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.

Ranjana Khanna
From Rue Morgue to Rue des Iris
Screen 2007 48: 237-244; doi:10.1093/screen/hjm021 [

Max Silverman
The empire looks back
Screen 2007 48: 245-249; doi:10.1093/screen/hjm022 [

  Critical Inquiry: Vol. 7, No. 1, On Narrative, pp. 121-140

http://links.jstor.org/sici?sici=0093-1896%28198023%297%3A1%3C121%3AWNCDTF%3E2.0.CO%3B2-W

"Three act structure: why you need it" 

  PART ONE
Understanding Film
Graeme Turner INTRODUCTION 11
1 Tony Bennett and Janet Woollacott TEXTS AND THEIR READINGS 14
2 Annette Kuhn WOMEN'S GENRES 20
3 Judith Mayne PARADOXES OF SPECTATORSHIP 28
4 Janet Staiger RECEPTION STUDIES IN FILM AND
TELEVISION 46

PART TWO
Technologies
Graeme Turner INTRODUCTION 73
5 Edward Buscombe SOUND AND COLOUR 77
6 Steve Neale COLOUR AND FILM AESTHETICS 85
7 Richard Dyer LIGHTING FOR WHITENESS 95
8 Gianluca Sergi A CRY IN THE DARK: THE ROLE OF THE POST-CLASSICAL FILM SOUND 107
9 Stephen Prince TRUE LIES: PERCEPTUAL REALISM,
DIGITAL IMAGES AND FILM THEORY 115
10 Barbara Creed
THE CYBERSTAR: DIGITAL PLEASURES AND
THE END OF THE UNCONSCIOUS 129

PART THREE
Industries
Graeme Turner INTRODUCTION 135
11 Tom O'Regan A NATIONAL CINEMA 139
12 John Hill BRITISH CINEMA AS NATIONAL CINEMA: PRODUCTION, AUDIENCE AND REPRESENTATION 165
13 Stephen Teo POSTMODERNISM AND THE END OF HONG KONG CINEMA 174
14 Thomas Schatz THE NEW HOLLYWOOD 184
15 Tino Balio 'A MAJOR PRESENCE IN ALL THE WORLD'S IMPORTANT MARKETS': THE GLOBALIZATION OF HOLLYWOOD IN THE 1990s 206

PART FOUR
Meanings and pleasures
Graeme Turner INTRODUCTION 210
16 Richard Dyer MONROE AND SEXUALITY: DESIRABILITY 223
17 P. David Marshall THE CINEMATIC APPARATUS AND THE CONSTRUCTION OF THE FILM CELEBRITY 228
18 Jane Feuer SPECTATORS AND SPECTACLES 240
19 Stella Bruzzi DESIRE AND THE COSTUME FILM: PICNIC AT HANGING ROCK, THE AGE OF INNOCENCE, THE PIANO 246
20 Tania Modleski THE TERROR OF PLEASURE: THE CONTEMPORARY HORROR FILM AND POSTMODERN
THEORY 268
21 Jim Collins GENERICITY IN THE NINETIES: ECLECTIC IRONY AND THE NEW SINCERITY 276

PART FIVE
Identities
Graeme Turner INTRODUCTION 291
22 Yvonne Tasker ACTION HEROINES IN THE 198os: THE LIMITS OF 'MUSCULINITY' 295
23 Sabrina Barton YOUR SELF STORAGE: FEMALE INVESTIGATION AND MALE PERFORMATIVITY IN THE WOMAN'S PSYCHOTHRILLER 311
24 Chris Straayer THE HYPOTHETICAL LESBIAN HEROINE
IN NARRATIVE FEATURE FILM 331
25 Susan Jeffords CAN MASCULINITY BE TERMINATED? 344
26 Isaac Julien and Kobena Mercer DE MARGIN AND DE CENTRE 355
27 Ella Shohat and Robert Stam THE IMPERIAL
IMAGINARY 366

PART SIX
Audiences and consumption
Graeme Turner INTRODUCTION 379
28 Justin Wyatt HIGH CONCEPT AND MARKET RESEARCH: MOVIE MAKING BY THE NUMBERS 382
29 Miriam Hansen CHAMELEON AND CATALYST: THE
CINEMA AS AN ALTERNATIVE PUBLIC SPHERE 390
30 Jackie Stacey HOLLYWOOD CINEMA: THE GREAT
ESCAPE 420
31 Jacqueline Bobo WATCHING THE COLOR PURPLE: TWO INTERVIEWS 444
32 Mark Jancovich 'A REAL SHOCKER': AUTHENTICITY,
GENRE AND THE STRUGGLE FOR DISTINCTION 469