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1.20年代初,好莱坞工业艺术已初具规模。由于电影生产、发行和放映活动可以赢得高额利润,因此,作为商品经济的必然产物,竞争比以往任何时期都显得激烈。最初的焦点是在生产领域,然后是控制发行权,最后是争夺电影院的所有权。竞争的结果出现了三家大电影制片公司垄断发行放映的局面,独立制片人则被排除在外。这种各大电影制片公司都有自己的发行渠道和电影院线的现象就被称为“垂直控制”格局。当时,派拉蒙公司实际已经控制美国500家主要影院和世界主要城市的首轮影院,到20年代末,它控制的国内影院多达2000家,可以与其抗衡的只有第一国际公司和米高梅公司。他们三家几乎全部控制了美国、加拿大以及其他国家的关键或首轮影院。为了实现最佳经济效益,大电影制片公
In the early 1920s, Hollywood industrial art was beginning to take shape. Since film production, distribution and screening activities can earn high profits, competition has become more intense than ever before, as an inevitable result of the commodity economy. The initial focus was on production, then on the issue of distribution rights, and finally on the ownership of cinemas. As a result of the competition, the monopolistic distribution of the three major film studios appeared and the independent producers were excluded. This major film studios have their own distribution channels and cinemas line phenomenon is called “vertical control” pattern. At the time Paramount actually controlled the first-run theaters in the 500 major cinemas in the United States and in major cities in the world. By the late 1920s, it controlled as many as 2,000 domestic cinemas, with which only First International and Micron Mei company. Almost all of them controlled the key or first-run theaters in the United States, Canada and other countries. In order to achieve the best value for money, big film studios