hollywood-there-was-fort-lee-n-j-early-movie-making-in-new-jersey-a-j-ent-dvd-review/">Archived</a> from the original on December 22, 2019. Retrieved January 19, 2023. <q>When Hollywood, California, was mostly orange groves, Fort Lee, New Jersey, was a center of American film production.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Before+Hollywood+There+Was+Fort+Lee%2C+N.J.%3A+Early+Movie+Making+in+New+Jersey+%28a+J%21-ENT+DVD+Review%29&rft.pub=J%21-ENT&rft.date=2011-01-01&rft.au=Amith%2C+Dennis&rft_id=https%3A%2F%2Fj-entonline.com%2Fbefore-hollywood-there-was-fort-lee-n-j-early-movie-making-in-new-jersey-a-j-ent-dvd-review%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRose,_Lisa2012" class="citation web cs1">Rose, Lisa (April 29, 2012). <a rel="nofollow" class="external text" href="http://www.nj.com/news/index.ssf/2012/04/100_years_ago_fort_lee_was_the.html">"100 years ago, Fort Lee was the first town to bask in movie magic"</a>. <a href="/wiki/NJ.com" title="NJ.com">NJ.com</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180929115649/https://www.nj.com/news/index.ssf/2012/04/100_years_ago_fort_lee_was_the.html">Archived</a> from the original on September 29, 2018. Retrieved January 19, 2023. <q>Back in 1912, when Hollywood had more cattle than cameras, Fort Lee was the center of the cinematic universe. Icons from the silent era like Mary Pickford, Lionel Barrymore and Lillian Gish crossed the Hudson River via ferry to emote on Fort Lee back lots.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=100+years+ago%2C+Fort+Lee+was+the+first+town+to+bask+in+movie+magic&rft.pub=NJ.com&rft.date=2012-04-29&rft.au=Rose%2C+Lisa&rft_id=http%3A%2F%2Fwww.nj.com%2Fnews%2Findex.ssf%2F2012%2F04%2F100_years_ago_fort_lee_was_the.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> <a rel="nofollow" class="external text" href="http://www.fortleefilm.org/history.html">Before Hollywood, There Was Fort Lee</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090712034143/http://www.fortleefilm.org/history.html">Archived</a> July 12, 2009, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Fort Lee Film Commission. Accessed April 16, 2011. </li> <li id="cite_note-Koszarski_2004-22"><a href="#cite_ref-Koszarski_2004_22-0">^</a> Koszarski, Richard. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5w0r8YKan04C">Fort Lee: The Film Town</a>, <a href="/wiki/Indiana_University_Press" title="Indiana University Press">Indiana University Press</a>, 2004. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-86196-652-3" title="Special:BookSources/978-0-86196-652-3">978-0-86196-652-3</a>. Accessed May 27, 2015. </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> <a rel="nofollow" class="external text" href="http://www.fortleefilm.org/studios.html">Studios and Films</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141006092753/http://www.fortleefilm.org/studios.html">Archived</a> October 6, 2014, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Fort Lee Film Commission. Accessed December 7, 2013. </li> <li id="cite_note-FLFC-24"><a href="#cite_ref-FLFC_24-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFort_Lee_Film_Commission2006" class="citation cs2">Fort Lee Film Commission (2006), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ViR3b72xkK0C">Fort Lee Birthplace of the Motion Picture Industry</a>, Arcadia Publishing, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7385-4501-5" title="Special:BookSources/0-7385-4501-5"><bdi>0-7385-4501-5</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Fort+Lee+Birthplace+of+the+Motion+Picture+Industry&rft.pub=Arcadia+Publishing&rft.date=2006&rft.isbn=0-7385-4501-5&rft.au=Fort+Lee+Film+Commission&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DViR3b72xkK0C&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLiebenson2015" class="citation web cs1">Liebenson, Donald (February 19, 2015). <a rel="nofollow" class="external text" href="https://www.chicagotribune.com/entertainment/books/ct-prj-flickering-empire-michael-glover-smith-adam-selzer-20150219-story.html">"'Flickering Empire' details Chicago's early dominance of film industry"</a>. <a href="/wiki/Chicago_Tribune" title="Chicago Tribune">Chicago Tribune</a>. Retrieved February 8, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Chicago+Tribune&rft.atitle=%27Flickering+Empire%27+details+Chicago%27s+early+dominance+of+film+industry&rft.date=2015-02-19&rft.aulast=Liebenson&rft.aufirst=Donald&rft_id=https%3A%2F%2Fwww.chicagotribune.com%2Fentertainment%2Fbooks%2Fct-prj-flickering-empire-michael-glover-smith-adam-selzer-20150219-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://case.edu/ech/articles/c/cleveland-film">"Cleveland on Film"</a>. The Encyclopedia of Cleveland History. <a href="/wiki/Case_Western_Reserve_University" title="Case Western Reserve University">Case Western Reserve University</a>. Retrieved February 8, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Cleveland+on+Film&rft.btitle=The+Encyclopedia+of+Cleveland+History&rft.pub=Case+Western+Reserve+University&rft_id=https%3A%2F%2Fcase.edu%2Fech%2Farticles%2Fc%2Fcleveland-film&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <ul><li><a rel="nofollow" class="external free" href="https://app.crb.gov/document/download/22398">https://app.crb.gov/document/download/22398</a></li> <li><a rel="nofollow" class="external free" href="http://archive.org/download/picturestoriesma03lond/picturestoriesma03lond.pdf">http://archive.org/download/picturestoriesma03lond/picturestoriesma03lond.pdf</a></li> <li><a class="external free" href="https://upload.wikimedia.org/wikipedia/commons/7/7e/The_Billboard_1912-02-03-_Vol_24_Iss_5_%28IA_sim_billboard_1912-02-03_24_5%29.pdf">https://upload.wikimedia.org/wikipedia/commons/7/7e/The_Billboard_1912-02-03-_Vol_24_Iss_5_%28IA_sim_billboard_1912-02-03_24_5%29.pdf</a></li> <li><a rel="nofollow" class="external free" href="https://filminflorida.com/wp-content/uploads/2014/04/Analysis-of-the-Florida-Film-and-Entertainment-Industry.pdf">https://filminflorida.com/wp-content/uploads/2014/04/Analysis-of-the-Florida-Film-and-Entertainment-Industry.pdf</a></li></ul> </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAbel2020" class="citation book cs1">Abel, Richard (2020). Motor City Movie Culture, 1916–1925. <a href="/wiki/Bloomington,_Indiana" title="Bloomington, Indiana">Bloomington, IN</a>: <a href="/wiki/Indiana_University_Press" title="Indiana University Press">Indiana University Press</a>. pp. 136–139. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0253046468" title="Special:BookSources/978-0253046468"><bdi>978-0253046468</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Motor+City+Movie+Culture%2C+1916%E2%80%931925&rft.place=Bloomington%2C+IN&rft.pages=136-139&rft.pub=Indiana+University+Press&rft.date=2020&rft.isbn=978-0253046468&rft.aulast=Abel&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Jacobs, Lewis; Rise of the American film, The; Harcourt Brace, New York, 1930; p. 85 </li> <li id="cite_note-edendale-30">^ <a href="#cite_ref-edendale_30-0">a</a> <a href="#cite_ref-edendale_30-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRasmussen2001" class="citation news cs1">Rasmussen, Cecilia (September 16, 2001). <a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-2001-sep-16-me-46399-story.html">"Movie Industry's Roots in Garden of Edendale"</a>. <a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a>. Retrieved October 15, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Los+Angeles+Times&rft.atitle=Movie+Industry%27s+Roots+in+Garden+of+Edendale&rft.date=2001-09-16&rft.aulast=Rasmussen&rft.aufirst=Cecilia&rft_id=https%3A%2F%2Fwww.latimes.com%2Farchives%2Fla-xpm-2001-sep-16-me-46399-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-plaque-31">^ <a href="#cite_ref-plaque_31-0">a</a> <a href="#cite_ref-plaque_31-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/variety209-1958-01/mode/1up?view=theater">"Wrong Site, Wrong Year, But Plaque Unveiled On 1st Pic Made in H'wood"</a>. <a href="/wiki/Variety_(magazine)" title="Variety (magazine)">Variety</a>. January 1, 1958. p. 1. Retrieved October 15, 2021 – via <a href="/wiki/Archive.org" class="mw-redirect" title="Archive.org">Archive.org</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=Wrong+Site%2C+Wrong+Year%2C+But+Plaque+Unveiled+On+1st+Pic+Made+in+H%27wood&rft.pages=1&rft.date=1958-01-01&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fvariety209-1958-01%2Fmode%2F1up%3Fview%3Dtheater&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <a rel="nofollow" class="external text" href="https://catalog.afi.com/Catalog/moviedetails/36409">In the Sultan's Power</a> at the <a href="/wiki/AFI_Catalog_of_Feature_Films" title="AFI Catalog of Feature Films">AFI Catalog of Feature Films</a> </li> <li id="cite_note-Passion-33"><a href="#cite_ref-Passion_33-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWorster2008" class="citation book cs1"><a href="/wiki/Donald_Worster" title="Donald Worster">Worster, Donald</a> (2008). A Passion for Nature : The Life of John Muir. <a href="/wiki/Oxford" title="Oxford">Oxford</a>: <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a> (OUP). p. 535. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-516682-8" title="Special:BookSources/978-0-19-516682-8"><bdi>978-0-19-516682-8</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/191090285">191090285</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Passion+for+Nature+%3A+The+Life+of+John+Muir&rft.place=Oxford&rft.pages=535&rft.pub=Oxford+University+Press+%28OUP%29&rft.date=2008&rft_id=info%3Aoclcnum%2F191090285&rft.isbn=978-0-19-516682-8&rft.aulast=Worster&rft.aufirst=Donald&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPederson2007" class="citation book cs1">Pederson, Charles E. (September 2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HGnmX5WR2BAC">Thomas Edison</a>. ABDO Publishing Company. p. 77. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59928-845-1" title="Special:BookSources/978-1-59928-845-1"><bdi>978-1-59928-845-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Thomas+Edison&rft.pages=77&rft.pub=ABDO+Publishing+Company&rft.date=2007-09&rft.isbn=978-1-59928-845-1&rft.aulast=Pederson&rft.aufirst=Charles+E.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DHGnmX5WR2BAC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> <a href="/wiki/Jim_Bishop" title="Jim Bishop">Bishop, Jim</a>. <a rel="nofollow" class="external text" href="https://news.google.com/newspapers?id=Sl4gAAAAIBAJ&sjid=JmUFAAAAIBAJ&pg=3130,3977758">"How movies got moving ..."</a>, <a href="/wiki/Sun_Journal_(Lewiston)" class="mw-redirect" title="Sun Journal (Lewiston)">The Lewiston Journal</a>, November 27, 1979. Accessed February 14, 2012. "Movies were unheard if in Hollywood, even in 1900 The flickering shadows were devised in a place called Fort Le, N.J. It had forests, rocks cliffs for the cliff-hangers and the Hudson River. The movie industry had two problems. The weather was unpredictable, and Thomas Edison sued producers who used his invention. ... It was not until 1911 that David Horsley moved his Nestor Co. west." </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.history.com/topics/roaring-twenties/hollywood">"Hollywood"</a>. HISTORY. August 21, 2018. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HISTORY&rft.atitle=Hollywood&rft.date=2018-08-21&rft_id=https%3A%2F%2Fwww.history.com%2Ftopics%2Froaring-twenties%2Fhollywood&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-marketplace-37">^ <a href="#cite_ref-marketplace_37-0">a</a> <a href="#cite_ref-marketplace_37-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.marketplace.org/2020/11/19/how-the-spanish-flu-contributed-to-the-rise-of-hollywood/">"How the Spanish flu contributed to the rise of Hollywood"</a>. November 19, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=How+the+Spanish+flu+contributed+to+the+rise+of+Hollywood&rft.date=2020-11-19&rft_id=https%3A%2F%2Fwww.marketplace.org%2F2020%2F11%2F19%2Fhow-the-spanish-flu-contributed-to-the-rise-of-hollywood%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> <a rel="nofollow" class="external text" href="https://www.washingtonpost.com/history/2020/11/21/1918-flu-los-angeles-coronavirus/">How one city avoided the 1918 flu pandemic's deadly second wave</a> </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeares2020" class="citation web cs1">Meares, Hadley (April 1, 2020). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/movies/movie-news/how-1918-flu-halted-hollywood-1286640/">"Closed Movie Theaters and Infected Stars: How the 1918 Flu Halted Hollywood"</a>. <a href="/wiki/The_Hollywood_Reporter" title="The Hollywood Reporter">The Hollywood Reporter</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Closed+Movie+Theaters+and+Infected+Stars%3A+How+the+1918+Flu+Halted+Hollywood&rft.date=2020-04-01&rft.aulast=Meares&rft.aufirst=Hadley&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fmovies%2Fmovie-news%2Fhow-1918-flu-halted-hollywood-1286640%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-britannica1-40">^ <a href="#cite_ref-britannica1_40-0">a</a> <a href="#cite_ref-britannica1_40-1">b</a> <a href="#cite_ref-britannica1_40-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/eb/article-52148/history-of-the-motion-picture#508075.hook">"History of the motion picture"</a>. Encyclopædia Britannica. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=History+of+the+motion+picture&rft.btitle=Encyclop%C3%A6dia+Britannica&rft_id=https%3A%2F%2Fwww.britannica.com%2Feb%2Farticle-52148%2Fhistory-of-the-motion-picture%23508075.hook&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> <a rel="nofollow" class="external autonumber" href="http://history.sandiego.edu/gen/recording/motionpicture1.html">[1]</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070429191100/http://history.sandiego.edu/gen/recording/motionpicture1.html">Archived</a> April 29, 2007, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://lcweb2.loc.gov:8081/ammem/amrlhtml/dthays.html">"Will Hays and Motion Picture Censorship"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Will+Hays+and+Motion+Picture+Censorship&rft_id=http%3A%2F%2Flcweb2.loc.gov%3A8081%2Fammem%2Famrlhtml%2Fdthays.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20050912042450/http://home.earthlink.net/~hdtv/History/RKOGeneral/RKOPictures.html">"Thumbnail History of RKO Radio Pictures"</a>. earthlink.net. Archived from <a rel="nofollow" class="external text" href="https://home.earthlink.net/~hdtv/History/RKOGeneral/RKOPictures.html">the original</a> on September 12, 2005. Retrieved June 19, 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=earthlink.net&rft.atitle=Thumbnail+History+of+RKO+Radio+Pictures&rft_id=http%3A%2F%2Fhome.earthlink.net%2F~hdtv%2FHistory%2FRKOGeneral%2FRKOPictures.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.cobbles.com/simpp_archive/united-detroit_paramount-history.htm">"The Paramount Theater Monopoly"</a>. Cobbles.com. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Paramount+Theater+Monopoly&rft.pub=Cobbles.com&rft_id=http%3A%2F%2Fwww.cobbles.com%2Fsimpp_archive%2Funited-detroit_paramount-history.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.filmsite.org/20sintro.html">"Film History of the 1920s"</a>. Filmsite.org. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Film+History+of+the+1920s&rft.pub=Filmsite.org&rft_id=http%3A%2F%2Fwww.filmsite.org%2F20sintro.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20100212214742/http://www.history.com/this-day-in-history.do?id=3125&action=tdihArticleCategory">""Father of the Constitution" is born"</a>. This Day in History—3/16/1751. History.com. Archived from <a rel="nofollow" class="external text" href="http://www.history.com/this-day-in-history.do?action=tdihArticleCategory&id=3125">the original</a> on February 12, 2010. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=This+Day+in+History%E2%80%943%2F16%2F1751&rft.atitle=%22Father+of+the+Constitution%22+is+born&rft_id=http%3A%2F%2Fwww.history.com%2Fthis-day-in-history.do%3Faction%3DtdihArticleCategory%26id%3D3125&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMaltby2008" class="citation web cs1">Maltby, Richard (May 19, 2008). <a rel="nofollow" class="external text" href="http://www.sensesofcinema.com/2003/29/pre_code_cinema/">"More Sinned Against than Sinning: The Fabrications of "Pre-Code Cinema""</a>. SensesofCinema.com. