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The financial disaster of Heaven’s Gate marked the end of the visionary « auteur » directors of the « New Hollywood », who had unrestrained creative and financial freedom to develop films http://podnikani-remax.cz. The phenomenal success in the 1970s of Spielberg’s Jaws originated the concept of the modern « blockbuster ». The enormous success of George Lucas’ 1977 film Star Wars led to the increased popularization of blockbuster filmmaking, and the film’s revolutionary use of special effects, sound editing and music has led it to become widely regarded as one of the most influential films in the medium’s history. Hollywood studios increasingly focused on producing a smaller number of very large budget films with massive marketing and promotional campaigns. This trend had already been foreshadowed by the commercial success of disaster films such as The Poseidon Adventure and The Towering Inferno.
Roland Barthes speaks to the double nature of cinema, one that produces an ‘enthralled spectator’ and forms the basis for the promise of a shared community, a community where we all touch and are touched by images. This enthrallment by the moving image points to a darker aspect of cinema— its insidious ability to manipulate and encourage mass audiences to consume harmful images and ideologies. For example, The Birth of a Nation (Griffith, 1915) and Triumph of the Will (Riefenstahl, 1935), both instant successes on their release, used the emotionally persuasive craft of cinema to bolster white nationalistic pride through heroic Christ-like representations of the Ku Klux Klan and Hitler respectively. Mainstream cinema, films geared towards wide release in theaters and marketed to wide audiences with the aim of attaining the greatest revenue, tends to adhere to a dominant system of belief that largely neglects stories told from marginalized perspectives and outside the Hollywood narrative system. In this way, even ‘light’ fare, like romantic comedies, Marvel superhero movies and Disney animations, can participate in producing narratives that privilege heterosexuality, monogamy and marriage as well as certain races, religions, ethnic groups, genders and their way of life over others. Think here, for instance, of how many films you have seen that feature a queer character at its center? Or a practicing Muslim character as its hero? What do they wear? In what language do they speak? What is typically represented as social reality in the mainstream cinema of your country?
In 2011, the largest film industries by number of feature films produced were those of India, the United States, China, Nigeria, and Japan. In Hollywood, superhero films greatly increased in popularity and financial success, with films based on Marvel and DC Comics released every year. The superhero genre was the most dominant in American box office receipts.
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