Paramount
Loew's/MGM
Fox
Warner Bros
RKO and the Minors: Universal, Columbia and United Artists.

The second part goes on to cover ‘The Classic Studio Era 1931-51' when the studios were at their apogee producing hundreds of films every year before the threat of declining audiences (because of urbanisation and competition from TV etc). Although the ranking was virtually the same (except that Gomery couples Disney with its distributor RKO and to the minors, and he adds the B-film factories like Republic and Mongram [noted for churning out westerns and serials etc]), this period also saw the sorry demise of RKO- Radio, destroyed by the mismanagement and regrettable taste of the reclusive Howard Hughes who considered the studio to be his play toy.

The last section covers ‘The Modern Hollywood Studio System' and how the studios were taken over by big business including Rupert Murdoch (Twentieth Century Fox) and huge multi-media conglomerates such as Time Warner AOL (Warner Bros) - these businesses even embracing major TV networks. The ranking now being:

Universal
Paramount
Warners
Twentieth Century Fox
Disney
Columbia and Sony Pictures

There are also sections on the Hays Office and the Academy and unions and agents and a chapter on the rise of Lew Wasserman the Hollywood agent who took Universal into the major league of studios and reinvented the studio system.

Psychoanalysis and cinema / Stanley Cavell -- Hitchcock's Vertigo / Stanley R. Palombo -- Vertigo / William Rothman -- Witnessing and bearing witness / Robert Winer -- Stanley Cavell and the plight of the ordinary / Timothy Gould -- The shows of violence / Irving Schneider -- Kiss of the spiderwoman / Micheline Klagsbrun Frank -- Ingmar Bergman's Cries and whispers / Bruce H. Sklarew -- Chaplin's The kid / Stephen M. Weissman -- Being doubted, being assured / Karen Hanson

Close Up, a film journal published in the years between 1927 and 1933, was the first English language journal dedicated to the cinema as an 'art.' It became the vanguard model for a certain type of writing about cinema. Close Up was the site of a range of speculations about film technology (its publication envelops the transition to sound), film style (its critics advocated a variety of national cinemas), and film subject matter (its editors fought against censorship of Soviet films and had a pioneering interest in, what they called, the 'Negro viewpoint' film.) Both critical and theoretical writing in the journal show an abiding concern with the experimental film, alternate forms of exhibition made possible by the cine-club and film-society movement, cinema as an educational tool, and serious theoretical writing (including numerous translations of articles by Eisenstein.) Many of the contributors to Close Up were writers who are known for their literary careers and not for their interest in cinema. Close Up published a strong contingent of literary women writing on cinema--H. D., Dorothy Richardson, Gertrude Stein, Marianne Moore. The journal also included pieces by a number of prominent psychoanalysts--Hanns Sachs, Barbara Low and the sexologist Havelock Ellis. POOL, the production company which published Close Up, also sponsored several film projects. H. D. and Kenneth Macpherson, the editor-in-chief, worked on at least three film projects together. The most ambitious, a feature-length film Borderline (1930), with Paul Robeson and H. D., displays the influence of Soviet montage theory, theories which Close Up had a central role in transmitting to English-speaking audiences.

Rosalind Coward "Dennis Potter and the Question of the Television Author"