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=More+Sinned+Against+than+Sinning%3A+The+Fabrications+of+%22Pre-Code+Cinema%22&rft.pub=SensesofCinema.com&rft.date=2008-05-19&rft.aulast=Maltby&rft.aufirst=Richard&rft_id=http%3A%2F%2Fwww.sensesofcinema.com%2F2003%2F29%2Fpre_code_cinema%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-mediaroom1-48">^ <a href="#cite_ref-mediaroom1_48-0">a</a> <a href="#cite_ref-mediaroom1_48-1">b</a> <a rel="nofollow" class="external autonumber" href="http://mgm.mediaroom.com/index.php?s=40&cat=6">[2]</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070621225003/http://mgm.mediaroom.com/index.php?s=40&cat=6">Archived</a> June 21, 2007, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://disney.go.com/vault/archives/movies/snow/snow.html">"Disney Insider"</a>. go.com. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Disney+Insider&rft.pub=go.com&rft_id=http%3A%2F%2Fdisney.go.com%2Fvault%2Farchives%2Fmovies%2Fsnow%2Fsnow.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> <a rel="nofollow" class="external autonumber" href="http://www.boxofficereport.com/atbon/adjusted.shtml">[3]</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070514034316/http://www.boxofficereport.com/atbon/adjusted.shtml">Archived</a> May 14, 2007, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAberdeen2005" class="citation web cs1">Aberdeen, J A (September 6, 2005). <a rel="nofollow" class="external text" href="http://www.cobbles.com/simpp_archive/paramountcase_1slump1938.htm">"Part 1: The Hollywood Slump of 1938"</a>. Hollywood Renegades Archive. Retrieved May 6, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Hollywood+Renegades+Archive&rft.atitle=Part+1%3A+The+Hollywood+Slump+of+1938&rft.date=2005-09-06&rft.aulast=Aberdeen&rft.aufirst=J+A&rft_id=http%3A%2F%2Fwww.cobbles.com%2Fsimpp_archive%2Fparamountcase_1slump1938.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-time-consent-decree-52">^ <a href="#cite_ref-time-consent-decree_52-0">a</a> <a href="#cite_ref-time-consent-decree_52-1">b</a> <a href="#cite_ref-time-consent-decree_52-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.today/20130105132334/http://www.time.com/time/printout/0,8816,849344,00.html">"Consent Decree"</a>. Time. November 11, 1940. Archived from <a rel="nofollow" class="external text" href="http://www.time.com/time/printout/0,8816,849344,00.html">the original</a> on January 5, 2013. Retrieved May 6, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=Consent+Decree&rft.date=1940-11-11&rft_id=http%3A%2F%2Fwww.time.com%2Ftime%2Fprintout%2F0%2C8816%2C849344%2C00.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-part3-53">^ <a href="#cite_ref-part3_53-0">a</a> <a href="#cite_ref-part3_53-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAberdeen2005" class="citation web cs1">Aberdeen, J A (September 6, 2005). <a rel="nofollow" class="external text" href="http://cobbles.com/simpp_archive/paramountcase_3consent1940.htm">"Part 3: The Consent Decree of 1940"</a>. Hollywood Renegades Archive. Retrieved May 6, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Hollywood+Renegades+Archive&rft.atitle=Part+3%3A+The+Consent+Decree+of+1940&rft.date=2005-09-06&rft.aulast=Aberdeen&rft.aufirst=J+A&rft_id=http%3A%2F%2Fcobbles.com%2Fsimpp_archive%2Fparamountcase_3consent1940.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.cobbles.com/simpp_archive/paramountcase_4equity1945.htm">"The Hollywood Studios in Federal Court—The Paramount case"</a>. Cobbles.com. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Hollywood+Studios+in+Federal+Court%E2%80%94The+Paramount+case&rft.pub=Cobbles.com&rft_id=http%3A%2F%2Fwww.cobbles.com%2Fsimpp_archive%2Fparamountcase_4equity1945.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScott2007" class="citation news cs1">Scott, A. O. (August 12, 2007). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2007/08/12/movies/12scot.html">"Two Outlaws, Blasting Holes in the Screen"</a>. The New York Times.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Two+Outlaws%2C+Blasting+Holes+in+the+Screen&rft.date=2007-08-12&rft.aulast=Scott&rft.aufirst=A.+O.&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2007%2F08%2F12%2Fmovies%2F12scot.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-TM-20050329-56">^ <a href="#cite_ref-TM-20050329_56-0">a</a> <a href="#cite_ref-TM-20050329_56-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCorliss2005" class="citation magazine cs1"><a href="/wiki/Richard_Corliss" title="Richard Corliss">Corliss, Richard</a> (March 29, 2005). <a rel="nofollow" class="external text" href="http://content.time.com/time/arts/article/0,8599,1043267,00.html">"That Old Feeling: When Porno Was Chic"</a>. Time. Retrieved January 27, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=That+Old+Feeling%3A+When+Porno+Was+Chic&rft.date=2005-03-29&rft.aulast=Corliss&rft.aufirst=Richard&rft_id=http%3A%2F%2Fcontent.time.com%2Ftime%2Farts%2Farticle%2F0%2C8599%2C1043267%2C00.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-RE-19730613-57"><a href="#cite_ref-RE-19730613_57-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEbert1973" class="citation web cs1"><a href="/wiki/Roger_Ebert" title="Roger Ebert">Ebert, Roger</a> (June 13, 1973). <a rel="nofollow" class="external text" href="http://www.rogerebert.com/reviews/the-devil-in-miss-jones-1973">"The Devil In Miss Jones – Film Review"</a>. <a href="/wiki/RogerEbert.com" title="RogerEbert.com">RogerEbert.com</a>. Retrieved February 7, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=RogerEbert.com&rft.atitle=The+Devil+In+Miss+Jones+%E2%80%93+Film+Review&rft.date=1973-06-13&rft.aulast=Ebert&rft.aufirst=Roger&rft_id=http%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fthe-devil-in-miss-jones-1973&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-RE-19761124-58"><a href="#cite_ref-RE-19761124_58-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEbert1976" class="citation web cs1"><a href="/wiki/Roger_Ebert" title="Roger Ebert">Ebert, Roger</a> (November 24, 1976). <a rel="nofollow" class="external text" href="http://www.rogerebert.com/reviews/alice-in-wonderland-1976">"Alice in Wonderland:An X-Rated Musical Fantasy"</a>. <a href="/wiki/RogerEbert.com" title="RogerEbert.com">RogerEbert.com</a>. Retrieved February 26, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Alice+in+Wonderland%3AAn+X-Rated+Musical+Fantasy&rft.pub=RogerEbert.com&rft.date=1976-11-24&rft.aulast=Ebert&rft.aufirst=Roger&rft_id=http%3A%2F%2Fwww.rogerebert.com%2Freviews%2Falice-in-wonderland-1976&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-NYT-19730121-59"><a href="#cite_ref-NYT-19730121_59-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBlumenthal1973" class="citation news cs1">Blumenthal, Ralph (January 21, 1973). <a rel="nofollow" class="external text" href="https://www.nytimes.com/1973/01/21/archives/pornochic-hardcore-grows-fashionableand-very-profitable.html">"Porno chic; 'Hard-core' grows fashionable-and very profitable"</a>. <a href="/wiki/The_New_York_Times_Magazine" title="The New York Times Magazine">The New York Times Magazine</a>. Retrieved January 20, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times+Magazine&rft.atitle=Porno+chic%3B+%27Hard-core%27+grows+fashionable-and+very+profitable&rft.date=1973-01-21&rft.aulast=Blumenthal&rft.aufirst=Ralph&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1973%2F01%2F21%2Farchives%2Fpornochic-hardcore-grows-fashionableand-very-profitable.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.jahsonic.com/PornoChic.html">"Porno Chic"</a>. www.jahsonic.com.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.jahsonic.com&rft.atitle=Porno+Chic&rft_id=http%3A%2F%2Fwww.jahsonic.com%2FPornoChic.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMathijsMendik2007" class="citation book cs1">Mathijs, Ernest; Mendik, Xavier (2007). The Cult Film Reader. <a href="/wiki/Open_University_Press" class="mw-redirect" title="Open University Press">Open University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0335219230" title="Special:BookSources/978-0335219230"><bdi>978-0335219230</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cult+Film+Reader&rft.pub=Open+University+Press&rft.date=2007&rft.isbn=978-0335219230&rft.aulast=Mathijs&rft.aufirst=Ernest&rft.au=Mendik%2C+Xavier&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988">[<a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">page needed</a>] </li> <li id="cite_note-PB-201406-62"><a href="#cite_ref-PB-201406_62-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBentley2014" class="citation web cs1"><a href="/wiki/Toni_Bentley" title="Toni Bentley">Bentley, Toni</a> (June 2014). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160204030128/http://www.playboy.com/articles/the-legend-of-henry-paris">"The Legend of Henry Paris"</a>. <a href="/wiki/Playboy" title="Playboy">Playboy</a>. Archived from <a rel="nofollow" class="external text" href="http://www.playboy.com/articles/the-legend-of-henry-paris">the original</a> on February 4, 2016. Retrieved January 26, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Playboy&rft.atitle=The+Legend+of+Henry+Paris&rft.date=2014-06&rft.aulast=Bentley&rft.aufirst=Toni&rft_id=http%3A%2F%2Fwww.playboy.com%2Farticles%2Fthe-legend-of-henry-paris&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-TB-201406-63"><a href="#cite_ref-TB-201406_63-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBentley2014" class="citation web cs1"><a href="/wiki/Toni_Bentley" title="Toni Bentley">Bentley, Toni</a> (June 2014). <a rel="nofollow" class="external text" href="http://www.tonibentley.com/pdfarticles/playboy/RadleyMetzger_AuteuroftheErotic_ToniBentley.pdf">"The Legend of Henry Paris"</a> (PDF). ToniBentley.com. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160201001546/http://www.tonibentley.com/pdfarticles/playboy/RadleyMetzger_AuteuroftheErotic_ToniBentley.pdf">Archived</a> (PDF) from the original on February 1, 2016. Retrieved January 26, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ToniBentley.com&rft.atitle=The+Legend+of+Henry+Paris&rft.date=2014-06&rft.aulast=Bentley&rft.aufirst=Toni&rft_id=http%3A%2F%2Fwww.tonibentley.com%2Fpdfarticles%2Fplayboy%2FRadleyMetzger_AuteuroftheErotic_ToniBentley.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Lardine-1-64"><a href="#cite_ref-Lardine-1_64-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLardine1973" class="citation news cs1">Lardine, Bob (March 18, 1973). <a rel="nofollow" class="external text" href="https://www.newspapers.com/clip/43990628/long_bronson_profile_1_of_2/">"Big Bad Bronson"</a>. The Miami Herald. New York News Service. pp. 1H. Retrieved February 10, 2020 – via <a href="/wiki/Newspapers.com" class="mw-redirect" title="Newspapers.com">Newspapers.com</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Miami+Herald&rft.atitle=Big+Bad+Bronson&rft.pages=1H&rft.date=1973-03-18&rft.aulast=Lardine&rft.aufirst=Bob&rft_id=https%3A%2F%2Fwww.newspapers.com%2Fclip%2F43990628%2Flong_bronson_profile_1_of_2%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-AmCinema-65"><a href="#cite_ref-AmCinema_65-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBelton,_John2008" class="citation book cs1">Belton, John (November 10, 2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=qDVAAQAAIAAJ&q=american+cinema+american+culture">American Cinema/American Culture</a>. McGraw-Hill. p. 384. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-07-338615-7" title="Special:BookSources/978-0-07-338615-7"><bdi>978-0-07-338615-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=American+Cinema%2FAmerican+Culture&rft.pages=384&rft.pub=McGraw-Hill&rft.date=2008-11-10&rft.isbn=978-0-07-338615-7&rft.au=Belton%2C+John&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DqDVAAQAAIAAJ%26q%3Damerican%2Bcinema%2Bamerican%2Bculture&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBreznican2004" class="citation news cs1">Breznican, Anthony (August 24, 2004). <a rel="nofollow" class="external text" href="http://www.seattlepi.com/movies/187529_pg13rating24.html">"PG-13 remade Hollywood ratings system"</a>. <a href="/wiki/Seattle_Post-Intelligencer" title="Seattle Post-Intelligencer">Seattle Post-Intelligencer</a>. Retrieved June 27, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Seattle+Post-Intelligencer&rft.atitle=PG-13+remade+Hollywood+ratings+system&rft.date=2004-08-24&rft.aulast=Breznican&rft.aufirst=Anthony&rft_id=http%3A%2F%2Fwww.seattlepi.com%2Fmovies%2F187529_pg13rating24.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-cin08-67">^ <a href="#cite_ref-cin08_67-0">a</a> <a href="#cite_ref-cin08_67-1">b</a> <a href="#cite_ref-cin08_67-2">c</a> <a href="#cite_ref-cin08_67-3">d</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://www.redsharknews.com/technology-computing/item/2990-how-george-lucas-pioneered-the-use-of-digital-video-in-feature-films-with-the-sony-hdw-f900">"How George Lucas pioneered the use of Digital Video in feature films with the Sony HDW F900"</a>. Red Shark News.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Red+Shark+News&rft.atitle=How+George+Lucas+pioneered+the+use+of+Digital+Video+in+feature+films+with+the+Sony+HDW+F900&rft_id=https%3A%2F%2Fwww.redsharknews.com%2Ftechnology-computing%2Fitem%2F2990-how-george-lucas-pioneered-the-use-of-digital-video-in-feature-films-with-the-sony-hdw-f900&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-unreality-68"><a href="#cite_ref-unreality_68-0">^</a> Marsh and Kirkland, pp. 147–154 </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.the-numbers.com/market/">"Domestic Movie Theatrical Market Summary 1995 to 2018"</a>. <a href="/wiki/The_Numbers_(website)" title="The Numbers (website)">The Numbers</a>. Retrieved September 8, 2018. <q>Note: in order to provide a fair comparison between movies released in different years, all rankings are based on ticket sales, which are calculated using average ticket prices announced by the <a href="/wiki/MPAA" class="mw-redirect" title="MPAA">MPAA</a> in their annual state of the industry report.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Domestic+Movie+Theatrical+Market+Summary+1995+to+2018&rft.pub=The+Numbers&rft_id=http%3A%2F%2Fwww.the-numbers.com%2Fmarket%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988">[<a href="/wiki/Wikipedia:Manual_of_Style/Dates_and_numbers#Chronological_items" title="Wikipedia:Manual of Style/Dates and numbers">needs update</a>] </li> <li id="cite_note-thr20221021-70"><a href="#cite_ref-thr20221021_70-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCouchGaluppoKit2022" class="citation magazine cs1">Couch, Aaron; Galuppo, Mia; Kit, Borys (October 21, 2022). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/movies/movie-features/marvel-dc-florence-pugh-michael-keaton-pay-1235243911/">"Marvel, DC Among Last Bastion for Supersized Paydays"</a>. The Hollywood Reporter. Retrieved October 27, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Marvel%2C+DC+Among+Last+Bastion+for+Supersized+Paydays&rft.date=2022-10-21&rft.aulast=Couch&rft.aufirst=Aaron&rft.au=Galuppo%2C+Mia&rft.au=Kit%2C+Borys&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fmovies%2Fmovie-features%2Fmarvel-dc-florence-pugh-michael-keaton-pay-1235243911%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGleiberman2023" class="citation web cs1">Gleiberman, Owen (June 19, 2023). <a rel="nofollow" class="external text" href="https://variety.com/2023/film/columns/superhero-fatigue-the-flash-1235648428/">"Superhero Fatigue Is Real. The Cure? Make Better Movies Than 'The Flash'"</a>. Variety. Retrieved March 23, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Superhero+Fatigue+Is+Real.