Browsing by Subject "Entertainment industry"
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Item Have you no sense of decency? Morals clauses, communists and the legal fight against blacklisting in the entertainment industry during the post-war era(2009-11-10) Bruce, Robert Erik, 1965-; Oshinky, David M., 1944-Anti-communism in America reached its apex in the 1950s. One element of this crusade focused on preventing suspected communists from working in their chosen profession, a practice called blacklisting. In attempting to assert their legal rights, the blacklisted found an imperfect justice system, cloaked in equality, yet hampered by the existing cultural setting that treated as immoral anything communist. This dissertation deconstructs the interplay between culture and law, between the desire to root out communists and the attempt to maintain a fair legal system. With an emphasis on the entertainment industry, broadly defined, I will trace blacklisting from anti-labor tool to for-profit instrument focusing on how the blacklisted employed the lawsuit to fight for their jobs. I argue that from the late 1940s through the mid-1960s, blacklisted plaintiffs continuously found themselves handicapped by their association -- either current or past, real or perceived -- with the Communist Party, and not until a plaintiff with no demonstrable ties to communism came along did the legal system prove a comprehensively effective tool in ending the practice. I show that various members of the blacklisted community, with the aid of a small number of lawyers, tried an assortment of legal theories in their attempt to remedy their pariah status with the results often promising -- the first three jury trials ended in victories for the plaintiffs -- but ultimately hollow as a recalcitrant appellate judiciary dashed these early hopes. Moreover, I show how plaintiff's lawyers, sensitive to a legal system that demanded a successful plaintiff be free of communist ties, adjusted their strategy to accommodate the relationship between cultural setting and legal success.Item Lighting themed entertainment : designing outside of traditional theatre and dance(2007-05) Norman, Monique Rochelle, 1980-; Lucero, AmaranteThis thesis asserts that there is an evolving demand for theatrically trained lighting designers within the themed entertainment industry. The methodology for this paper consisted of personal interviews, discussions, and extensive research, including historical references to the evolution of lighting in themed entertainment. It will become evident that there are innumerable venues and opportunities for theatrically trained lighting designers outside of traditional theatre and dance. The themed venues and topics presented in this work include; concerts, zoos, museums, retail, restaurants, theme parks and examples of designers in these industries.Item Transforming European cinema : transnational filmmaking in the era of global conglomerate Hollywood(2012-05) Liebing, Hans-Martin; Schatz, Thomas, 1948-; Moeller, Hans-Bernhard; Ramírez Berg, Charles; Straubhaar, Joseph D; Suber, HowardThe film industries in Europe have undergone a series of fundamental structural and strategic changes during the 1980s, 1990s and 2000s. This study looks at the nature of some of these changes, focusing on the Big Five film producing countries in Europe: the U.K., France, West Germany and the reunified Germany, Italy and Spain. It examines how the transformation of the U.S. film industry from “The New Hollywood” of the 1960s and 1970s into “Conglomerate Hollywood” in the 1980s, and into “Global Conglomerate Hollywood” in the 1990s affected the Big Five film industries in Europe. In this context, the question is raised: How have these changes influenced European development strategies and practices, leading to the creation of an increasing number of transnational motion pictures originating in, and produced in collaboration with, these film industries. The study finds that conglomeration and globalization trends within the U.S. entertainment industry have gone hand in hand with the changes observable in the Big Five European film industries in the 1980s, 1990s and 2000s. These changes include, but are not limited to, an altered definition of talent and the creative process, as well as notions of authorship, in European cinema. They also encompass an increased emphasis on an often neglected phase of film production: the development process, which is typically comprised of the conception of an idea or the acquisition of an existing fiction or non-fiction property to adapt, the research of potential markets and audiences, the writing and rewriting of a script, the casting of a movie’s lead characters, and the raising of production financing. To examine the nature and extent of the perceived changes, the study relies primarily on academic literature on the U.S. and European film industries; European and U.S. trade publications; as well as observations from several years of attending the Berlinale Co-Production Market and the European Film Market (both part of the Berlin International Film Festival) and the Marché du Film (part of the Cannes Film Festival). It also draws from a number of oral histories of industry professionals from both continents conducted by the author.