The cinema of the United States, consisting mainly of major film studios (also known metonymously as Hollywood) along with some independent films, has had a large effect on the global film industry since the early 20th century. The dominant style of American cinema is classical Hollywood cinema, which developed from 1910 to 1962 and is still typical of most films made there to this day. While Frenchmen Auguste and Louis Lumire are generally credited with the birth of modern cinema,[5] American cinema soon came to be a dominant force in the emerging industry. With more than 600 English-language films released on average every year As of 2017[update], it produced the fourth-largest number of films of any national cinema, after India, Japan, and China.[6] While the national cinemas of the United Kingdom, Canada, Australia, and New Zealand also produce films in the same language, they are not part of the Hollywood system. Because of this, Hollywood has also been considered a transnational cinema,[7] 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 major film studios of Hollywood are the primary source of the most commercially successful and most ticket-selling movies in the world.[8][9]

Many of Hollywood's highest-grossing movies have generated more box-office revenue and ticket sales outside the United States than films made elsewhere. The United States is a leading pioneer in motion picture engineering and technology.

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Classical Hollywood cinema, 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 World War I, and finally solidified when the film The Jazz Singer was released in 1927, ending the silent film era and increasing box-office profits for film industry by introducing sound to feature films.

Martin Scorsese 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".[96][97] Quentin Tarantino opined that the 2020s were one of the "worst" eras "in Hollywood history" on a podcast interview.[98][99] During a masterclass at the 2023 Sarajevo Film Festival, Charlie Kaufman 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".[100][101] James Gray noted in an interview with Deadline, "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."[102]

Hollywood producers generally seek to comply with the Chinese government's censorship requirements in a bid to access the country's restricted and lucrative cinema market,[112] with the second-largest box office in the world as of 2016. This includes prioritizing sympathetic portrayals of Chinese characters in movies, such as changing the villains in Red Dawn from Chinese to North Koreans.[112] Due to many topics forbidden in China, such as Dalai Lama and Winnie-the-Pooh being involved in the South Park's episode "Band in China", South Park was entirely banned in China after the episode's broadcast.[113] The 2018 film Christopher Robin, the new Winnie-the-Pooh movie, was denied a Chinese release.[113]

With globalization, movie production has been clustered in Hollywood for several reasons: the United States 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.[126]

American cinema has often reflected and propagated negative stereotypes towards foreign nationals and ethnic minorities.[134] For example, Russians and Russian Americans are usually portrayed as brutal mobsters, ruthless agents and villains.[135][136][137] According to Russian American professor Nina L. Khrushcheva, "You can't even turn the TV on and go to the movies without reference to Russians as horrible."[138] Italians and Italian Americans are usually associated with organized crime and the American Mafia.[139][140][141] Hispanic and Latino Americans are largely depicted as sexualized figures such as the Latino macho or the Latina vixen, gang members, (illegal) immigrants, or entertainers.[142] 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 Ramrez Berg, third wave films "do not accentuate Chicano oppression or resistance; ethnicity in these films exists as one fact of several that shape characters' lives and stamps their personalities."[143] Filmmakers like Edward James Olmos and Robert Rodriguez were able to represent the Hispanic and Latino American experience like none had on screen before, and actors like Hilary Swank, Jordana Brewster, Jessica Alba, Camilla Belle, Al Madrigal, Alexis Bledel, Alexa PenaVega, Ana de Armas, and Rachel Zegler have become successful. In the last decade, minority filmmakers like Chris Weitz, Alfonso Gomez-Rejon, and Patricia Riggen have been given applier[spelling?] narratives. Films that portray Hispanic and Latino Americans include La Bamba (1987), Selena (1997), The Mask of Zorro (1998), Goal II (2007), Overboard (2018), Father of the Bride (2022), and Josefina Lpez's Real Women Have Curves, originally a play which premiered in 1990 and was later released as a film in 2002.[143]

In the 1940s, "something like 90 million Americans [were] going to movies every week," said Dan O'Meara, a political science professor at the University of Quebec and the co-author of Movies, Myth and the National Security State.

Look over Lord of the Rings and the characters who make the choice at the right moment (Boromir, King Theoden, Galdalf), Harry Potter (Harry and seemingly all his friends), the recent Batman movies and Braveheart. For those of us who love cheese-fests, even Independence Day features Randy Quaid flying a jet into an alien ship, knowing it could be a turning point for earth.

Before movies, there were lemons. Hollywood at the turn of the 20th century was a place of religious zeal; a town founded by an ardent Prohibitionist and a devout Episcopalian; a community that abhorred gambling, liquor, and popular entertainment. But above all else, Hollywood was a decidedly rural settlement, a small country hamlet located a few miles to Los Angeles' northwest.

I have watched with great interest the thumbs up or thumbs down on the host of recent Hollywood movies. I have seen those opinions raised often with a sense that if you think otherwise, the Holy Spirit must have departed your soul while you were at the movie or departed from it before you made the decision to go.

2. Should I expect people who do not believe the Bible to make movies that follow it? Might it be better to consider how people reading the Bible without the eyes of faith see it, listen to what they are saying, and then winsomely and critically engage where they are coming from?

Also the movie could not have been clearer about the sinfulness and fallen condition of humanity, a theme I have seen some Christian movies fudge on. I can imagine a fruitful conversation with my unbelieving or skeptical neighbor about these ideas and themes. This is not trash; it is deep theology that can be engaged and developed that asks troubling questions in a vivid way, drawing us into answers the Scripture supplies to deal with the tension.

Let me tackle two final objections to Jesus movies. First, no depiction of Jesus will do him justice. Second, such depictions may even violate the first commandment, not to put images of God before us. Yes, the first point is well taken; so do not set expectations too high. But who has not been moved into contemplating who Jesus is or what he went through by differing scenes in differing Jesus movies? Most of us probably have our favorite Jesus movie, Jesus scene, or Jesus painting. Art done well can speak to the soul. The second point I also have questions about. Was not the point of the first commandment that images are dangerous not merely because they exist but because they became objects of worship? The fact is we all have images of Jesus floating around in our heads, whether we write about them in books or portray them in movies. The test is to allow the Scripture to go to work on and refine that image. Others portrayals, even somewhat creative ones, may help me with my Jesus blind spots by seeing things I might have missed or raising questions worth pondering. Think of it as a visual sermonette. What pastor does not fill in gaps for events or recast events in a fresh light now and again? 0852c4b9a8

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