+The+Cure%3F+Make+Better+Movies+Than+%27The+Flash%27&rft.date=2023-06-19&rft.aulast=Gleiberman&rft.aufirst=Owen&rft_id=https%3A%2F%2Fvariety.com%2F2023%2Ffilm%2Fcolumns%2Fsuperhero-fatigue-the-flash-1235648428%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSharf2024" class="citation web cs1">Sharf, Zack (March 4, 2024). <a rel="nofollow" class="external text" href="https://variety.com/2024/film/news/paul-dano-superhero-fatigue-welcome-fix-genre-1235929148/">"Paul Dano Says Superhero Fatigue Is a 'Welcome Moment' That Will Hopefully 'Breathe New Life' Into Comic Book Movies: 'Quantity Over Quality' Is a 'Big Misstep'"</a>. Variety. Retrieved March 23, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Paul+Dano+Says+Superhero+Fatigue+Is+a+%27Welcome+Moment%27+That+Will+Hopefully+%27Breathe+New+Life%27+Into+Comic+Book+Movies%3A+%27Quantity+Over+Quality%27+Is+a+%27Big+Misstep%27&rft.date=2024-03-04&rft.aulast=Sharf&rft.aufirst=Zack&rft_id=https%3A%2F%2Fvariety.com%2F2024%2Ffilm%2Fnews%2Fpaul-dano-superhero-fatigue-welcome-fix-genre-1235929148%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTyrrell2023" class="citation web cs1">Tyrrell, Caitlin (October 18, 2023). <a rel="nofollow" class="external text" href="https://screenrant.com/superhero-movies-dc-marvel-matthew-vaughn-comments/">"Why Superhero Movies "Need A Little Bit Of Time Off," According To Kingsman Director"</a>. ScreenRant. Retrieved March 23, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ScreenRant&rft.atitle=Why+Superhero+Movies+%22Need+A+Little+Bit+Of+Time+Off%2C%22+According+To+Kingsman+Director&rft.date=2023-10-18&rft.aulast=Tyrrell&rft.aufirst=Caitlin&rft_id=https%3A%2F%2Fscreenrant.com%2Fsuperhero-movies-dc-marvel-matthew-vaughn-comments%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://variety.com/2020/film/news/black-widow-west-side-story-eternals-release-date-delay-1234773491/">"'Black Widow,' 'West Side Story,' 'Eternals' Postpone Release Dates"</a>. Variety. September 23, 2020. Retrieved October 4, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=%27Black+Widow%2C%27+%27West+Side+Story%2C%27+%27Eternals%27+Postpone+Release+Dates&rft.date=2020-09-23&rft_id=https%3A%2F%2Fvariety.com%2F2020%2Ffilm%2Fnews%2Fblack-widow-west-side-story-eternals-release-date-delay-1234773491%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerez2015" class="citation web cs1">Perez, Rodrigo (October 29, 2015). <a rel="nofollow" class="external text" href="http://blogs.indiewire.com/theplaylist/exclusive-all-female-oceans-eleven-in-the-works-starring-sandra-bullock-with-gary-ross-directing-20151029">"Exclusive: All-Female 'Ocean's Eleven' In The Works Starring Sandra Bullock, With Gary Ross Directing"</a>. The Playlist.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Playlist&rft.atitle=Exclusive%3A+All-Female+%27Ocean%27s+Eleven%27+In+The+Works+Starring+Sandra+Bullock%2C+With+Gary+Ross+Directing&rft.date=2015-10-29&rft.aulast=Perez&rft.aufirst=Rodrigo&rft_id=http%3A%2F%2Fblogs.indiewire.com%2Ftheplaylist%2Fexclusive-all-female-oceans-eleven-in-the-works-starring-sandra-bullock-with-gary-ross-directing-20151029&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSullivan2015" class="citation magazine cs1">Sullivan, Kevin P. (October 30, 2015). <a rel="nofollow" class="external text" href="https://www.ew.com/article/2015/10/30/sandra-bullock-oceans-eleven">"Sandra Bullock will lead an all-female Ocean's Eleven reboot"</a>. <a href="/wiki/Entertainment_Weekly" title="Entertainment Weekly">Entertainment Weekly</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Entertainment+Weekly&rft.atitle=Sandra+Bullock+will+lead+an+all-female+Ocean%27s+Eleven+reboot&rft.date=2015-10-30&rft.aulast=Sullivan&rft.aufirst=Kevin+P.&rft_id=https%3A%2F%2Fwww.ew.com%2Farticle%2F2015%2F10%2F30%2Fsandra-bullock-oceans-eleven&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-:0-77"><a href="#cite_ref-:0_77-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFD'Alessandro2020" class="citation web cs1">D'Alessandro, Anthony (March 16, 2020). <a rel="nofollow" class="external text" href="https://deadline.com/2020/03/coronavirus-trolls-world-tour-invisible-man-the-hunt-emma-debut-on-demand-in-home-theatrical-window-collapse-1202884570/">"Universal Making 'Invisible Man', 'The Hunt' & 'Emma' Available In Home On Friday As Exhibition Braces For Shutdown; 'Trolls' Sequel To Hit Cinemas & VOD Easter Weekend"</a>. Deadline Hollywood. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200317001511/https://deadline.com/2020/03/coronavirus-trolls-world-tour-invisible-man-the-hunt-emma-debut-on-demand-in-home-theatrical-window-collapse-1202884570/">Archived</a> from the original on March 17, 2020. Retrieved March 16, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline+Hollywood&rft.atitle=Universal+Making+%27Invisible+Man%27%2C+%27The+Hunt%27+%26+%27Emma%27+Available+In+Home+On+Friday+As+Exhibition+Braces+For+Shutdown%3B+%27Trolls%27+Sequel+To+Hit+Cinemas+%26+VOD+Easter+Weekend&rft.date=2020-03-16&rft.aulast=D%27Alessandro&rft.aufirst=Anthony&rft_id=https%3A%2F%2Fdeadline.com%2F2020%2F03%2Fcoronavirus-trolls-world-tour-invisible-man-the-hunt-emma-debut-on-demand-in-home-theatrical-window-collapse-1202884570%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFD'Alessandro2020" class="citation web cs1">D'Alessandro, Anthony (April 14, 2020). <a rel="nofollow" class="external text" href="https://deadline.com/2020/04/trolls-world-tour-coronavirus-box-office-vod-easter-weekend-1202907646/">"'Trolls World Tour': Drive-In Theaters Deliver What They Can During COVID-19 Exhibition Shutdown—Easter Weekend 2020 Box Office"</a>. Deadline. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200423040709/https://deadline.com/2020/04/trolls-world-tour-coronavirus-box-office-vod-easter-weekend-1202907646/">Archived</a> from the original on April 23, 2020. Retrieved April 14, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline&rft.atitle=%27Trolls+World+Tour%27%3A+Drive-In+Theaters+Deliver+What+They+Can+During+COVID-19+Exhibition+Shutdown%E2%80%94Easter+Weekend+2020+Box+Office&rft.date=2020-04-14&rft.aulast=D%27Alessandro&rft.aufirst=Anthony&rft_id=https%3A%2F%2Fdeadline.com%2F2020%2F04%2Ftrolls-world-tour-coronavirus-box-office-vod-easter-weekend-1202907646%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.thewrap.com/trolls-world-tour-earns-nearly-100-million-in-first-3-weeks-of-vod-rentals-universal-says/">"Universal's 'Trolls World Tour' Earns Nearly $100 Million in First 3 Weeks of VOD Rentals"</a>. TheWrap. April 28, 2020. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200506203336/https://www.thewrap.com/trolls-world-tour-earns-nearly-100-million-in-first-3-weeks-of-vod-rentals-universal-says/">Archived</a> from the original on May 6, 2020. Retrieved April 28, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=TheWrap&rft.atitle=Universal%27s+%27Trolls+World+Tour%27+Earns+Nearly+%24100+Million+in+First+3+Weeks+of+VOD+Rentals&rft.date=2020-04-28&rft_id=https%3A%2F%2Fwww.thewrap.com%2Ftrolls-world-tour-earns-nearly-100-million-in-first-3-weeks-of-vod-rentals-universal-says%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchwartzel2020" class="citation news cs1">Schwartzel, Erich (April 28, 2020). <a rel="nofollow" class="external text" href="https://www.wsj.com/articles/trolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202">"WSJ News Exclusive | 'Trolls World Tour' Breaks Digital Records and Charts a New Path for Hollywood"</a>. <a href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">The Wall Street Journal</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0099-9660">0099-9660</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200428234817/https://www.wsj.com/articles/trolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202">Archived</a> from the original on April 28, 2020. Retrieved April 28, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wall+Street+Journal&rft.atitle=WSJ+News+Exclusive+%7C+%27Trolls+World+Tour%27+Breaks+Digital+Records+and+Charts+a+New+Path+for+Hollywood&rft.date=2020-04-28&rft.issn=0099-9660&rft.aulast=Schwartzel&rft.aufirst=Erich&rft_id=https%3A%2F%2Fwww.wsj.com%2Farticles%2Ftrolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/news/china-shuts-down-all-cinemas-again-1287040">"China Shuts Down All Cinemas, Again"</a>. The Hollywood Reporter. March 27, 2020. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200423151734/https://www.hollywoodreporter.com/news/china-shuts-down-all-cinemas-again-1287040">Archived</a> from the original on April 23, 2020. Retrieved April 21, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Hollywood+Reporter&rft.atitle=China+Shuts+Down+All+Cinemas%2C+Again&rft.date=2020-03-27&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fnews%2Fchina-shuts-down-all-cinemas-again-1287040&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAlexander2020" class="citation web cs1">Alexander, Julia (March 18, 2020). <a rel="nofollow" class="external text" href="https://www.theverge.com/2020/3/18/21184030/universal-trolls-world-tour-hunt-coronavirus-birds-of-prey-warner-bros-disney-paramount-vod-digital">"Trolls World Tour could be a case study for Hollywood's digital future"</a>. The Verge. Retrieved April 17, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Verge&rft.atitle=Trolls+World+Tour+could+be+a+case+study+for+Hollywood%27s+digital+future&rft.date=2020-03-18&rft.aulast=Alexander&rft.aufirst=Julia&rft_id=https%3A%2F%2Fwww.theverge.com%2F2020%2F3%2F18%2F21184030%2Funiversal-trolls-world-tour-hunt-coronavirus-birds-of-prey-warner-bros-disney-paramount-vod-digital&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAlexander2020" class="citation web cs1">Alexander, Julia (April 28, 2020). <a rel="nofollow" class="external text" href="https://www.theverge.com/2020/4/28/21240637/amc-theaters-universal-trolls-world-tour-disney-warnermedia-digital-streaming">"AMC Theaters will no longer play Universal movies after Trolls World Tour's on-demand success"</a>. The Verge. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200429030239/https://www.theverge.com/2020/4/28/21240637/amc-theaters-universal-trolls-world-tour-disney-warnermedia-digital-streaming">Archived</a> from the original on April 29, 2020. Retrieved April 29, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Verge&rft.atitle=AMC+Theaters+will+no+longer+play+Universal+movies+after+Trolls+World+Tour%27s+on-demand+success&rft.date=2020-04-28&rft.aulast=Alexander&rft.aufirst=Julia&rft_id=https%3A%2F%2Fwww.theverge.com%2F2020%2F4%2F28%2F21240637%2Famc-theaters-universal-trolls-world-tour-disney-warnermedia-digital-streaming&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFD'Alessandro2020" class="citation web cs1">D'Alessandro, Anthony (July 28, 2020). <a rel="nofollow" class="external text" href="https://deadline.com/2020/07/universal-amc-theatres-theatrical-window-crush-pvod-agreement-1202997573/">"Universal & AMC Theatres Make Peace, Will Crunch Theatrical Window To 17 Days With Option For PVOD After"</a>. Deadline. Retrieved August 3, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline&rft.atitle=Universal+%26+AMC+Theatres+Make+Peace%2C+Will+Crunch+Theatrical+Window+To+17+Days+With+Option+For+PVOD+After&rft.date=2020-07-28&rft.aulast=D%27Alessandro&rft.aufirst=Anthony&rft_id=https%3A%2F%2Fdeadline.com%2F2020%2F07%2Funiversal-amc-theatres-theatrical-window-crush-pvod-agreement-1202997573%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWhitten2020" class="citation web cs1">Whitten, Sarah (July 28, 2020). <a rel="nofollow" class="external text" href="https://www.cnbc.com/2020/07/28/amc-strikes-historic-deal-with-universal-shortening-number-of-days-films-need-to-run-in-theaters-before-going-digital.html">"AMC strikes historic deal with Universal, shortening number of days films need to run in theaters before going digital"</a>. CNBC. Retrieved August 3, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=CNBC&rft.atitle=AMC+strikes+historic+deal+with+Universal%2C+shortening+number+of+days+films+need+to+run+in+theaters+before+going+digital&rft.date=2020-07-28&rft.aulast=Whitten&rft.aufirst=Sarah&rft_id=https%3A%2F%2Fwww.cnbc.com%2F2020%2F07%2F28%2Famc-strikes-historic-deal-with-universal-shortening-number-of-days-films-need-to-run-in-theaters-before-going-digital.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-variety_wb_2021_films-86"><a href="#cite_ref-variety_wb_2021_films_86-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRubinDonnelly2020" class="citation web cs1">Rubin, Rebecca; Donnelly, Matt (December 3, 2020). <a rel="nofollow" class="external text" href="https://variety.com/2020/film/news/warner-bros-hbo-max-theaters-dune-matrix-4-1234845342/">"Warner Bros. to Debut Entire 2021 Film Slate, Including 'Dune' and 'Matrix 4,' Both on HBO Max and In Theaters"</a>. Variety. Retrieved December 3, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Warner+Bros.+to+Debut+Entire+2021+Film+Slate%2C+Including+%27Dune%27+and+%27Matrix+4%2C%27+Both+on+HBO+Max+and+In+Theaters&rft.date=2020-12-03&rft.aulast=Rubin&rft.aufirst=Rebecca&rft.au=Donnelly%2C+Matt&rft_id=https%3A%2F%2Fvariety.com%2F2020%2Ffilm%2Fnews%2Fwarner-bros-hbo-max-theaters-dune-matrix-4-1234845342%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMasters2020" class="citation news cs1">Masters, Kim (December 7, 2020). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/business/business-news/christopher-nolan-rips-hbo-max-as-worst-streaming-service-denounces-warner-bros-plan-4101408/">"Christopher Nolan Rips HBO Max as "Worst Streaming Service," Denounces Warner Bros.' Plan"</a>. <a href="/wiki/The_Hollywood_Reporter" title="The Hollywood Reporter">The Hollywood Reporter</a>. The Hollywood Reporter, LLC. Retrieved July 21, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Christopher+Nolan+Rips+HBO+Max+as+%22Worst+Streaming+Service%2C%22+Denounces+Warner+Bros.%27+Plan&rft.date=2020-12-07&rft.aulast=Masters&rft.aufirst=Kim&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fbusiness%2Fbusiness-news%2Fchristopher-nolan-rips-hbo-max-as-worst-streaming-service-denounces-warner-bros-plan-4101408%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-RE-88">^ <a href="#cite_ref-RE_88-0">a</a> <a href="#cite_ref-RE_88-1">b</a> <a href="#cite_ref-RE_88-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSeitz2019" class="citation news cs1"><a href="/wiki/Matt_Zoller_Seitz" title="Matt Zoller Seitz">Seitz, Matt Zoller</a> (April 29, 2019). <a rel="nofollow" class="external text" href="https://www.rogerebert.com/mzs/avengers-mcu-and-the-content-endgame">"What's Next: Avengers, MCU, Game of Thrones, and the Content Endgame"</a>. <a href="/wiki/RogerEbert.com" title="RogerEbert.com">RogerEbert.com</a>. Ebert Digital LLC. Retrieved July 21, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=RogerEbert.com&rft.atitle=What%27s+Next%3A+Avengers%2C+MCU%2C+Game+of+Thrones%2C+and+the+Content+Endgame&rft.date=2019-04-29&rft.aulast=Seitz&rft.aufirst=Matt+Zoller&rft_id=https%3A%2F%2Fwww.rogerebert.com%2Fmzs%2Favengers-mcu-and-the-content-endgame&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHannah_Avery2023" class="citation web cs1">Hannah Avery (January 18, 2023). <a rel="nofollow" class="external text" href="https://www.kantar.com/inspiration/technology/us-streaming-market-growth-continues-despite-changes-in-the-industry">"US streaming market growth continues, despite changes in the industry"</a>. kantar.com.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=kantar.com&rft.atitle=US+streaming+market+growth+continues%2C+despite+changes+in+the+industry&rft.date=2023-01-18&rft.au=Hannah+Avery&rft_id=https%3A%2F%2Fwww.kantar.com%2Finspiration%2Ftechnology%2Fus-streaming-market-growth-continues-despite-changes-in-the-industry&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBrew2019" class="citation news cs1">Brew, Simon (October 21, 2019). <a rel="nofollow" class="external text" href="https://www.filmstories.co.uk/features/can-we-stop-calling-films-content-now/">"Can we stop calling films 'content' now?"</a>. <a href="/w/index.php?title=Film_Stories&action=edit&redlink=1" class="new" title="Film Stories (page does not exist)">Film Stories</a>. Film Stories Ltd. Retrieved July 22, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Film+Stories&rft.atitle=Can+we+stop+calling+films+%27content%27+now%3F&rft.date=2019-10-21&rft.aulast=Brew&rft.aufirst=Simon&rft_id=https%3A%2F%2Fwww.filmstories.co.uk%2Ffeatures%2Fcan-we-stop-calling-films-content-now%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2021" class="citation news cs1">Taylor, Alex (February 20, 2021). <a rel="nofollow" class="external text" href="https://www.bbc.com/news/entertainment-arts-56085924">"Are streaming algorithms really damaging film?"</a>. <a href="/wiki/BBC_News" title="BBC News">BBC News</a>. <a href="/wiki/BBC" title="BBC">British Broadcasting Corporation</a>. Retrieved July 22, 2021. <q>[Martin Scorsese has] warned that cinema is being 'devalued ... demeaned and reduced' by being thrown under the umbrella term 'content'.