By Yannis Tzioumakis
For nearly 3 many years the massive Hollywood studios have operated classics divisions or distinctiveness labels, subsidiaries that initially all for the international paintings apartment movie industry, whereas extra lately (and controversially) relocating directly to the yankee 'indie' movie industry. this is often the 1st publication to provide a detailed exam of the phenomenon of the classics divisions by way of tracing its historical past because the institution the 1st strong point label in 1980, United Artists Classics, to extra modern clothes like concentration beneficial properties, Warner self sustaining and Picturehouse.This specific account of all classics divisions examines their enterprise practices, their place in the usually labyrinthine constitution of latest leisure conglomerates and their dating to their mother or father businesses. Yannis Tzioumakis examines the effect of these businesses on American 'indie' cinema and argues that it used to be businesses akin to Fox Searchlight and Paramount Classics (now Paramount Vantage) that became autonomous filmmaking to an commercial type recommended by way of the Hollywood majors instead of a method of filmmaking practised outdoor the conglomerated significant avid gamers and posed as a sustained substitute to mainstream Hollywood cinema. a few case stories are supplied, together with such celebrated motion pictures as Mystery Train, The Brothers McMullen, Broken Flowers, Before sundown and many others.
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Extra info for Hollywood’s Indies: Classics Divisions, Specialty Labels and American Independent Cinema
76 Although the distributor’s advertising campaign did not shy away from the film’s controversial topic, neither did it opt to make it particularly explicit, the poster showing the two women in close proximity and insinuating a romantic relationship rather than depicting it explicitly. 77 The film was received warmly by the public and received mostly positive reviews, despite attracting considerable criticism for the way it treated Lianna’s transformation from a heterosexual to a homosexual woman.
UA Classics’ Stuart Talks Canadian Pix’, Weekly Variety (15 September 1982), 3. 62. ‘UA Classics Losing Some Autonomy Via MGM / UA “Support” ’, Weekly Variety (16 November 1983), 27. 63. Reinholz, ‘UA Classics’ Kitt Carrying the Torch’, 59. 64. ’, Weekly Variety (23 February 1984), 27. 65. ‘Kitt Exits Niche at UA Classics’, Daily Variety (16 January 1984), n/a. 66. Ritzer, Teri and Gerry Putzer, ‘UA Classics Moving: New York Staff Pink-Slipped LA Div. will Debut in March’, Hollywood Reporter (3 February 1984), 25.
In the 1960s, a number of such films, including Never on Sunday (J. Dassin, 1960) and La Dolce Vita (F. Fellini, 1962), recorded grosses of over $3 million at the US box office, a figure comparable with the box-office takings of successful US productions. 12 By the late 1960s, however, the trend started showing signs of decline. 14 Even United Artists, which had been a significant player through one of its subsidiaries, Lopert Pictures, had to withdraw from this market after more than a decade of critical and sometimes commercial successes with films such as La Notte (M.