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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. As of 2017[update], it produced the fourth-largest number of films of any national cinema, after Films in A continent of Asia, Including India, Japan, Including Tokusatsu, including Kaiju and Anime films and China, with more than 600 English-language films released on average every year.[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".[92][93] Quentin Tarantino opined that the 2020s were one of the "worst" eras "in Hollywood history" on a podcast interview.[94][95] 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".[96][97] 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."[98]

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,[108] 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.[108] 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.[109] The 2018 film Christopher Robin, the new Winnie-the-Pooh movie, was denied a Chinese release.[109]

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.[122]

American cinema has often reflected and propagated negative stereotypes towards foreign nationals and ethnic minorities.[130] For example, Russians and Russian Americans are usually portrayed as brutal mobsters, ruthless agents and villains.[131][132][133] 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."[134] Italians and Italian Americans are usually associated with organized crime and the American Mafia.[135][136][137] 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.[138] 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."[139] 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.[139]

With the introduction of movies with sound, Hollywood producers churned out Westerns, musicals, romantic dramas, horror films and documentaries. Studio movie stars were even more idolized, and Hollywood increased its reputation as the land of affluence and fame.

In 1942, the War Production Board initiated a maximum $5,000 budget for new film sets, forcing movie studios to cut corners, recycle props and equipment and find creative and cheap ways to produce movies.

Movie studios were also bound by the Hays Code, a voluntary set of rules for censorship in movies. While not a major issue in the 1950s, it tied their hands even as audiences grew more liberal in the 1960s.

By the mid-1970s and 1980s, computer-assisted special effects had evolved and helped launch massive blockbuster action movies such as Jaws and the Star Wars and Indiana Jones franchises. Feel-good movies like Rocky and E.T. sent moviegoers flocking to theaters and made their movie stars larger-than-life.

Movie ticket sales declined in the 1990s, but Hollywood pressed on thanks to a surge in VCR video rentals and later, DVDs and Blue-Ray. With the 2000s came an increase in Disney movies, big-budget blockbusters and crude comedies.

Changing technology continues to move people to a more digital world and Hollywood has more exposure than ever. Yet in an era of economic inequality, many Americans today are much less enthralled with Hollywood movie stars and their glamorous lifestyle. Social media, tabloids, a 24-hour news cycle and online movie review websites can make or break movies, movie stars and movie industry professionals overnight.

During the 1920s, movie attendance soared. By the middle of the decade, 50 million people a week went to the movies - the equivalent of half the nation's population. In Chicago, in 1929, theaters had enough seats for half the city's population to attend a movie each day.

For decades, engineers had searched for a practical technology to add synchronized recorded sound to the movies. In the 1890s, Thomas Edison tried unsuccessfully to popularize the "kinetophone--which combined a kinetoscope with a phonograph. In 1923, Lee De Forest, an American inventor, demonstrated the practicality of placing a soundtrack directly on a film strip, presenting a newsreel interview with President Calvin Coolidge and musical accompaniments to several films. But the film industry showed remarkably little interest in sound, despite the growing popularity of radio. Hollywood feared the high cost of converting its production and exhibition to sound technology.

The arrival of sound produced a sharp upsurge in movie attendance, which jumped from 50 million a week in the mid-20s to 110 million in 1929. But it also produced a number of fundamental transformations in the movies themselves. As Robert Ray has shown, sound made the movies more American. The words that Al Jolson used in The Jazz Singer to herald the arrival of sound in the movies - "You ain't heard nothing yet" - embodied the new slangy, vernacular tone of the talkies. Distinctive American accents and inflections quickly appeared on the screen, like James Cagney's New Yorkese or Gary Cooper's Western drawl. The introduction of sound also encouraged new film genres - like the musical, the gangster film, and comedies that relied on wit rather than slapstick. ff782bc1db