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Are+streaming+algorithms+really+damaging+film%3F&rft.date=2021-02-20&rft.aulast=Taylor&rft.aufirst=Alex&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fentertainment-arts-56085924&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShephard2021" class="citation magazine cs1">Shephard, Alex (July 21, 2021). <a rel="nofollow" class="external text" href="https://newrepublic.com/article/163008/space-jam-new-legacy-peek-bleak-cynical-future-film">"Space Jam: A New Legacy Is a Peek Into the Bleak, Cynical Future of Film"</a>. <a href="/wiki/The_New_Republic" title="The New Republic">The New Republic</a>. Retrieved July 21, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+Republic&rft.atitle=Space+Jam%3A+A+New+Legacy+Is+a+Peek+Into+the+Bleak%2C+Cynical+Future+of+Film&rft.date=2021-07-21&rft.aulast=Shephard&rft.aufirst=Alex&rft_id=https%3A%2F%2Fnewrepublic.com%2Farticle%2F163008%2Fspace-jam-new-legacy-peek-bleak-cynical-future-film&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Polygon-93">^ <a href="#cite_ref-Polygon_93-0">a</a> <a href="#cite_ref-Polygon_93-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRivera2021" class="citation web cs1">Rivera, Joshua (July 14, 2021). <a rel="nofollow" class="external text" href="https://www.polygon.com/movies/22577229/space-jam-a-new-legacy-review">"Despair, pitiful mortals: Space Jam: A New Legacy is the future of entertainment"</a>. <a href="/wiki/Polygon_(website)" title="Polygon (website)">Polygon</a>. <a href="/wiki/Vox_Media" title="Vox Media">Vox Media, LLC</a>. Retrieved July 22, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Polygon&rft.atitle=Despair%2C+pitiful+mortals%3A+Space+Jam%3A+A+New+Legacy+is+the+future+of+entertainment&rft.date=2021-07-14&rft.aulast=Rivera&rft.aufirst=Joshua&rft_id=https%3A%2F%2Fwww.polygon.com%2Fmovies%2F22577229%2Fspace-jam-a-new-legacy-review&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Forbes-94">^ <a href="#cite_ref-Forbes_94-0">a</a> <a href="#cite_ref-Forbes_94-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMendelson2021" class="citation news cs1">Mendelson, Scott (July 14, 2021). <a rel="nofollow" class="external text" href="https://www.forbes.com/sites/scottmendelson/2021/07/14/space-jam-a-new-legacy-review-a-feature-length-commercial-for-hbo-max/">"'Space Jam: A New Legacy' Review: A Feature-Length Commercial For HBO Max"</a>. <a href="/wiki/Forbes" title="Forbes">Forbes</a>. Retrieved July 22, 2021. <q>Quite possibly, as Space Jam: A New Legacy is now a classic example of 'IP for the sake of IP,' a brand extension that exists not because audiences want it but because a studio (and/or the film's star) wants it to continue.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Forbes&rft.atitle=%27Space+Jam%3A+A+New+Legacy%27+Review%3A+A+Feature-Length+Commercial+For+HBO+Max&rft.date=2021-07-14&rft.aulast=Mendelson&rft.aufirst=Scott&rft_id=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fscottmendelson%2F2021%2F07%2F14%2Fspace-jam-a-new-legacy-review-a-feature-length-commercial-for-hbo-max%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKirby2021" class="citation news cs1">Kirby, Kristen-Page (July 14, 2021). <a rel="nofollow" class="external text" href="https://www.washingtonpost.com/goingoutguide/movies/space-jam-a-new-legacy-movie-review/2021/07/14/503db95c-e00c-11eb-b507-697762d090dd_story.html">"'Space Jam: A New Legacy'—a feature-length ad for Warner Bros.—rises just above mediocrity"</a>. <a href="/wiki/The_Washington_Post" title="The Washington Post">The Washington Post</a>. WP Company LLC. Retrieved July 22, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Washington+Post&rft.atitle=%27Space+Jam%3A+A+New+Legacy%27%E2%80%94a+feature-length+ad+for+Warner+Bros.%E2%80%94rises+just+above+mediocrity&rft.date=2021-07-14&rft.aulast=Kirby&rft.aufirst=Kristen-Page&rft_id=https%3A%2F%2Fwww.washingtonpost.com%2Fgoingoutguide%2Fmovies%2Fspace-jam-a-new-legacy-movie-review%2F2021%2F07%2F14%2F503db95c-e00c-11eb-b507-697762d090dd_story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTallerico2021" class="citation web cs1">Tallerico, Brian (November 4, 2021). <a rel="nofollow" class="external text" href="https://www.rogerebert.com/reviews/red-notice-movie-review-2021">"Red Notice movie review & film summary (2021)"</a>. <a href="/wiki/RogerEbert.com" title="RogerEbert.com">RogerEbert.com</a>. Ebert Digital LLC. Retrieved November 4, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=RogerEbert.com&rft.atitle=Red+Notice+movie+review+%26+film+summary+%282021%29&rft.date=2021-11-04&rft.aulast=Tallerico&rft.aufirst=Brian&rft_id=https%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fred-notice-movie-review-2021&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEvangelista2021" class="citation news cs1">Evangelista, Chris (November 4, 2021). <a rel="nofollow" class="external text" href="https://www.slashfilm.com/651270/red-notice-review-dwayne-johnson-and-ryan-reynolds-bumble-through-netflixs-glossy-lifeless-action-movie/">"Red Notice Review: Dwayne Johnson And Ryan Reynolds Bumble Through Netflix's Glossy, Lifeless Action Movie"</a>. <a href="/wiki//Film" title="/Film">/Film</a>. Static Media. Retrieved November 4, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=%2FFilm&rft.atitle=Red+Notice+Review%3A+Dwayne+Johnson+And+Ryan+Reynolds+Bumble+Through+Netflix%27s+Glossy%2C+Lifeless+Action+Movie&rft.date=2021-11-04&rft.aulast=Evangelista&rft.aufirst=Chris&rft_id=https%3A%2F%2Fwww.slashfilm.com%2F651270%2Fred-notice-review-dwayne-johnson-and-ryan-reynolds-bumble-through-netflixs-glossy-lifeless-action-movie%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee2021" class="citation news cs1">Lee, Benjamin (November 4, 2021). <a rel="nofollow" class="external text" href="https://www.theguardian.com/film/2021/nov/04/red-notice-review-netflix-biggest-film-to-date-offers-little-reward">"Red Notice review—Netflix's biggest film to date offers little reward"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. Guardian News & Media Limited. Retrieved November 4, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Red+Notice+review%E2%80%94Netflix%27s+biggest+film+to+date+offers+little+reward&rft.date=2021-11-04&rft.aulast=Lee&rft.aufirst=Benjamin&rft_id=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2021%2Fnov%2F04%2Fred-notice-review-netflix-biggest-film-to-date-offers-little-reward&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEbiri2021" class="citation web cs1">Ebiri, Bilge (July 14, 2021). <a rel="nofollow" class="external text" href="https://www.vulture.com/article/space-jam-a-new-legacy-review-lebron-james-is-here.html">"Space Jam: A New Legacy Never Thought It Could Be a Good Movie"</a>. <a href="/wiki/Vulture.com" class="mw-redirect" title="Vulture.com">Vulture</a>. <a href="/wiki/Vox_Media" title="Vox Media">Vox Media, LLC</a>. Retrieved July 22, 2021. <q>It criticizes shameless, money-grubbing attempts to synergize and update beloved classics ... all the while shamelessly synergizing and updating beloved classics. ... The studios rarely seem to want to do anything new with their properties other than remind us that they still own them.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Vulture&rft.atitle=Space+Jam%3A+A+New+Legacy+Never+Thought+It+Could+Be+a+Good+Movie&rft.date=2021-07-14&rft.aulast=Ebiri&rft.aufirst=Bilge&rft_id=https%3A%2F%2Fwww.vulture.com%2Farticle%2Fspace-jam-a-new-legacy-review-lebron-james-is-here.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSollosi2021" class="citation magazine cs1">Sollosi, Mary (July 14, 2021). <a rel="nofollow" class="external text" href="https://ew.com/movies/movie-reviews/space-jam-a-new-legacy-review/">"Space Jam: A New Legacy review: LeBron James enters the server-verse in exhausting reboot"</a>. <a href="/wiki/Entertainment_Weekly" title="Entertainment Weekly">Entertainment Weekly</a>. <a href="/wiki/Meredith_Corporation" title="Meredith Corporation">Meredith Corporation</a>. Retrieved July 22, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Entertainment+Weekly&rft.atitle=Space+Jam%3A+A+New+Legacy+review%3A+LeBron+James+enters+the+server-verse+in+exhausting+reboot&rft.date=2021-07-14&rft.aulast=Sollosi&rft.aufirst=Mary&rft_id=https%3A%2F%2Few.com%2Fmovies%2Fmovie-reviews%2Fspace-jam-a-new-legacy-review%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScorsese" class="citation magazine cs1 cs1-prop-long-vol">Scorsese, Martin. <a rel="nofollow" class="external text" href="https://harpers.org/archive/2021/03/il-maestro-federico-fellini-martin-scorsese/">"Il Maestro: Federico Fellini and the lost magic of cinema"</a>. Harper's Magazine. Vol. March 2021. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0017-789X">0017-789X</a>. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Harper%27s+Magazine&rft.atitle=Il+Maestro%3A+Federico+Fellini+and+the+lost+magic+of+cinema&rft.volume=March+2021&rft.issn=0017-789X&rft.aulast=Scorsese&rft.aufirst=Martin&rft_id=https%3A%2F%2Fharpers.org%2Farchive%2F2021%2F03%2Fil-maestro-federico-fellini-martin-scorsese%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2022" class="citation web cs1">Taylor, Tom (October 13, 2022). <a rel="nofollow" class="external text" href="https://faroutmagazine.co.uk/martin-scorsese-box-office-profit-obsession-repulsive/">"Martin Scorsese calls cinema's profit obsession "repulsive""</a>. faroutmagazine.co.uk. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=faroutmagazine.co.uk&rft.atitle=Martin+Scorsese+calls+cinema%27s+profit+obsession+%22repulsive%22&rft.date=2022-10-13&rft.aulast=Taylor&rft.aufirst=Tom&rft_id=https%3A%2F%2Ffaroutmagazine.co.uk%2Fmartin-scorsese-box-office-profit-obsession-repulsive%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKarr2022" class="citation web cs1">Karr, Mary Kate (November 17, 2022). <a rel="nofollow" class="external text" href="https://www.avclub.com/quentin-tarantino-current-era-tied-worst-film-history-1849795337">"Quentin Tarantino says current era is tied for worst in film history"</a>. The A.V. Club. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+A.V.+Club&rft.atitle=Quentin+Tarantino+says+current+era+is+tied+for+worst+in+film+history&rft.date=2022-11-17&rft.aulast=Karr&rft.aufirst=Mary+Kate&rft_id=https%3A%2F%2Fwww.avclub.com%2Fquentin-tarantino-current-era-tied-worst-film-history-1849795337&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAdekaiyero2022" class="citation web cs1">Adekaiyero, Ayomikun (November 17, 2022). <a rel="nofollow" class="external text" href="https://www.insider.com/quentin-tarantino-says-this-era-worst-in-hollywood-history-2022-11">"Quentin Tarantino says the current movie era is one of the 'worst in Hollywood history'"</a>. Insider. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Insider&rft.atitle=Quentin+Tarantino+says+the+current+movie+era+is+one+of+the+%27worst+in+Hollywood+history%27&rft.date=2022-11-17&rft.aulast=Adekaiyero&rft.aufirst=Ayomikun&rft_id=https%3A%2F%2Fwww.insider.com%2Fquentin-tarantino-says-this-era-worst-in-hollywood-history-2022-11&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNtim2023" class="citation web cs1">Ntim, Zac (August 14, 2023). <a rel="nofollow" class="external text" href="https://deadline.com/2023/08/charlie-kaufman-ai-wga-strike-hollywood-sarajevo-1235498089/">"Charlie Kaufman Talks AI, WGA Strike & Slams Hollywood System: "The Only Thing That Makes Money Is Garbage" — Sarajevo"</a>. Deadline. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline&rft.atitle=Charlie+Kaufman+Talks+AI%2C+WGA+Strike+%26+Slams+Hollywood+System%3A+%22The+Only+Thing+That+Makes+Money+Is+Garbage%22+%E2%80%94+Sarajevo&rft.date=2023-08-14&rft.aulast=Ntim&rft.aufirst=Zac&rft_id=https%3A%2F%2Fdeadline.com%2F2023%2F08%2Fcharlie-kaufman-ai-wga-strike-hollywood-sarajevo-1235498089%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchimkowitz2023" class="citation web cs1">Schimkowitz, Matt (August 15, 2023). <a rel="nofollow" class="external text" href="https://www.avclub.com/there-s-nothing-confusing-about-charlie-kaufman-s-opini-1850737832">"There's nothing confusing about Charlie Kaufman's opinion of Hollywood"</a>. The A.V. Club. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+A.V.+Club&rft.atitle=There%27s+nothing+confusing+about+Charlie+Kaufman%27s+opinion+of+Hollywood&rft.date=2023-08-15&rft.aulast=Schimkowitz&rft.aufirst=Matt&rft_id=https%3A%2F%2Fwww.avclub.com%2Fthere-s-nothing-confusing-about-charlie-kaufman-s-opini-1850737832&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFD'Alessandro2022" class="citation web cs1">D'Alessandro, Anthony (May 22, 2022). <a rel="nofollow" class="external text" href="https://deadline.com/video/armageddon-time-james-gray-cannes-film-festival-box-office-streaming/">"'Armageddon Time' Director James Gray On Why Studios Should Be Able To Lose Money On Art Specialty Divisions – Cannes Studio"</a>. Deadline. Retrieved August 29, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline&rft.atitle=%27Armageddon+Time%27+Director+James+Gray+On+Why+Studios+Should+Be+Able+To+Lose+Money+On+Art+Specialty+Divisions+%E2%80%93+Cannes+Studio&rft.date=2022-05-22&rft.aulast=D%27Alessandro&rft.aufirst=Anthony&rft_id=https%3A%2F%2Fdeadline.com%2Fvideo%2Farmageddon-time-james-gray-cannes-film-festival-box-office-streaming%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://wams.nyhistory.org/growth-and-turmoil/cold-war-beginnings/helen-gahagan-douglas/">"Life Story: Helen Gahagan Douglas"</a>. Women & the American Story.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Women+%26+the+American+Story&rft.atitle=Life+Story%3A+Helen+Gahagan+Douglas&rft_id=https%3A%2F%2Fwams.nyhistory.org%2Fgrowth-and-turmoil%2Fcold-war-beginnings%2Fhelen-gahagan-douglas%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.biography.com/political-figures/john-f-kennedy-frank-sinatra-friendship">"Inside John F. Kennedy and Frank Sinatra's Powerful Friendship"</a>. Biography. May 19, 2020. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Biography&rft.atitle=Inside+John+F.+Kennedy+and+Frank+Sinatra%27s+Powerful+Friendship&rft.date=2020-05-19&rft_id=https%3A%2F%2Fwww.biography.com%2Fpolitical-figures%2Fjohn-f-kennedy-frank-sinatra-friendship&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSeale2023" class="citation news cs1">Seale, Jack (November 4, 2023). <a rel="nofollow" class="external text" href="https://www.theguardian.com/tv-and-radio/2023/nov/04/kennedy-sinatra-and-the-mafia-review-a-barely-believable-tale-of-corruption-and-betrayal">"Kennedy, Sinatra and the Mafia review – a barely believable tale of corruption and betrayal"</a>. The Guardian. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a>. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Kennedy%2C+Sinatra+and+the+Mafia+review+%E2%80%93+a+barely+believable+tale+of+corruption+and+betrayal&rft.date=2023-11-04&rft.issn=0261-3077&rft.aulast=Seale&rft.aufirst=Jack&rft_id=https%3A%2F%2Fwww.theguardian.com%2Ftv-and-radio%2F2023%2Fnov%2F04%2Fkennedy-sinatra-and-the-mafia-review-a-barely-believable-tale-of-corruption-and-betrayal&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Brownstein,_Ronald_1990-111"><a href="#cite_ref-Brownstein,_Ronald_1990_111-0">^</a> <a href="/wiki/Ron_Brownstein" title="Ron Brownstein">Brownstein, Ronald</a> (1990). The Power and the Glitter: The Hollywood-Washington Connection. <a href="/wiki/Pantheon_Books" title="Pantheon Books">Pantheon Books</a>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-394-56938-5" title="Special:BookSources/0-394-56938-5">0-394-56938-5</a> </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/election-us-2020-54527265">"US election 2020: Will celebrity endorsements help Joe Biden?"</a>. BBC News. October 14, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=US+election+2020%3A+Will+celebrity+endorsements+help+Joe+Biden%3F&rft.date=2020-10-14&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Felection-us-2020-54527265&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.latimes.com/entertainment-arts/story/2020-11-03/election-2020-trump-biden-celebrity-endorsements">"Celebrities' last-minute pleas to vote: See who's endorsing Biden or Trump"</a>. Los Angeles Times. November 3, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Los+Angeles+Times&rft.atitle=Celebrities%27+last-minute+pleas+to+vote%3A+See+who%27s+endorsing+Biden+or+Trump&rft.date=2021-11-03&rft_id=https%3A%2F%2Fwww.latimes.com%2Fentertainment-arts%2Fstory%2F2020-11-03%2Felection-2020-trump-biden-celebrity-endorsements&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.latimes.com/business/hollywood/la-fi-ct-conservatives-hollywood-20170311-story.html">"In liberal Hollywood, a conservative minority faces backlash in the age of Trump"</a>. Los Angeles Times. March 11, 2017. Retrieved August 4, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Los+Angeles+Times&rft.atitle=In+liberal+Hollywood%2C+a+conservative+minority+faces+backlash+in+the+age+of+Trump&rft.date=2017-03-11&rft_id=https%3A%2F%2Fwww.latimes.com%2Fbusiness%2Fhollywood%2Fla-fi-ct-conservatives-hollywood-20170311-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.lpm.org/music/2023-06-25/arnold-schwarzenegger-on-the-reagan-era-action-heroes-his-first-tv-series">"Arnold Schwarzenegger on the Reagan era, action heroes, & his first TV series"</a>. Louisville Public Media. June 26, 2023. