There is an intricate, long, and rich history of Jewish presence in Hollywood, from executives to producers to directors to screenwriters to performers. It starts with the Jewish moguls who were at the helm of most major studios in the 1920s and 30s and tried to separate as much as possible from their Jewish heritage and past. This preponderance of Jews prompted an anti-Semitic response in the American entertainment scene which could hardly be ignored. The result was an overt timidity in the representation of Jews and Jewish topics on screen, with some Jewish actors perceived as “too Jewish” for the general taste. The changes in the perception of identity in the 1960s, marked by culture wars and the Civil Rights movement, on the one hand, and the flourishing of American Jewish literature and the pride many American Jews took in Israel’s triumph in the Six-Day War of 1967, on the other, enabled a much more open and unabashed embrace of Jewishness in Hollywood. Consequently, the late 1960s usher in the New Jewish Wave, when the issues of Jewish identity and experience start to dominate the screen and are defined by such auteurs as Woody Allen, Mel Brooks, Sidney Lumet, and Paul Mazursky, and such actors as Dustin Hoffman, Barbra Streisand, Richard Dreyfuss, Eliot Gould, George Seagal, and Woody Allen throughout the 1970s and 80s. The Jewish representation grows in the 1990s and 2010s with such directors as the Coen brothers, Darren Aronofsky, David Cronenberg, David Mamet, Jonathan Glazer, Stephen Spielberg, and the Safdie brothers.
Over the past seventy years, the American film industry has transformed from mass-producing movies to producing a limited number of massive blockbuster movies on a global scale. Hollywood film studios have moved from independent companies to divisions of media conglomerates. Theatrical attendance for American audiences has plummeted since the mid-1940s; nonetheless, American films have never been more profitable. In 1945, American films could only be viewed in theaters; now they are available in myriad forms of home viewing. Throughout, Hollywood has continued to dominate global cinema, although film and now video production reaches Americans in many other forms, from home videos to educational films. Amid declining attendance, the Supreme Court in 1948 forced the major studios to sell off their theaters. Hollywood studios instead focused their power on distribution, limiting the supply of films and focusing on expensive productions to sell on an individual basis to theaters. Growing production costs and changing audiences caused wild fluctuations in profits, leading to an industry-wide recession in the late 1960s. The studios emerged under new corporate ownership and honed their blockbuster strategy, releasing “high concept” films widely on the heels of television marketing campaigns. New technologies such as cable and VCRs offered new windows for Hollywood movies beyond theatrical release, reducing the risks of blockbuster production. Deregulation through the 1980s and 1990s allowed for the “Big Six” media conglomerates to join film, theaters, networks, publishing, and other related media outlets under one corporate umbrella. This has expanded the scale and stability of Hollywood revenue while reducing the number and diversity of Hollywood films, as conglomerates focus on film franchises that can thrive on various digital media. Technological change has also lowered the cost of non-Hollywood films and thus encouraged a range of alternative forms of filmmaking, distribution, and exhibition.
Kathryn Cramer Brownell
Hollywood has always been political. Since its early days, it has intersected with national, state, and local politics. As a new entertainment industry attempting to gain a footing in a society of which it sat firmly on the outskirts, the Jewish industry leaders worked hard to advance the merits of their industry to a Christian political establishment. At the local and state level, film producers faced threats of censorship and potential regulation of more democratic spaces they provided for immigrants and working class patrons in theaters. As Hollywood gained economic and cultural influence, the political establishment took note, attempting to shape silver screen productions and deploy Hollywood’s publicity innovations for its own purposes. Over the course of the 20th century, industry leaders forged political connections with politicians from both parties to promote their economic interests, and politically motivated actors, directors, writers, and producers across the ideological spectrum used their entertainment skills to advance ideas and messages on and off the silver screen. At times this collaboration generated enthusiasm for its ability to bring new citizens into the electoral process. At other times, however, it created intense criticism and fears abounded that entertainment would undermine the democratic process with a focus on style over substance. As Hollywood personalities entered the political realm—for personal, professional, and political gain—the industry slowly reshaped American political life, bringing entertainment, glamor, and emotion to the political process and transforming how Americans communicate with their elected officials and, indeed, how they view their political leaders.
The first forty years of cinema in the United States, from the development and commercialization of modern motion picture technology in the mid-1890s to the full blossoming of sound-era Hollywood during the early 1930s, represents one of the most consequential periods in the history of the medium. It was a time of tremendous artistic and economic transformation, including but not limited to the storied transition from silent motion pictures to “the talkies” in the late 1920s. Though the nomenclature of the silent era implies a relatively unified period in film history, the years before the transition to sound saw a succession of important changes in film artistry and its means of production, and film historians generally regard the epoch as divided into at least three separate and largely distinct temporalities. During the period of early cinema, which lasted about a decade from the medium’s emergence in the mid-1890s through the middle years of the new century’s first decade, motion pictures existed primarily as a novelty amusement presented in vaudeville theatres and carnival fairgrounds. Film historians Tom Gunning and André Gaudreault have famously defined the aesthetic of this period as a “cinema of attractions,” in which the technology of recording and reproducing the world, along with the new ways in which it could frame, orient, and manipulate time and space, marked the primary concerns of the medium’s artists and spectators. A transitional period followed from around 1907 to the later 1910s when changes in the distribution model for motion pictures enabled the development of purpose-built exhibition halls and led to a marked increase in demand for the entertainment. On a formal and artistic level, the period saw a rise in the prominence of the story film and widespread experimentation with new techniques of cinematography and editing, many of which would become foundational to later cinematic style. The era also witnessed the introduction and growing prominence of feature-length filmmaking over narrative shorts. The production side was marked by intensifying competition between the original American motion picture studios based in and around New York City, several of which attempted to cement their influence by forming an oligopolistic trust, and a number of upstart “independent” West Coast studios located around Los Angeles. Both the artistic and production trends of the transitional period came to a head during the classical era that followed, when the visual experimentation of the previous years consolidated into the “classical style” favored by the major studios, and the competition between East Coast and West Coast studios resolved definitively in favor of the latter. This was the era of Hollywood’s ascendance over domestic filmmaking in the United States and its growing influence over worldwide film markets, due in part to the decimation of the European film industry during World War I. After nearly a decade of dominance, the Hollywood studio system was so refined that the advent of marketable synchronized sound technology around 1927 produced relatively few upheavals among the coterie of top studios. Rather, the American film industry managed to reorient itself around the production of talking motion pictures so swiftly that silent film production in the United States had effectively ceased at any appreciable scale by 1929. Artistically, the early years of “the talkies” proved challenging, as filmmakers struggled with the imperfections of early recording technology and the limitations they imposed on filmmaking practice. But filmgoing remained popular in the United States even during the depths of the Great Depression, and by the early 1930s a combination of improved technology and artistic adaptation led to such a marked increase in quality that many film historians regard the period to be the beginning of Hollywood’s Golden Era. With a new voluntary production code put in place to respond to criticism of immorality in Hollywood fare, the American film industry was poised by the early 1930s to solidify its prominent position in American cultural life.