Casting fresh light on New Hollywood – one of American cinema's most fertile eras – Authoring Hal Ashby is the first sustained argument that, rather than a period dominated by genius auteurs, New Hollywood was an era of intense collaboration producing films of multiple-authorship. Centering its discussion on the films and filmmaking practice of director Hal Ashby (Harold and Maude, Shampoo, Being There), Hunter's work demonstrates how the auteur paradigm has served not only to diminish several key films and filmmakers of the era, but also to underestimate and undervalue the key contributions to the era's films of cinematographers, editors, writers and other creative crew members. Placing Ashby's films and career within the historical context of his era to show how he actively resisted the auteur label, the author demonstrates how this resistance led to Ashby's marginalization by film executives of his time and within subsequent film scholarship. Through rigorous analysis of several films, Hunter moves on to demonstrate Ashby's own signature authorial contributions to his films and provides thorough and convincing demonstrations of the authorial contributions made by several of Ashby's key collaborators. Building on emerging scholarship on multiple-authorship, Authoring Hal Ashby lays out a creative new approach to understanding one of Hollywood cinema's most exciting eras and one of its most vital filmmakers.

Casting fresh light on New Hollywood – one of American cinema's most fertile eras – Authoring Hal Ashby is the first sustained argument that, rather than a period dominated by genius auteurs, New Hollywood was an era of intense collaboration producing films of multiple-authorship. Centering its discussion on the films and filmmaking practice of director Hal Ashby (Harold and Maude, Shampoo, Being There), Hunter's work demonstrates how the auteur paradigm has served not only to diminish several key films and filmmakers of the era, but also to underestimate and undervalue the key contributions to the era's films of cinematographers, editors, writers and other creative crew members. Placing Ashby's films and career within the historical context of his era to show how he actively resisted the auteur label, the author demonstrates how this resistance led to Ashby's marginalization by film executives of his time and within subsequent film scholarship. Through rigorous analysis of several films, Hunter moves on to demonstrate Ashby's own signature authorial contributions to his films and provides thorough and convincing demonstrations of the authorial contributions made by several of Ashby's key collaborators. Building on emerging scholarship on multiple-authorship, Authoring Hal Ashby lays out a creative new approach to understanding one of Hollywood cinema's most exciting eras and one of its most vital filmmakers.

$50 Billion of Advice in One Book* Have you ever wondered why some books and stories are adapted into movies, and others aren't? Or wished you could sit down and pick the brains of the people whose stories have been adapted--or the screenwriters, producers, and directors who adapted them? Author John Robert Marlow has done it for you. He spoke to book authors, playwrights, comic book creators and publishers, as well as Hollywood screenwriters, producers and directors responsible for adapting fictional and true stories into Emmy-winning TV shows, Oscar-winning films, billion-dollar megahits and smaller independents. Then he talked to the entertainment attorneys who made the deals. He came away with a unique understanding of adaptations--an understanding he shares in this book: which stories make good source material (and why); what Hollywood wants (and doesn't); what you can (and can't) get in a movie deal; how to write and pitch your story to maximize the chances of a Hollywood adaptation--and how much (and when) you can expect to be paid. *This book contains the distilled experience of creators, storytellers and others whose works have earned over $50 billion worldwide. Whether you're looking to sell film rights, adapt your own story (alone or with help), or option and adapt someone else's property--this book is for you.

Bachelor Thesis from the year 2011 in the subject American Studies - Culture and Applied Geography, grade: 1,3, Free University of Berlin (John-F.-Kennedy-Institut), language: English, abstract: In film studies, the term New Hollywood is used in non-conclusive and heterogeneous ways. The discourse does not make explicit what the real New was. However, there appears to be a general consensus as to the actual time frame in which a bigger change happened in Hollywood that stirred up the system - starting in 1967. Scholars have been trying to explain the proclaimed change of the Classical Hollywood Cinema from different perspectives, which, depending on author and release date, point out economical, production-related, societal, or creative-aesthetic revolutions as responsible factors. Coming from the film critic's angle towards New Hollywood, the most important factor in the process was the development and success of the American auteur. The auteur theory has been appointed as such by film critic Andrew Sarris, who based his assumptions mainly on the theoretical conclusions drawn by the writers of the French Cahiers du Cinema. Taking the auteur approach to explain aspects of the New Hollywood, some scholars pinpoint the era down to the years of 1967-1976. This national cinematography is hardly discussed consensually within its own historiographical discourse or the boundaries of text analysis. I want to specifically trace the role of the idea of an auteur cinema within the Hollywood industry during this change, and thereby further disentangle the complex relationship of commerce and authorship. My first chapter will therefore be employed with the theoretical background and the discourse around authorship in general, film in particular. Eventually this will lead to a clear idea about the specifics and limitations of the auteur theory discourse. The second chapter will then be occupied with the historical change of the Hollywood system in the sixties and seventies of

Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡ ̈ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡ ̈ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡ ̈ from the writer with a Hollywood career. Among the questions aspiring writers really need to ask are: „« How Do I Know When My Spec Script Is Ready For Submission? „« What Does An Agent Look For In A Writer Beyond Their Scripts? „« Once I Have An Agent What Else Should I Be Doing? „« When I Go To A ¡§Meet & Greet,¡ ̈ What Do I Say? „« How Do I Prepare For The Different Types Of Pitch Meetings? „« How Do I Handle Notes I Disagree With? „« Do I Need A Lawyer And A Manager? Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡ ̈ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another. ¡§Writing For The Hollywood $¡ ̈ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡ ̈ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡ ̈ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.

Addresses the stylistic, industrial, and socio-historical contexts of the New Hollywood cinema, identifying its distinctive characteristics and its points of similarity with the Hollywood of the past. Topics include the industrial context to the blockbuster format of contemporary Hollywood; the frameworks of authorship, genre, and stardom through which New Hollywood films have been produced and consumed; and the growing importance of small screen media to the overall economy of Hollywood. Annotation copyrighted by Book News, Inc., Portland, OR.

Contrary to theories of single person authorship, America's Corporate Art argues that the corporate studio is the author of Hollywood motion pictures, both during the classical era of the studio system and beyond, when studios became players in global dramas staged by massive entertainment conglomerates. Hollywood movies are examples of a commodity that, until the digital age, was rare: a self-advertising artifact that markets the studio's brand in the very act of consumption. The book covers the history of corporate authorship through the antithetical visions of two of the most dominant Hollywood studios, Warner Bros. and MGM. During the classical era, these studios promoted their brands as competing social visions in strategically significant pictures such as MGM's Singin' in the Rain and Warner's The Fountainhead. Christensen follows the studios' divergent fates as MGM declined into a valuable and portable logo, while Warner Bros. employed Batman, JFK, and You've Got Mail to seal deals that made it the biggest entertainment corporation in the world. The book concludes with an analysis of the Disney-Pixar merger and the first two Toy Story movies in light of the recent judicial extension of constitutional rights of the corporate person.