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Louisville+Public+Media&rft.atitle=Arnold+Schwarzenegger+on+the+Reagan+era%2C+action+heroes%2C+%26+his+first+TV+series&rft.date=2023-06-26&rft_id=https%3A%2F%2Fwww.lpm.org%2Fmusic%2F2023-06-25%2Farnold-schwarzenegger-on-the-reagan-era-action-heroes-his-first-tv-series&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-NewYorkTimes-20070206-116">^ <a href="#cite_ref-NewYorkTimes-20070206_116-0">a</a> <a href="#cite_ref-NewYorkTimes-20070206_116-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHalbfinger2007" class="citation news cs1">Halbfinger, David M. (February 6, 2007). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2007/02/06/movies/awardsseason/06holly.html">"Politicians Are Doing Hollywood Star Turns"</a>. The New York Times. Retrieved February 5, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Politicians+Are+Doing+Hollywood+Star+Turns&rft.date=2007-02-06&rft.aulast=Halbfinger&rft.aufirst=David+M.&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2007%2F02%2F06%2Fmovies%2Fawardsseason%2F06holly.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation audio-visual cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=DNy6F7ZwX8I">Law & Order: Last Week Tonight with John Oliver (HBO)</a> (News). September 12, 2022. Retrieved January 29, 2023 – via <a href="/wiki/YouTube" title="YouTube">YouTube</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Law+%26+Order%3A+Last+Week+Tonight+with+John+Oliver+%28HBO%29&rft.date=2022-09-12&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DDNy6F7ZwX8I&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPeirson-Hagger2019" class="citation web cs1">Peirson-Hagger, Ellen (November 29, 2019). <a rel="nofollow" class="external text" href="https://www.newstatesman.com/culture/film/2019/11/hollywood-mafia-films-are-skilful-propaganda-kim-longinotto-why-her-new-film">""Hollywood Mafia films are skilful propaganda": Kim Longinotto on why her new film breaks that mould"</a>. New Statesman. Retrieved January 30, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+Statesman&rft.atitle=%22Hollywood+Mafia+films+are+skilful+propaganda%22%3A+Kim+Longinotto+on+why+her+new+film+breaks+that+mould&rft.date=2019-11-29&rft.aulast=Peirson-Hagger&rft.aufirst=Ellen&rft_id=https%3A%2F%2Fwww.newstatesman.com%2Fculture%2Ffilm%2F2019%2F11%2Fhollywood-mafia-films-are-skilful-propaganda-kim-longinotto-why-her-new-film&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMekemsonGlantz2002" class="citation journal cs1">Mekemson, C.; Glantz, S. A. (March 1, 2002). <a rel="nofollow" class="external text" href="https://tobaccocontrol.bmj.com/content/11/suppl_1/i81">"How the tobacco industry built its relationship with Hollywood"</a>. Tobacco Control. 11 (suppl 1): i81–i91. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1136%2Ftc.11.suppl_1.i81">10.1136/tc.11.suppl_1.i81</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0964-4563">0964-4563</a>. <a href="/wiki/PMC_(identifier)" class="mw-redirect" title="PMC (identifier)">PMC</a> <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1766059">1766059</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/11893818">11893818</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Tobacco+Control&rft.atitle=How+the+tobacco+industry+built+its+relationship+with+Hollywood&rft.volume=11&rft.issue=suppl+1&rft.pages=i81-i91&rft.date=2002-03-01&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC1766059%23id-name%3DPMC&rft.issn=0964-4563&rft_id=info%3Apmid%2F11893818&rft_id=info%3Adoi%2F10.1136%2Ftc.11.suppl_1.i81&rft.aulast=Mekemson&rft.aufirst=C.&rft.au=Glantz%2C+S.+A.&rft_id=https%3A%2F%2Ftobaccocontrol.bmj.com%2Fcontent%2F11%2Fsuppl_1%2Fi81&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-120"><a href="#cite_ref-120">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCDCTobaccoFree2022" class="citation web cs1">CDCTobaccoFree (August 22, 2022). <a rel="nofollow" class="external text" href="https://www.cdc.gov/tobacco/data_statistics/fact_sheets/youth_data/movies/index.htm">"Smoking in the Movies"</a>. Centers for Disease Control and Prevention. Retrieved January 30, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Centers+for+Disease+Control+and+Prevention&rft.atitle=Smoking+in+the+Movies&rft.date=2022-08-22&rft.au=CDCTobaccoFree&rft_id=https%3A%2F%2Fwww.cdc.gov%2Ftobacco%2Fdata_statistics%2Ffact_sheets%2Fyouth_data%2Fmovies%2Findex.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-wp-8oct2019-121">^ <a href="#cite_ref-wp-8oct2019_121-0">a</a> <a href="#cite_ref-wp-8oct2019_121-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWhalen2019" class="citation news cs1">Whalen, Jeanne (October 8, 2019). <a rel="nofollow" class="external text" href="https://www.washingtonpost.com/business/2019/10/08/china-lashes-out-western-businesses-it-tries-cut-support-hong-kong-protests/">"China lashes out at Western businesses as it tries to cut support for Hong Kong protests"</a>. <a href="/wiki/The_Washington_Post" title="The Washington Post">The Washington Post</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Washington+Post&rft.atitle=China+lashes+out+at+Western+businesses+as+it+tries+to+cut+support+for+Hong+Kong+protests&rft.date=2019-10-08&rft.aulast=Whalen&rft.aufirst=Jeanne&rft_id=https%3A%2F%2Fwww.washingtonpost.com%2Fbusiness%2F2019%2F10%2F08%2Fchina-lashes-out-western-businesses-it-tries-cut-support-hong-kong-protests%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-pooh-122">^ <a href="#cite_ref-pooh_122-0">a</a> <a href="#cite_ref-pooh_122-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.aljazeera.com/ajimpact/south-park-ban-china-highlights-hollywood-tightrope-act-191010180426697.html">"South Park ban by China highlights Hollywood tightrope act"</a>. Al-Jazeera. October 10, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Al-Jazeera&rft.atitle=South+Park+ban+by+China+highlights+Hollywood+tightrope+act&rft.date=2019-10-10&rft_id=https%3A%2F%2Fwww.aljazeera.com%2Fajimpact%2Fsouth-park-ban-china-highlights-hollywood-tightrope-act-191010180426697.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-qz-tibet-2019-123">^ <a href="#cite_ref-qz-tibet-2019_123-0">a</a> <a href="#cite_ref-qz-tibet-2019_123-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSteger2019" class="citation news cs1">Steger, Isabella (March 28, 2019). <a rel="nofollow" class="external text" href="https://qz.com/1565178/how-china-has-shrunk-global-attention-for-tibet-and-the-dalai-lama/">"Why it's so hard to keep the world focused on Tibet"</a>. Quartz.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Quartz&rft.atitle=Why+it%27s+so+hard+to+keep+the+world+focused+on+Tibet&rft.date=2019-03-28&rft.aulast=Steger&rft.aufirst=Isabella&rft_id=https%3A%2F%2Fqz.com%2F1565178%2Fhow-china-has-shrunk-global-attention-for-tibet-and-the-dalai-lama%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBisset2019" class="citation news cs1">Bisset, Jennifer (November 1, 2019). <a rel="nofollow" class="external text" href="https://www.cnet.com/features/marvel-is-censoring-films-for-china-and-you-probably-didnt-even-notice/">"Marvel is censoring films for China, and you probably didn't even notice"</a>. <a href="/wiki/CNET" title="CNET">CNET</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=CNET&rft.atitle=Marvel+is+censoring+films+for+China%2C+and+you+probably+didn%27t+even+notice&rft.date=2019-11-01&rft.aulast=Bisset&rft.aufirst=Jennifer&rft_id=https%3A%2F%2Fwww.cnet.com%2Ffeatures%2Fmarvel-is-censoring-films-for-china-and-you-probably-didnt-even-notice%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-hr-gere-2017-125"><a href="#cite_ref-hr-gere-2017_125-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSiegel2017" class="citation news cs1">Siegel, Tatiana (April 18, 2017). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/features/richard-geres-studio-exile-why-his-hollywood-career-took-an-indie-turn-992258">"Richard Gere's Studio Exile: Why His Hollywood Career Took an Indie Turn"</a>. The Hollywood Reporter.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Richard+Gere%27s+Studio+Exile%3A+Why+His+Hollywood+Career+Took+an+Indie+Turn&rft.date=2017-04-18&rft.aulast=Siegel&rft.aufirst=Tatiana&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Ffeatures%2Frichard-geres-studio-exile-why-his-hollywood-career-took-an-indie-turn-992258&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-:12-126">^ <a href="#cite_ref-:12_126-0">a</a> <a href="#cite_ref-:12_126-1">b</a> <a href="#cite_ref-:12_126-2">c</a> Red Carpet: Hollywood, China, and the Battle for Global Supremacy. Erich Schwartzel. 2022. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781984879004" title="Special:BookSources/9781984879004">9781984879004</a>. </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMillerGovilMaxwell2005" class="citation book cs1">Miller, Toby; Govil, Nitin; Maxwell, Richard (2005). Global Hollywood 2 (2nd ed.). London: Bloomsbury. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1844570393" title="Special:BookSources/978-1844570393"><bdi>978-1844570393</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Global+Hollywood+2&rft.place=London&rft.edition=2nd&rft.pub=Bloomsbury&rft.date=2005&rft.isbn=978-1844570393&rft.aulast=Miller&rft.aufirst=Toby&rft.au=Govil%2C+Nitin&rft.au=Maxwell%2C+Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWasko2008" class="citation book cs1">Wasko, Janet (2008). Cross-Border Cultural Production: Economic Runaway or Globalization? (1st ed.). New York: Cambria Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1934043783" title="Special:BookSources/978-1934043783"><bdi>978-1934043783</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Cross-Border+Cultural+Production%3A+Economic+Runaway+or+Globalization%3F&rft.place=New+York&rft.edition=1st&rft.pub=Cambria+Press&rft.date=2008&rft.isbn=978-1934043783&rft.aulast=Wasko&rft.aufirst=Janet&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-129"><a href="#cite_ref-129">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSegrave1997" class="citation book cs1">Segrave, Kerry (1997). American Films Abroad: Hollywood's Domination of the World's Movie Screens (1st ed.). Jefferson: McFarland & Company. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0786403462" title="Special:BookSources/0786403462"><bdi>0786403462</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=American+Films+Abroad%3A+Hollywood%27s+Domination+of+the+World%27s+Movie+Screens&rft.place=Jefferson&rft.edition=1st&rft.pub=McFarland+%26+Company&rft.date=1997&rft.isbn=0786403462&rft.aulast=Segrave&rft.aufirst=Kerry&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrumpbour2002" class="citation book cs1">Trumpbour, John (2002). Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920-1950 (1st ed.). Cambridge: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0521651565" title="Special:BookSources/0521651565"><bdi>0521651565</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Selling+Hollywood+to+the+World%3A+U.S.+and+European+Struggles+for+Mastery+of+the+Global+Film+Industry%2C+1920-1950&rft.place=Cambridge&rft.edition=1st&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=0521651565&rft.aulast=Trumpbour&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMirrlees2013" class="citation book cs1">Mirrlees, Tanner (2013). Global Entertainment Media: Between Cultural Imperialism and Cultural Globalization (1st ed.). New York: Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780415519823" title="Special:BookSources/9780415519823"><bdi>9780415519823</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Global+Entertainment+Media%3A+Between+Cultural+Imperialism+and+Cultural+Globalization&rft.place=New+York&rft.edition=1st&rft.pub=Routledge&rft.date=2013&rft.isbn=9780415519823&rft.aulast=Mirrlees&rft.aufirst=Tanner&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-132"><a href="#cite_ref-132">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMirrlees2018" class="citation journal cs1">Mirrlees, Tanner (2018). <a rel="nofollow" class="external text" href="https://cineaction.ca/issue-99/global-hollywood-an-entertainment-imperium-by-integration/">"Global Hollywood: An Entertainment Imperium, by Integration"</a>. Cineaction. 1 (100).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Cineaction&rft.atitle=Global+Hollywood%3A+An+Entertainment+Imperium%2C+by+Integration&rft.volume=1&rft.issue=100&rft.date=2018&rft.aulast=Mirrlees&rft.aufirst=Tanner&rft_id=https%3A%2F%2Fcineaction.ca%2Fissue-99%2Fglobal-hollywood-an-entertainment-imperium-by-integration%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Thompson-133">^ <a href="#cite_ref-Thompson_133-0">a</a> <a href="#cite_ref-Thompson_133-1">b</a> <a href="#cite_ref-Thompson_133-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFThompson2010" class="citation book cs1"><a href="/wiki/Kristin_Thompson" title="Kristin Thompson">Thompson, Kristin</a> (2010). Film History: An Introduction. Madison, Wisconsin: McGraw-Hill. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-07-338613-3" title="Special:BookSources/978-0-07-338613-3"><bdi>978-0-07-338613-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Film+History%3A+An+Introduction&rft.place=Madison%2C+Wisconsin&rft.pub=McGraw-Hill&rft.date=2010&rft.isbn=978-0-07-338613-3&rft.aulast=Thompson&rft.aufirst=Kristin&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-134"><a href="#cite_ref-134">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScott2000" class="citation book cs1">Scott, A. J. (2000). The Cultural Economy of Cities. London: Sage Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7619-5455-4" title="Special:BookSources/0-7619-5455-4"><bdi>0-7619-5455-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cultural+Economy+of+Cities&rft.place=London&rft.pub=Sage+Publications&rft.date=2000&rft.isbn=0-7619-5455-4&rft.aulast=Scott&rft.aufirst=A.+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-135"><a href="#cite_ref-135">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShirey2013" class="citation web cs1">Shirey, Paul (April 9, 2013). <a rel="nofollow" class="external text" href="http://www.joblo.com/movie-news/cmon-hollywood-is-hollywood-going-to-start-being-made-in-china">"C'mon Hollywood: Is Hollywood going to start being Made in China?"</a>. JoBlo. Retrieved June 14, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=C%27mon+Hollywood%3A+Is+Hollywood+going+to+start+being+Made+in+China%3F&rft.pub=JoBlo&rft.date=2013-04-09&rft.aulast=Shirey&rft.aufirst=Paul&rft_id=http%3A%2F%2Fwww.joblo.com%2Fmovie-news%2Fcmon-hollywood-is-hollywood-going-to-start-being-made-in-china&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-slate.com-136">^ <a href="#cite_ref-slate.com_136-0">a</a> <a href="#cite_ref-slate.com_136-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBetsy_Woodruff2015" class="citation web cs1">Betsy Woodruff (February 23, 2015). <a rel="nofollow" class="external text" href="http://www.slate.com/blogs/xx_factor/2015/02/23/gender_wage_gap_in_hollywood_it_s_very_very_wide.html">"Gender wage gap in Hollywood: It's very, very wide"</a>. <a href="/wiki/Slate_(magazine)" title="Slate (magazine)">Slate</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Slate&rft.atitle=Gender+wage+gap+in+Hollywood%3A+It%27s+very%2C+very+wide.&rft.date=2015-02-23&rft.au=Betsy+Woodruff&rft_id=http%3A%2F%2Fwww.slate.com%2Fblogs%2Fxx_factor%2F2015%2F02%2F23%2Fgender_wage_gap_in_hollywood_it_s_very_very_wide.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMaane_Khatchatourian2014" class="citation web cs1">Maane Khatchatourian (February 7, 2014). <a rel="nofollow" class="external text" href="https://variety.com/2014/film/news/study-female-movie-stars-earn-significantly-less-after-age-34-1201091967/">"Female Movie Stars Experience Earnings Plunge After Age 34"</a>. Variety.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Female+Movie+Stars+Experience+Earnings+Plunge+After+Age+34&rft.date=2014-02-07&rft.au=Maane+Khatchatourian&rft_id=https%3A%2F%2Fvariety.com%2F2014%2Ffilm%2Fnews%2Fstudy-female-movie-stars-earn-significantly-less-after-age-34-1201091967%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-SanDiego-138">^ <a href="#cite_ref-SanDiego_138-0">a</a> <a href="#cite_ref-SanDiego_138-1">b</a> <a href="#cite_ref-SanDiego_138-2">c</a> <a href="#cite_ref-SanDiego_138-3">d</a> <a href="#cite_ref-SanDiego_138-4">e</a> <a href="#cite_ref-SanDiego_138-5">f</a> <a href="#cite_ref-SanDiego_138-6">g</a> <a href="#cite_ref-SanDiego_138-7">h</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLauzen" class="citation web cs1">Lauzen, Martha. <a rel="nofollow" class="external text" href="http://womenintvfilm.sdsu.edu/files/2012_Celluloid_Ceiling_Exec_Summ.pdf">"The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 012"</a> (PDF). The Center for the Study of Women in Television and Film. San Diego State University. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130226115330/http://womenintvfilm.sdsu.edu/files/2012_Celluloid_Ceiling_Exec_Summ.pdf">Archived</a> (PDF) from the original on February 26, 2013. Retrieved May 20, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Center+for+the+Study+of+Women+in+Television+and+Film&rft.atitle=The+Celluloid+Ceiling%3A+Behind-the-Scenes+Employment+of+Women+on+the+Top+250+Films+of+012&rft.aulast=Lauzen&rft.aufirst=Martha&rft_id=http%3A%2F%2Fwomenintvfilm.sdsu.edu%2Ffiles%2F2012_Celluloid_Ceiling_Exec_Summ.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-NYTstudy-139"><a href="#cite_ref-NYTstudy_139-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBuckley2014" class="citation web cs1">Buckley, Cara (March 11, 2014). <a rel="nofollow" class="external text" href="http://artsbeat.blogs.nytimes.com/2014/03/11/only-15-percent-of-top-films-in-2013-put-women-in-lead-roles-study-finds">"Only 15 Percent of Top Films in 2013 Put Women in Lead Roles, Study Finds"</a>. The New York Times. Retrieved March 12, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=Only+15+Percent+of+Top+Films+in+2013+Put+Women+in+Lead+Roles%2C+Study+Finds&rft.date=2014-03-11&rft.aulast=Buckley&rft.aufirst=Cara&rft_id=http%3A%2F%2Fartsbeat.blogs.nytimes.com%2F2014%2F03%2F11%2Fonly-15-percent-of-top-films-in-2013-put-women-in-lead-roles-study-finds&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAusiello2021" class="citation web cs1">Ausiello, Michael (May 10, 2021). <a rel="nofollow" class="external text" href="https://tvline.com/2021/05/10/golden-globes-cancelled-nbc-2022-ceremony-controversy/">"Golden Globes Cancelled: NBC Scraps 2022 Ceremony As Backlash Grows"</a>. TVLine. Retrieved May 10, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=TVLine&rft.atitle=Golden+Globes+Cancelled%3A+NBC+Scraps+2022+Ceremony+As+Backlash+Grows&rft.date=2021-05-10&rft.aulast=Ausiello&rft.aufirst=Michael&rft_id=https%3A%2F%2Ftvline.com%2F2021%2F05%2F10%2Fgolden-globes-cancelled-nbc-2022-ceremony-controversy%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.goldenglobes.com/articles/dick-clark-productions-and-eldridge-acquire-golden-globes">"Dick Clark Productions and Eldridge Acquire Golden Globes"</a>. Golden Globes. June 12, 2023. Retrieved August 31, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Golden+Globes&rft.atitle=Dick+Clark+Productions+and+Eldridge+Acquire+Golden+Globes&rft.date=2023-06-12&rft_id=https%3A%2F%2Fwww.goldenglobes.com%2Farticles%2Fdick-clark-productions-and-eldridge-acquire-golden-globes&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBarnes2023" class="citation news cs1">Barnes, Brooks (June 12, 2023). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2023/06/12/business/media/golden-globes-sale.html">"Golden Globes Are Sold and Hollywood Foreign Press Is No More"</a>. The New York Times. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0362-4331">0362-4331</a>. Retrieved August 31, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Golden+Globes+Are+Sold+and+Hollywood+Foreign+Press+Is+No+More&rft.date=2023-06-12&rft.issn=0362-4331&rft.aulast=Barnes&rft.aufirst=Brooks&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2023%2F06%2F12%2Fbusiness%2Fmedia%2Fgolden-globes-sale.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee2008" class="citation journal cs1">Lee, Kevin (January 2008). <a rel="nofollow" class="external text" href="https://scholarlycommons.law.northwestern.edu/cgi/viewcontent.cgi?article=1671&context=njilb">""The Little State Department": Hollywood and the MPAA's Influence on U.S. Trade Relations"</a>. Northwestern Journal of International Law & Business. 28 (2).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Northwestern+Journal+of+International+Law+%26+Business&rft.atitle=%22The+Little+State+Department%22%3A+Hollywood+and+the+MPAA%27s+Influence+on+U.S.+Trade+Relations&rft.volume=28&rft.issue=2&rft.date=2008-01&rft.aulast=Lee&rft.aufirst=Kevin&rft_id=https%3A%2F%2Fscholarlycommons.law.northwestern.edu%2Fcgi%2Fviewcontent.cgi%3Farticle%3D1671%26context%3Dnjilb&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/tv-and-radio/2017/jul/10/will-cliche-russian-baddie-ever-leave-screens-james-norton-mcmafia">"Will the cliche of the 'Russian baddie' ever leave our screens?"</a>. The Guardian. July 10, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Will+the+cliche+of+the+%27Russian+baddie%27+ever+leave+our+screens%3F&rft.date=2017-07-10&rft_id=https%3A%2F%2Fwww.theguardian.com%2Ftv-and-radio%2F2017%2Fjul%2F10%2Fwill-cliche-russian-baddie-ever-leave-screens-james-norton-mcmafia&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <a rel="nofollow" class="external text" href="https://www.foxnews.com/entertainment/russian-film-industry-and-hollywood-uneasy-with-one-another/">"Russian film industry and Hollywood uneasy with one another"</a>. Fox News. October 14, 2014 </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.themoscowtimes.com/2015/08/09/5-hollywood-villains-that-prove-russian-stereotypes-are-hard-to-kill-a48849">"5 Hollywood Villains That Prove Russian Stereotypes Are Hard to Kill"</a>. <a href="/wiki/The_Moscow_Times" title="The Moscow Times">The Moscow Times</a>. August 9, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Moscow+Times&rft.atitle=5+Hollywood+Villains+That+Prove+Russian+Stereotypes+Are+Hard+to+Kill&rft.date=2015-08-09&rft_id=https%3A%2F%2Fwww.themoscowtimes.com%2F2015%2F08%2F09%2F5-hollywood-villains-that-prove-russian-stereotypes-are-hard-to-kill-a48849&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/culture/article/20141106-why-are-russians-always-bad-guys">"Hollywood stereotypes: Why are Russians the bad guys?"</a>. BBC News. November 5, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Hollywood+stereotypes%3A+Why+are+Russians+the+bad+guys%3F&rft.date=2014-11-05&rft_id=https%3A%2F%2Fwww.bbc.com%2Fculture%2Farticle%2F20141106-why-are-russians-always-bad-guys&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.thoughtco.com/stereotypes-of-italian-americans-film-television-2834703">"Stereotypes of Italian Americans in Film and Television"</a>. <a href="/wiki/Thought_Catalog" title="Thought Catalog">Thought Catalog</a>. March 26, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Thought+Catalog&rft.atitle=Stereotypes+of+Italian+Americans+in+Film+and+Television&rft.date=2018-03-26&rft_id=https%3A%2F%2Fwww.thoughtco.com%2Fstereotypes-of-italian-americans-film-television-2834703&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.nytimes.com/1999/07/30/nyregion/nyc-a-stereotype-hollywood-can-t-refuse.html">"NYC; A Stereotype Hollywood Can't Refuse"</a>. The New York Times. July 30, 1999.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=NYC%3B+A+Stereotype+Hollywood+Can%27t+Refuse&rft.date=1999-07-30&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1999%2F07%2F30%2Fnyregion%2Fnyc-a-stereotype-hollywood-can-t-refuse.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-stereotypes-150">^ <a href="#cite_ref-stereotypes_150-0">a</a> <a href="#cite_ref-stereotypes_150-1">b</a> <a href="#cite_ref-stereotypes_150-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://abcnews.go.com/2020/Stossel/story?id=2412723&page=1">"Hollywood's Stereotypes"</a>. ABC News.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=ABC+News&rft.atitle=Hollywood%27s+Stereotypes&rft_id=https%3A%2F%2Fabcnews.go.com%2F2020%2FStossel%2Fstory%3Fid%3D2412723%26page%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavisonBurke2000" class="citation journal cs1">Davison, Heather K.; Burke, Michael J. (2000). "Sex Discrimination in Simulated Employment Contexts: A Meta-analytic Investigation". Journal of Vocational Behavior. 56 (2): 225–248. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1006%2Fjvbe.1999.1711">10.1006/jvbe.1999.1711</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Vocational+Behavior&rft.atitle=Sex+Discrimination+in+Simulated+Employment+Contexts%3A+A+Meta-analytic+Investigation&rft.volume=56&rft.issue=2&rft.pages=225-248&rft.date=2000&rft_id=info%3Adoi%2F10.1006%2Fjvbe.1999.1711&rft.aulast=Davison&rft.aufirst=Heather+K.&rft.au=Burke%2C+Michael+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-:14-152">^ <a href="#cite_ref-:14_152-0">a</a> <a href="#cite_ref-:14_152-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEnrique_Pérez2009" class="citation book cs1">Enrique Pérez, Daniel (2009). Rethinking Chicana/o and Latina/o Popular Culture. Palgrave Macmillan. pp. 93–95. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780230616066" title="Special:BookSources/9780230616066"><bdi>9780230616066</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rethinking+Chicana%2Fo+and+Latina%2Fo+Popular+Culture&rft.pages=93-95&rft.pub=Palgrave+Macmillan&rft.date=2009&rft.isbn=9780230616066&rft.aulast=Enrique+P%C3%A9rez&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nbcnews.com/news/asian-america/asian-black-representation-grew-film-television-study-finds-rcna80201#">"Asian and Black representation grew in film and television, study finds"</a>. NBC News. April 18, 2023. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=NBC+News&rft.atitle=Asian+and+Black+representation+grew+in+film+and+television%2C+study+finds&rft.date=2023-04-18&rft_id=https%3A%2F%2Fwww.nbcnews.com%2Fnews%2Fasian-america%2Fasian-black-representation-grew-film-television-study-finds-rcna80201%23&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.mckinsey.com/featured-insights/diversity-and-inclusion/black-representation-in-film-and-tv-the-challenges-and-impact-of-increasing-diversity">"Representation of Black talent in film and TV | McKinsey"</a>. www.mckinsey.com. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.mckinsey.com&rft.atitle=Representation+of+Black+talent+in+film+and+TV+%7C+McKinsey&rft_id=https%3A%2F%2Fwww.mckinsey.com%2Ffeatured-insights%2Fdiversity-and-inclusion%2Fblack-representation-in-film-and-tv-the-challenges-and-impact-of-increasing-diversity&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.cbc.ca/radio/ideas/from-servants-to-outlaws-100-years-of-black-representation-in-hollywood-films-1.5953758">"From servants to outlaws: 100 years of Black representation in Hollywood films"</a>. CBC.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=CBC&rft.atitle=From+servants+to+outlaws%3A+100+years+of+Black+representation+in+Hollywood+films&rft_id=https%3A%2F%2Fwww.cbc.ca%2Fradio%2Fideas%2Ffrom-servants-to-outlaws-100-years-of-black-representation-in-hollywood-films-1.5953758&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFO’Dell2022" class="citation web cs1">O’Dell, Cary (October 4, 2022). <a rel="nofollow" class="external text" href="https://blogs.loc.gov/now-see-hear/2022/10/looking-and-looking-again-at-black-film-history/">"Looking (and Looking Again) at Black Film History | Now See Hear!"</a>. The Library of Congress. Retrieved November 14, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Library+of+Congress&rft.atitle=Looking+%28and+Looking+Again%29+at+Black+Film+History+%7C+Now+See+Hear%21&rft.date=2022-10-04&rft.aulast=O%E2%80%99Dell&rft.aufirst=Cary&rft_id=https%3A%2F%2Fblogs.loc.gov%2Fnow-see-hear%2F2022%2F10%2Flooking-and-looking-again-at-black-film-history%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-157"><a href="#cite_ref-157">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/news/blackface-hollywood-al-jolson-judy-garland-dave-chappelle-1185380">"Blackface and Hollywood: From Al Jolson to Judy Garland to Dave Chappelle"</a>. The Hollywood Reporter. February 12, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Blackface+and+Hollywood%3A+From+Al+Jolson+to+Judy+Garland+to+Dave+Chappelle&rft.date=2019-02-12&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fnews%2Fblackface-hollywood-al-jolson-judy-garland-dave-chappelle-1185380&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Watts-158">^ <a href="#cite_ref-Watts_158-0">a</a> <a href="#cite_ref-Watts_158-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWatts2017" class="citation web cs1">Watts, Stephanie (February 17, 2017). <a rel="nofollow" class="external text" href="https://oneroomwithaview.com/2017/02/17/moonlight-performativity-masculinity/">"Moonlight And The Performativity of Masculinity"</a>. One Room with a View. Retrieved February 11, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=One+Room+with+a+View&rft.atitle=Moonlight+And+The+Performativity+of+Masculinity&rft.date=2017-02-17&rft.aulast=Watts&rft.aufirst=Stephanie&rft_id=https%3A%2F%2Foneroomwithaview.com%2F2017%2F02%2F17%2Fmoonlight-performativity-masculinity%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFields2016" class="citation journal cs1">Fields, Errol (2016). <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5127594">"The Intersection of Sociocultural Factors and Health-Related Behavior in Lesbian, Gay, Bisexual, and Transgender Youth: Experiences Among Young Black Gay Males as an Example"</a>. Pediatric Clinics of North America. 63 (6): 1091–1106. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1016%2Fj.pcl.2016.07.009">10.1016/j.pcl.2016.07.009</a>. <a href="/wiki/PMC_(identifier)" class="mw-redirect" title="PMC (identifier)">PMC</a> <a rel="nofollow" class="external text" href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5127594">5127594</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/27865335">27865335</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Pediatric+Clinics+of+North+America&rft.atitle=The+Intersection+of+Sociocultural+Factors+and+Health-Related+Behavior+in+Lesbian%2C+Gay%2C+Bisexual%2C+and+Transgender+Youth%3A+Experiences+Among+Young+Black+Gay+Males+as+an+Example&rft.volume=63&rft.issue=6&rft.pages=1091-1106&rft.date=2016&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC5127594%23id-name%3DPMC&rft_id=info%3Apmid%2F27865335&rft_id=info%3Adoi%2F10.1016%2Fj.pcl.2016.07.009&rft.aulast=Fields&rft.aufirst=Errol&rft_id=https%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpmc%2Farticles%2FPMC5127594&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVariety_Staff2015" class="citation web cs1">Variety Staff (June 2, 2015). <a rel="nofollow" class="external text" href="https://variety.com/2015/film/news/cameron-crowe-apology-emma-stone-aloha-1201511085/">"Cameron Crowe on Casting Emma Stone: 'I Offer You a Heart-Felt Apology'"</a>. Variety. Retrieved June 3, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Cameron+Crowe+on+Casting+Emma+Stone%3A+%27I+Offer+You+a+Heart-Felt+Apology%27&rft.date=2015-06-02&rft.au=Variety+Staff&rft_id=https%3A%2F%2Fvariety.com%2F2015%2Ffilm%2Fnews%2Fcameron-crowe-apology-emma-stone-aloha-1201511085%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-161"><a href="#cite_ref-161">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGajewski2015" class="citation web cs1">Gajewski, Ryan (May 23, 2015). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/news/cameron-crowes-deep-tiki-criticized-depicting-797794">"Cameron Crowe's 'Deep Tiki' Criticized for Depicting "Whitewashed" Hawaii"</a>. <a href="/wiki/The_Hollywood_Reporter" title="The Hollywood Reporter">The Hollywood Reporter</a>. Retrieved May 29, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Hollywood+Reporter&rft.atitle=Cameron+Crowe%27s+%27Deep+Tiki%27+Criticized+for+Depicting+%22Whitewashed%22+Hawaii&rft.date=2015-05-23&rft.aulast=Gajewski&rft.aufirst=Ryan&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fnews%2Fcameron-crowes-deep-tiki-criticized-depicting-797794&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcNary2015" class="citation journal cs1">McNary, Dave (May 27, 2015). <a rel="nofollow" class="external text" href="https://variety.com/2015/film/news/sony-defends-aloha-after-white-washing-criticism-1201506569/">"Sony Defends 'Deep Tiki' After White-Washing Criticism"</a>. Variety. Retrieved December 19, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=Sony+Defends+%27Deep+Tiki%27+After+White-Washing+Criticism&rft.date=2015-05-27&rft.aulast=McNary&rft.aufirst=Dave&rft_id=https%3A%2F%2Fvariety.com%2F2015%2Ffilm%2Fnews%2Fsony-defends-aloha-after-white-washing-criticism-1201506569%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee2013" class="citation news cs1">Lee, Elizabeth (February 28, 2013). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130218124215/http://m.voanews.com/rss.jsp">"YouTube Spawns Asian-American Celebrities"</a>. VAO News. Archived from <a rel="nofollow" class="external text" href="http://m.voanews.com/rss.jsp;jsessionid=185B5BBA953982AB4D008141A1942BF7.aldo2?id=3132&rssid=25273271&item=http%3a%2f%2fwww.voanews.com%2frss%2fmobiletech.aspx%3farticleid%3d1612459&cid=25228001&show=full">the original</a> on February 18, 2013. Retrieved March 4, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=VAO+News&rft.atitle=YouTube+Spawns+Asian-American+Celebrities&rft.date=2013-02-28&rft.aulast=Lee&rft.aufirst=Elizabeth&rft_id=http%3A%2F%2Fm.voanews.com%2Frss.jsp%3Bjsessionid%3D185B5BBA953982AB4D008141A1942BF7.aldo2%3Fid%3D3132%26rssid%3D25273271%26item%3Dhttp%253a%252f%252fwww.voanews.com%252frss%252fmobiletech.aspx%253farticleid%253d1612459%26cid%3D25228001%26show%3Dfull&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-164"><a href="#cite_ref-164">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKelley2018" class="citation news cs1">Kelley, Sonaiya (August 19, 2018). <a rel="nofollow" class="external text" href="https://www.latimes.com/entertainment/movies/la-et-mn-box-office-crazy-rich-asians-20180819-story.html">"'Crazy Rich Asians' dominates the box office, makes history for representation"</a>. Los Angeles Times. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180906071908/http://www.latimes.com/entertainment/movies/la-et-mn-box-office-crazy-rich-asians-20180819-story.html">Archived</a> from the original on September 6, 2018. Retrieved September 10, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Los+Angeles+Times&rft.atitle=%27Crazy+Rich+Asians%27+dominates+the+box+office%2C+makes+history+for+representation&rft.date=2018-08-19&rft.aulast=Kelley&rft.aufirst=Sonaiya&rft_id=https%3A%2F%2Fwww.latimes.com%2Fentertainment%2Fmovies%2Fla-et-mn-box-office-crazy-rich-asians-20180819-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.rottentomatoes.com/m/always_be_my_maybe_2019">"Always be My Maybe (2019)"</a>. <a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a>. Retrieved November 11, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Rotten+Tomatoes&rft.atitle=Always+be+My+Maybe+%282019%29&rft_id=https%3A%2F%2Fwww.rottentomatoes.com%2Fm%2Falways_be_my_maybe_2019&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-166"><a href="#cite_ref-166">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.inquisitr.com/4371155/was-disney-wrong-to-cast-naomi-scott-as-jasmine-in-the-new-aladdin-film-heres-why-people-are-angry/">"Was Disney Wrong To Cast Naomi Scott As Jasmine in the New 'Aladdin' Film? Here's Why People Are Angry"</a>. July 17, 2017. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170907165533/https://www.inquisitr.com/4371155/was-disney-wrong-to-cast-naomi-scott-as-jasmine-in-the-new-aladdin-film-heres-why-people-are-angry/">Archived</a> from the original on September 7, 2017. Retrieved September 7, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Was+Disney+Wrong+To+Cast+Naomi+Scott+As+Jasmine+in+the+New+%27Aladdin%27+Film%3F+Here%27s+Why+People+Are+Angry&rft.date=2017-07-17&rft_id=https%3A%2F%2Fwww.inquisitr.com%2F4371155%2Fwas-disney-wrong-to-cast-naomi-scott-as-jasmine-in-the-new-aladdin-film-heres-why-people-are-angry%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.bbc.co.uk/newsbeat/article/42601893/aladdin-disney-defends-making-up-white-actors-to-blend-in-during-crowd-scenes">"Aladdin: Disney defends 'making up' white actors to 'blend in' during crowd scenes"</a>. BBC News. January 7, 2018. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180111225805/http://www.bbc.co.uk/newsbeat/article/42601893/aladdin-disney-defends-making-up-white-actors-to-blend-in-during-crowd-scenes">Archived</a> from the original on January 11, 2018. Retrieved January 12, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=BBC+News&rft.atitle=Aladdin%3A+Disney+defends+%27making+up%27+white+actors+to+%27blend+in%27+during+crowd+scenes&rft.date=2018-01-07&rft_id=http%3A%2F%2Fwww.bbc.co.uk%2Fnewsbeat%2Farticle%2F42601893%2Faladdin-disney-defends-making-up-white-actors-to-blend-in-during-crowd-scenes&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.independent.co.uk/arts-entertainment/films/news/disney-aladdin-brown-up-cast-will-smith-extra-long-a8146361.html">"Disney accused of 'browning up' white actors for various Asian roles in Aladdin"</a>. <a href="/wiki/The_Independent" title="The Independent">The Independent</a>. January 7, 2018. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180114183739/http://www.independent.co.uk/arts-entertainment/films/news/disney-aladdin-brown-up-cast-will-smith-extra-long-a8146361.html">Archived</a> from the original on January 14, 2018. Retrieved January 14, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Independent&rft.atitle=Disney+accused+of+%27browning+up%27+white+actors+for+various+Asian+roles+in+Aladdin&rft.date=2018-01-07&rft_id=https%3A%2F%2Fwww.independent.co.uk%2Farts-entertainment%2Ffilms%2Fnews%2Fdisney-aladdin-brown-up-cast-will-smith-extra-long-a8146361.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Polone-169"><a href="#cite_ref-Polone_169-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPolone2012" class="citation news cs1">Polone, Gavin (May 23, 2012). <a rel="nofollow" class="external text" href="https://www.vulture.com/2012/05/how-long-are-the-days-on-a-movie-set-polone.html">"The Unglamorous, Punishing Hours of Working on a Hollywood Set"</a>. New York Magazine. Retrieved March 20, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=The+Unglamorous%2C+Punishing+Hours+of+Working+on+a+Hollywood+Set&rft.date=2012-05-23&rft.aulast=Polone&rft.aufirst=Gavin&rft_id=https%3A%2F%2Fwww.vulture.com%2F2012%2F05%2Fhow-long-are-the-days-on-a-movie-set-polone.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Long_Hours-170"><a href="#cite_ref-Long_Hours_170-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVlessing2021" class="citation news cs1">Vlessing, Etan (December 14, 2021). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/business/business-news/global-unions-call-to-end-long-hours-culture-for-film-tv-workers-1235062384/">"Global Unions Call to End "Long Hours Culture" for Film, TV Workers"</a>. The Hollywood Reporter. Retrieved March 20, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Global+Unions+Call+to+End+%22Long+Hours+Culture%22+for+Film%2C+TV+Workers&rft.date=2021-12-14&rft.aulast=Vlessing&rft.aufirst=Etan&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fbusiness%2Fbusiness-news%2Fglobal-unions-call-to-end-long-hours-culture-for-film-tv-workers-1235062384%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Class_Struggle-171"><a href="#cite_ref-Class_Struggle_171-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHorne2001" class="citation book cs1">Horne, Gerald (2001). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220812091416/https://utpress.utexas.edu/books/horcla">Class Struggle in Hollywood, 1930–1950</a>. University of Texas Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-292-73138-7" title="Special:BookSources/978-0-292-73138-7"><bdi>978-0-292-73138-7</bdi></a>. Archived from <a rel="nofollow" class="external text" href="https://utpress.utexas.edu/books/horcla">the original</a> on August 12, 2022. Retrieved March 20, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Class+Struggle+in+Hollywood%2C+1930%E2%80%931950&rft.pub=University+of+Texas+Press&rft.date=2001&rft.isbn=978-0-292-73138-7&rft.aulast=Horne&rft.aufirst=Gerald&rft_id=https%3A%2F%2Futpress.utexas.edu%2Fbooks%2Fhorcla&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Vogue-172"><a href="#cite_ref-Vogue_172-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKelly2019" class="citation news cs1">Kelly, Kim (April 23, 2019). <a rel="nofollow" class="external text" href="https://www.teenvogue.com/story/hollywood-labor-rights-history">"Hollywood's Labor Force Has Always Had to Fight for Workers' Rights"</a>. Teen Vogue.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Hollywood%27s+Labor+Force+Has+Always+Had+to+Fight+for+Workers%27+Rights&rft.date=2019-04-23&rft.aulast=Kelly&rft.aufirst=Kim&rft_id=https%3A%2F%2Fwww.teenvogue.com%2Fstory%2Fhollywood-labor-rights-history&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-173"><a href="#cite_ref-173">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRobb2022" class="citation news cs1">Robb, David (August 3, 2022). <a rel="nofollow" class="external text" href="https://deadline.com/2022/08/sag-aftra-1-billion-dollars-dues-fees-since-2012-membership-record-high-1235084793/">"SAG-AFTRA Collects $1 Billion In Member Dues & Non-Member Fees In Its First 10 Years As Membership Climbs To Record Highs"</a>. <a href="/wiki/Deadline_Hollywood" title="Deadline Hollywood">Deadline Hollywood</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=SAG-AFTRA+Collects+%241+Billion+In+Member+Dues+%26+Non-Member+Fees+In+Its+First+10+Years+As+Membership+Climbs+To+Record+Highs&rft.date=2022-08-03&rft.aulast=Robb&rft.aufirst=David&rft_id=https%3A%2F%2Fdeadline.com%2F2022%2F08%2Fsag-aftra-1-billion-dollars-dues-fees-since-2012-membership-record-high-1235084793%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-174"><a href="#cite_ref-174">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVerhoeven2021" class="citation news cs1">Verhoeven, Beatrice (September 24, 2021). <a rel="nofollow" class="external text" href="https://www.thewrap.com/dga-sag-aftra-wga-east-stand-with-iatse-in-negotiations-with-amptp/">"DGA, SAG-AFTRA, WGA East Stand With IATSE in Negotiations With AMPTP"</a>. <a href="/wiki/TheWrap" title="TheWrap">TheWrap</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=DGA%2C+SAG-AFTRA%2C+WGA+East+Stand+With+IATSE+in+Negotiations+With+AMPTP&rft.date=2021-09-24&rft.aulast=Verhoeven&rft.aufirst=Beatrice&rft_id=https%3A%2F%2Fwww.thewrap.com%2Fdga-sag-aftra-wga-east-stand-with-iatse-in-negotiations-with-amptp%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-covid-175"><a href="#cite_ref-covid_175-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRobb2021" class="citation news cs1">Robb, David (December 30, 2021). <a rel="nofollow" class="external text" href="https://deadline.com/2021/12/unions-saved-hollywood-pandemic-2022-outlook-1234902148/">"How Unions Saved Hollywood During The Pandemic"</a>. Deadline Hollywood.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=How+Unions+Saved+Hollywood+During+The+Pandemic&rft.date=2021-12-30&rft.aulast=Robb&rft.aufirst=David&rft_id=https%3A%2F%2Fdeadline.com%2F2021%2F12%2Funions-saved-hollywood-pandemic-2022-outlook-1234902148%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Tax_Credit-176"><a href="#cite_ref-Tax_Credit_176-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEllingson2014" class="citation news cs1">Ellingson, Annlee (June 18, 2014). <a rel="nofollow" class="external text" href="https://www.bizjournals.com/losangeles/news/2014/06/18/iatse-launches-letter-writing-campaign-for.html">"IATSE launches letter-writing campaign for California film and TV tax credits"</a>. LA Business Journal.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=IATSE+launches+letter-writing+campaign+for+California+film+and+TV+tax+credits&rft.date=2014-06-18&rft.aulast=Ellingson&rft.aufirst=Annlee&rft_id=https%3A%2F%2Fwww.bizjournals.com%2Flosangeles%2Fnews%2F2014%2F06%2F18%2Fiatse-launches-letter-writing-campaign-for.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-IA_strike-177"><a href="#cite_ref-IA_strike_177-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFaughnder2021" class="citation news cs1">Faughnder, Ryan (October 19, 2021). <a rel="nofollow" class="external text" href="https://www.latimes.com/entertainment-arts/business/newsletter/2021-10-19/wide-shot-the-iatse-strike-the-wide-shot">"Hollywood avoided an IATSE strike. But broader labor issues aren't going away"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Hollywood+avoided+an+IATSE+strike.+But+broader+labor+issues+aren%27t+going+away&rft.date=2021-10-19&rft.aulast=Faughnder&rft.aufirst=Ryan&rft_id=https%3A%2F%2Fwww.latimes.com%2Fentertainment-arts%2Fbusiness%2Fnewsletter%2F2021-10-19%2Fwide-shot-the-iatse-strike-the-wide-shot&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> <li id="cite_note-Bloody-178"><a href="#cite_ref-Bloody_178-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeares2021" class="citation news cs1">Meares, Hadley (November 23, 2021). <a rel="nofollow" class="external text" href="https://laist.com/news/la-history/hollywood-strike-1945-unions-iatse-bloody-friday">"How The Bloody Hollywood Strike Of 1945 Forever Changed The Film Business"</a>. LAist.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=How+The+Bloody+Hollywood+Strike+Of+1945+Forever+Changed+The+Film+Business&rft.date=2021-11-23&rft.aulast=Meares&rft.aufirst=Hadley&rft_id=https%3A%2F%2Flaist.com%2Fnews%2Fla-history%2Fhollywood-strike-1945-unions-iatse-bloody-friday&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"> </li> </ol></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(10)"><h2 id="Notes">Notes</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=24" title="Edit section: Notes" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-10 collapsible-block" id="mf-section-10"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEarley1978" class="citation book cs1">Earley, Steven C. (1978). An Introduction to American Movies. New American Library.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=An+Introduction+to+American+Movies&rft.pub=New+American+Library&rft.date=1978&rft.aulast=Earley&rft.aufirst=Steven+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"></li> <li><a href="/wiki/George_McDonald_Fraser" class="mw-redirect" title="George McDonald Fraser">Fraser, George McDonald</a> (1988). The Hollywood History of the World, from One Million Years B.C. to 'Apocalypse Now'. London: M. Joseph; "First US ed.", New York: Beech Tree Books. Both eds. collate thus: xix, 268 p., amply ill. (b&w photos). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7181-2997-0" title="Special:BookSources/0-7181-2997-0">0-7181-2997-0</a> (U.K. ed.), 0-688-07520-7 (US ed.).</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGabler1988" class="citation book cs1"><a href="/wiki/Neal_Gabler" title="Neal Gabler">Gabler, Neal</a> (1988). <a href="/wiki/An_Empire_of_Their_Own" title="An Empire of Their Own">An Empire of Their Own: How the Jews Invented Hollywood</a>. Crown. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-385-26557-3" title="Special:BookSources/0-385-26557-3"><bdi>0-385-26557-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=An+Empire+of+Their+Own%3A+How+the+Jews+Invented+Hollywood&rft.pub=Crown&rft.date=1988&rft.isbn=0-385-26557-3&rft.aulast=Gabler&rft.aufirst=Neal&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScott2000" class="citation book cs1">Scott, A. J. (2000). The Cultural Economy of Cities. London: Sage Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7619-5455-4" title="Special:BookSources/0-7619-5455-4"><bdi>0-7619-5455-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cultural+Economy+of+Cities&rft.place=London&rft.pub=Sage+Publications&rft.date=2000&rft.isbn=0-7619-5455-4&rft.aulast=Scott&rft.aufirst=A.+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(11)"><h2 id="Further_reading">Further reading</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=25" title="Edit section: Further reading" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-11 collapsible-block" id="mf-section-11"> <ul><li>Hallett, Hilary A. Go West, Young Women! The Rise of Early Hollywood. Berkeley, CA: University of California Press, 2013.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMay1983" class="citation book cs1">May, Lary (1983). Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry. University of Chicago Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780226511733" title="Special:BookSources/9780226511733"><bdi>9780226511733</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Screening+Out+the+Past%3A+The+Birth+of+Mass+Culture+and+the+Motion+Picture+Industry&rft.pub=University+of+Chicago+Press&rft.date=1983&rft.isbn=9780226511733&rft.aulast=May&rft.aufirst=Lary&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACinema+of+the+United+States" class="Z3988"></li> <li>Ragan, David. Who's Who in Hollywood, 1900–1976. New Rochelle, NY: Arlington House, 1976.</li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(12)"><h2 id="External_links">External links</h2> <a role="button" href="/w/index.php?title=Cinema_of_the_United_States&action=edit&section=26" title="Edit section: External links" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-12 collapsible-block" id="mf-section-12"> <ul><li><a rel="nofollow" class="external text" href="https://boxofficevietnam.com/movie/mai/">Doanh thu phim Mai của Trấn Thành</a> trên <a href="/wiki/Box_Office_Vietnam" title="Box Office Vietnam">Box Office Vietnam</a></li> <li><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png" decoding="async" width="12" height="16" class="mw-file-element" data-file-width="1024" data-file-height="1376"></noscript><span class="lazy-image-placeholder" style="width: 12px;height: 16px;" data-src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png" data-alt="" data-width="12" data-height="16" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/18px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/24px-Commons-logo.svg.png 2x" data-class="mw-file-element"> </a> Media related to <a href="https://commons.wikimedia.org/wiki/Category:Cinema_of_the_United_States" class="extiw" title="commons:Category:Cinema of the United States">Cinema of the United States</a> at Wikimedia Commons</li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r886047488">.mw-parser-output .nobold{font-weight:normal}</style><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r886047488"></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div>    </section></div> <noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=mobile" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Cinema_of_the_United_States&oldid=1260724754">https://en.wikipedia.org/w/index.php?title=Cinema_of_the_United_States&oldid=1260724754</a>"</div></div> </div> <div class="post-content" id="page-secondary-actions"> </div> </main> <footer class="mw-footer minerva-footer" role="contentinfo"> <a class="last-modified-bar" href="/w/index.php?title=Cinema_of_the_United_States&action=history"> <div class="post-content last-modified-bar__content"> Last edited on 2 December 2024, at 07:39 </div> </a> <div class="post-content footer-content"> <div id='mw-data-after-content'> <div class="read-more-container"></div> </div> <div id="p-lang"> <h4>Languages</h4> <section> <ul id="p-variants" class="minerva-languages"></ul> <ul class="minerva-languages"><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%A7%D9%84%D8%B3%D9%8A%D9%86%D9%85%D8%A7_%D9%81%D9%8A_%D8%A7%D9%84%D9%88%D9%84%D8%A7%D9%8A%D8%A7%D8%AA_%D8%A7%D9%84%D9%85%D8%AA%D8%AD%D8%AF%D8%A9" title="السينما في الولايات المتحدة – Arabic" lang="ar" hreflang="ar" data-title="السينما في الولايات المتحدة" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-an mw-list-item"><a href="https://an.wikipedia.org/wiki/Cine_estausunidense" title="Cine estausunidense – Aragonese" lang="an" hreflang="an" data-title="Cine estausunidense" data-language-autonym="Aragonés" data-language-local-name="Aragonese" class="interlanguage-link-target">Aragonés</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/AB%C5%9E_kinematoqrafiyas%C4%B1" title="ABŞ kinematoqrafiyası – Azerbaijani" lang="az" hreflang="az" data-title="ABŞ kinematoqrafiyası" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%AE%E0%A6%BE%E0%A6%B0%E0%A7%8D%E0%A6%95%E0%A6%BF%E0%A6%A8_%E0%A6%AF%E0%A7%81%E0%A6%95%E0%A7%8D%E0%A6%A4%E0%A6%B0%E0%A6%BE%E0%A6%B7%E0%A7%8D%E0%A6%9F%E0%A7%8D%E0%A6%B0%E0%A7%87%E0%A6%B0_%E0%A6%9A%E0%A6%B2%E0%A6%9A%E0%A7%8D%E0%A6%9A%E0%A6%BF%E0%A6%A4%E0%A7%8D%E0%A6%B0" title="মার্কিন যুক্তরাষ্ট্রের চলচ্চিত্র – Bangla" lang="bn" hreflang="bn" data-title="মার্কিন যুক্তরাষ্ট্রের চলচ্চিত্র" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%9A%D0%B8%D0%BD%D0%BE_%D0%BD%D0%B0_%D0%A1%D0%90%D0%A9" title="Кино на САЩ – Bulgarian" lang="bg" hreflang="bg" data-title="Кино на САЩ" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Cinema_dels_Estats_Units" title="Cinema dels Estats Units – Catalan" lang="ca" hreflang="ca" data-title="Cinema dels Estats Units" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Ffilm_yn_yr_Unol_Daleithiau" title="Ffilm yn yr Unol Daleithiau – Welsh" lang="cy" hreflang="cy" data-title="Ffilm yn yr Unol Daleithiau" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/US-amerikanischer_Film" title="US-amerikanischer Film – German" lang="de" hreflang="de" data-title="US-amerikanischer Film" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%91%CE%BC%CE%B5%CF%81%CE%B9%CE%BA%CE%B1%CE%BD%CE%B9%CE%BA%CF%8C%CF%82_%CE%BA%CE%B9%CE%BD%CE%B7%CE%BC%CE%B1%CF%84%CE%BF%CE%B3%CF%81%CE%AC%CF%86%CE%BF%CF%82" title="Αμερικανικός κινηματογράφος – Greek" lang="el" hreflang="el" data-title="Αμερικανικός κινηματογράφος" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Cine_de_los_Estados_Unidos" title="Cine de los Estados Unidos – Spanish" lang="es" hreflang="es" data-title="Cine de los Estados Unidos" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Ameriketako_Estatu_Batuetako_zinema" title="Ameriketako Estatu Batuetako zinema – Basque" lang="eu" hreflang="eu" data-title="Ameriketako Estatu Batuetako zinema" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B3%DB%8C%D9%86%D9%85%D8%A7%DB%8C_%D8%A2%D9%85%D8%B1%DB%8C%DA%A9%D8%A7" title="سینمای آمریکا – Persian" lang="fa" hreflang="fa" data-title="سینمای آمریکا" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Cin%C3%A9ma_am%C3%A9ricain" title="Cinéma américain – French" lang="fr" hreflang="fr" data-title="Cinéma américain" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%AF%B8%EA%B5%AD_%EC%98%81%ED%99%94" title="미국 영화 – Korean" lang="ko" hreflang="ko" data-title="미국 영화" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%B8%E0%A4%82%E0%A4%AF%E0%A5%81%E0%A4%95%E0%A5%8D%E0%A4%A4_%E0%A4%B0%E0%A4%BE%E0%A4%9C%E0%A5%8D%E0%A4%AF_%E0%A4%85%E0%A4%AE%E0%A5%87%E0%A4%B0%E0%A4%BF%E0%A4%95%E0%A4%BE_%E0%A4%95%E0%A5%80_%E0%A4%B8%E0%A4%BF%E0%A4%A8%E0%A5%87%E0%A4%AE%E0%A4%BE" title="संयुक्त राज्य अमेरिका की सिनेमा – Hindi" lang="hi" hreflang="hi" data-title="संयुक्त राज्य अमेरिका की सिनेमा" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target">हिन्दी</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Sinema_Amerika_Serikat" title="Sinema Amerika Serikat – Indonesian" lang="id" hreflang="id" data-title="Sinema Amerika Serikat" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Cinema_statunitense" title="Cinema statunitense – Italian" lang="it" hreflang="it" data-title="Cinema statunitense" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A7%D7%95%D7%9C%D7%A0%D7%95%D7%A2_%D7%90%D7%9E%D7%A8%D7%99%D7%A7%D7%90%D7%99" title="קולנוע אמריקאי – Hebrew" lang="he" hreflang="he" data-title="קולנוע אמריקאי" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/JAV_kinas" title="JAV kinas – Lithuanian" lang="lt" hreflang="lt" data-title="JAV kinas" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Amerikai_filmm%C5%B1v%C3%A9szet" title="Amerikai filmművészet – Hungarian" lang="hu" hreflang="hu" data-title="Amerikai filmművészet" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%9A%D0%B8%D0%BD%D0%B5%D0%BC%D0%B0%D1%82%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B8%D1%98%D0%B0_%D0%BD%D0%B0_%D0%A1%D0%90%D0%94" title="Кинематографија на САД – Macedonian" lang="mk" hreflang="mk" data-title="Кинематографија на САД" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%B9%E0%B5%8B%E0%B4%B3%E0%B4%BF%E0%B4%B5%E0%B5%81%E0%B4%A1%E0%B5%8D_%E0%B4%B8%E0%B4%BF%E0%B4%A8%E0%B4%BF%E0%B4%AE" title="ഹോളിവുഡ് സിനിമ – Malayalam" lang="ml" hreflang="ml" data-title="ഹോളിവുഡ് സിനിമ" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target">മലയാളം</a></li><li class="interlanguage-link interwiki-mr badge-Q70893996 mw-list-item" title=""><a href="https://mr.wikipedia.org/wiki/%E0%A4%85%E0%A4%AE%E0%A5%87%E0%A4%B0%E0%A4%BF%E0%A4%95%E0%A4%A8_%E0%A4%9A%E0%A4%BF%E0%A4%A4%E0%A5%8D%E0%A4%B0%E0%A4%AA%E0%A4%9F%E0%A4%B8%E0%A5%83%E0%A4%B7%E0%A5%8D%E0%A4%9F%E0%A5%80" title="अमेरिकन चित्रपटसृष्टी – Marathi" lang="mr" hreflang="mr" data-title="अमेरिकन चित्रपटसृष्टी" data-language-autonym="मराठी" data-language-local-name="Marathi" class="interlanguage-link-target">मराठी</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Perfileman_Amerika_Syarikat" title="Perfileman Amerika Syarikat – Malay" lang="ms" hreflang="ms" data-title="Perfileman Amerika Syarikat" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Amerikaanse_cinema" title="Amerikaanse cinema – Dutch" lang="nl" hreflang="nl" data-title="Amerikaanse cinema" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%A1%E3%83%AA%E3%82%AB%E5%90%88%E8%A1%86%E5%9B%BD%E3%81%AE%E6%98%A0%E7%94%BB" title="アメリカ合衆国の映画 – Japanese" lang="ja" hreflang="ja" data-title="アメリカ合衆国の映画" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Film_i_USA" title="Film i USA – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Film i USA" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-pnb mw-list-item"><a href="https://pnb.wikipedia.org/wiki/%DB%81%D8%A7%D9%84%DB%8C_%D9%88%DA%88_(%D9%81%D9%84%D9%85_%D8%A7%D9%86%DA%88%D8%B3%D9%B9%D8%B1%DB%8C)" title="ہالی وڈ (فلم انڈسٹری) – Western Punjabi" lang="pnb" hreflang="pnb" data-title="ہالی وڈ (فلم انڈسٹری)" data-language-autonym="پنجابی" data-language-local-name="Western Punjabi" class="interlanguage-link-target">پنجابی</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Kinematografia_ameryka%C5%84ska" title="Kinematografia amerykańska – Polish" lang="pl" hreflang="pl" data-title="Kinematografia amerykańska" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Cinema_dos_Estados_Unidos" title="Cinema dos Estados Unidos – Portuguese" lang="pt" hreflang="pt" data-title="Cinema dos Estados Unidos" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Cinematografia_american%C4%83" title="Cinematografia americană – Romanian" lang="ro" hreflang="ro" data-title="Cinematografia americană" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9A%D0%B8%D0%BD%D0%B5%D0%BC%D0%B0%D1%82%D0%BE%D0%B3%D1%80%D0%B0%D1%84_%D0%A1%D0%A8%D0%90" title="Кинематограф США – Russian" lang="ru" hreflang="ru" data-title="Кинематограф США" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Kinemaja_e_Shteteve_t%C3%AB_Bashkuara" title="Kinemaja e Shteteve të Bashkuara – Albanian" lang="sq" hreflang="sq" data-title="Kinemaja e Shteteve të Bashkuara" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target">Shqip</a></li><li class="interlanguage-link interwiki-so mw-list-item"><a href="https://so.wikipedia.org/wiki/Hollywood" title="Hollywood – Somali" lang="so" hreflang="so" data-title="Hollywood" data-language-autonym="Soomaaliga" data-language-local-name="Somali" class="interlanguage-link-target">Soomaaliga</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%B3%DB%8C%D9%86%DB%95%D9%85%D8%A7%DB%8C_%D9%88%DB%8C%D9%84%D8%A7%DB%8C%DB%95%D8%AA%DB%95_%DB%8C%DB%95%DA%A9%DA%AF%D8%B1%D8%AA%D9%88%D9%88%DB%95%DA%A9%D8%A7%D9%86_(%DA%BE%DB%86%DA%B5%DB%8C%D9%88%D9%88%D8%AF)" title="سینەمای ویلایەتە یەکگرتووەکان (ھۆڵیوود) – Central Kurdish" lang="ckb" hreflang="ckb" data-title="سینەمای ویلایەتە یەکگرتووەکان (ھۆڵیوود)" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Yhdysvaltalainen_elokuva" title="Yhdysvaltalainen elokuva – Finnish" lang="fi" hreflang="fi" data-title="Yhdysvaltalainen elokuva" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Film_i_USA" title="Film i USA – Swedish" lang="sv" hreflang="sv" data-title="Film i USA" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%A0%E0%B8%B2%E0%B8%9E%E0%B8%A2%E0%B8%99%E0%B8%95%E0%B8%A3%E0%B9%8C%E0%B8%AD%E0%B9%80%E0%B8%A1%E0%B8%A3%E0%B8%B4%E0%B8%81%E0%B8%B1%E0%B8%99" title="ภาพยนตร์อเมริกัน – Thai" lang="th" hreflang="th" data-title="ภาพยนตร์อเมริกัน" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Amerikan_sinemas%C4%B1" title="Amerikan sineması – Turkish" lang="tr" hreflang="tr" data-title="Amerikan sineması" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D1%96%D0%BD%D0%B5%D0%BC%D0%B0%D1%82%D0%BE%D0%B3%D1%80%D0%B0%D1%84_%D0%A1%D0%A8%D0%90" title="Кінематограф США – Ukrainian" lang="uk" hreflang="uk" data-title="Кінематограф США" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%A7%D9%85%D8%B1%DB%8C%DA%A9%DB%8C_%D8%B3%D9%86%DB%8C%D9%85%D8%A7" title="امریکی سنیما – Urdu" lang="ur" hreflang="ur" data-title="امریکی سنیما" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target">اردو</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/%C4%90i%E1%BB%87n_%E1%BA%A3nh_Hoa_K%E1%BB%B3" title="Điện ảnh Hoa Kỳ – Vietnamese" lang="vi" hreflang="vi" data-title="Điện ảnh Hoa Kỳ" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E7%BE%8E%E5%9C%8B%E9%9B%BB%E5%BD%B1" title="美國電影 – Cantonese" lang="yue" hreflang="yue" data-title="美國電影" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E7%BE%8E%E5%9B%BD%E7%94%B5%E5%BD%B1" title="美国电影 – Chinese" lang="zh" hreflang="zh" data-title="美国电影" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li></ul> </section> </div> <div class="minerva-footer-logo"><img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </div> <ul id="footer-info" class="footer-info hlist hlist-separated"> <li id="footer-info-lastmod"> This page was last edited on 2 December 2024, at 07:39 (UTC).</li> <li id="footer-info-copyright">Content is available under <a class="external" rel="nofollow" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">CC BY-SA 4.0</a> unless otherwise noted.</li> </ul> <ul id="footer-places" class="footer-places hlist hlist-separated"> <li id="footer-places-privacy"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Privacy_policy">Privacy policy</a></li> <li id="footer-places-about"><a href="/wiki/Wikipedia:About">About Wikipedia</a></li> <li id="footer-places-disclaimers"><a href="/wiki/Wikipedia:General_disclaimer">Disclaimers</a></li> <li id="footer-places-contact"><a href="//en.wikipedia.org/wiki/Wikipedia:Contact_us">Contact Wikipedia</a></li> <li id="footer-places-wm-codeofconduct"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Universal_Code_of_Conduct">Code of Conduct</a></li> <li id="footer-places-developers"><a href="https://developer.wikimedia.org">Developers</a></li> <li id="footer-places-statslink"><a href="https://stats.wikimedia.org/#/en.wikipedia.org">Statistics</a></li> <li id="footer-places-cookiestatement"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Cookie_statement">Cookie statement</a></li> <li id="footer-places-terms-use"><a href="https://foundation.m.wikimedia.org/wiki/Special:MyLanguage/Policy:Terms_of_Use">Terms of Use</a></li> <li id="footer-places-desktop-toggle"><a id="mw-mf-display-toggle" href="//en.wikipedia.org/w/index.php?title=Cinema_of_the_United_States&mobileaction=toggle_view_desktop" data-event-name="switch_to_desktop">Desktop</a></li> </ul> </div> </footer> </div> </div> <div class="mw-notification-area" data-mw="interface"></div>  <script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.codfw.main-759d5489db-fb6wl","wgBackendResponseTime":277,"wgPageParseReport":{"limitreport":{"cputime":"1.808","walltime":"2.146","ppvisitednodes":{"value":14500,"limit":1000000},"postexpandincludesize":{"value":619987,"limit":2097152},"templateargumentsize":{"value":80245,"limit":2097152},"expansiondepth":{"value":21,"limit":100},"expensivefunctioncount":{"value":66,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":652730,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1669.960 1 -total"," 54.08% 903.152 1 Template:Reflist"," 22.01% 367.538 82 Template:Cite_web"," 9.89% 165.237 42 Template:Cite_news"," 5.95% 99.364 21 Template:Cite_book"," 5.79% 96.671 1 Template:United_States_topics"," 5.68% 94.813 1 Template:Country_topics"," 4.59% 76.580 1 Template:US_culture"," 4.39% 73.232 1 Template:Sidebar_with_collapsible_lists"," 3.92% 65.382 1 Template:Short_description"]},"scribunto":{"limitreport-timeusage":{"value":"0.994","limit":"10.000"},"limitreport-memusage":{"value":11523108,"limit":52428800},"limitreport-logs":"table#1 {\n [\"size\"] = \"tiny\",\n}\ntable#1 {\n [\"size\"] = \"tiny\",\n}\n"},"cachereport":{"origin":"mw-api-ext.codfw.main-5669cbfbcd-9gjfq","timestamp":"20241202184842","ttl":18691,"transientcontent":true}}});});</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"Cinema of the United States","url":"https:\/\/en.wikipedia.org\/wiki\/Cinema_of_the_United_States","sameAs":"http:\/\/www.wikidata.org\/entity\/Q380675","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q380675","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2001-06-19T22:43:22Z","dateModified":"2024-12-02T07:39:48Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/5\/5a\/Hollywood_Sign_%28Zuschnitt%29.jpg","headline":"filmmaking industry in the United States"}</script><script>(window.NORLQ=window.NORLQ||[]).push(function(){var ns,i,p,img;ns=document.getElementsByTagName('noscript');for(i=0;i<ns.length;i++){p=ns[i].nextSibling;if(p&&p.className&&p.className.indexOf('lazy-image-placeholder')>-1){img=document.createElement('img');img.setAttribute('src',p.getAttribute('data-src'));img.setAttribute('width',p.getAttribute('data-width'));img.setAttribute('height',p.getAttribute('data-height'));img.setAttribute('alt',p.getAttribute('data-alt'));p.parentNode.replaceChild(img,p);}}});</script> </body> </html>