Hollywood Studio Magazine (February 1967)

Page scan 0006 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
February 1967
Publisher:
Valley Que Publishing Co.
Volume:
Hollywood Studio Magazine (February 1967)
Leaf #:
0006
Language:
English
Subjects:
Motion Pictures, Recorded Sound",Vaudeville,Theatre,Broadcastin
Collection:
Fan Magazines and Hollywood Studio System
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Hollywood Studio Magazine was published out of the San Fernando Valley in various iterations (and various titles) from 1966 until 1992. What started as a local organ aimed at the workers of Hollywood ended as a nostalgic fan magazine about Hollywood Then and Now. The various title changes and revisions to its mission reflect not just the economic realities of magazine publishing, but a changing relationship to Hollywood and the industry itself. The earliest issues of Studio Magazine read like a house organ of a steady, entrenched industry documenting the comings and goings and notable events of the San Fernando Valley, with special emphasis on Universal. Fandom first became part of the discourse of the magazine through collecting. The Collectors’ Column page beginning in the early 1970s allowed memorabilia collectors to advertise their wares to each other. In 1983, the founder of the magazine, Dorothy Denny gave over the reins to Ralph Benner, the founder of Tiger Beat. This marks the clear separation between the original publication and its focus on Hollywood production culture and the move toward a publication centered on star narratives and fan culture. In covering the two and a half decades from the collapse of the system to the point where classical movie stars were phantoms instead of living people, the magazine offers insight into the transformation of old Hollywood from a lived reality to a memory to a myth.
-- Luci Marzola
Date Added:
September 29, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

'TITAN OF THE SILVER SCREEN' by Frank Taylor David Wark Griffith, hailed by critics as “the greatest director” of the silent screen, longed to earn a place for himself in history as a poet or writer. Unable to earn a living at it however, he found himself forced to accept employment with the Bio¬ graph Co. in 1907 to keep bread on the table. Cast in a film called: “Saved From An Eagle’s Nest,” by the father of all directors, Edwin S. Porter, Griffith put up a heroic fight to save a child from the clutches of a stuffed eagle. Porter decided that the quiet young man who had drifted into his studio would make a better director than actor and offered him a job as such. Convinced the movies had no fu¬ ture, Griffith refused Porter at first until he had been promised his old job back if he failed. Griffith was soon hard at work grinding out mov¬ ies by the carload and all thoughts of his former ambitions quickly faded from his mind. By the time Biograph had decided to try movie making in California, Griffith had 150 one- and two-reel pictures under his director’s belt. He also knew something about Cali¬ fornia. As an actor, a stock company he was in went broke there and he had to earn his fare home by picking hops in the fields around Sacra¬ mento. Griffith knew that film making in the “Sunshine State” would be a boon to movie companies - once there he quickly proved himself right. Soon he was on his own, quit¬ ting Biograph to make the first epic picture, “Birth of a Nation” that would employ his special talents and ideas. Cranked out for a total budget of $100,000 in eight months time, “Birth of a Nation,” set a new standard for motion pictures. It was also one of the biggest money makers of all time, eventually bringing in $18,- 000,000. This single film established Griffith’s reputation and estab¬ lished the formula upon which al¬ most every movie is made today. Set on the rolling hills of today’s Universal City Studios, Griffith changed the flickering infant of the early films into a real art form. Using the first long shots, showing battle scenes with new vigor and realism, closeups, iris dissolves, a massive cast, calling in Civil War veterans to act as technical advisors, quick cutting to build the tempo, flashbacks, fade-outs, younger stars, in short, he created with the prim¬ itive tools at his disposal an epic motion picture of important propor¬ tions. Encouraged by the success of “Birth of a Nation,” Griffith launched his most ambitious proj¬ ect. Plunging ahead with more new ideas, he launched what might be described as the films’ greatest artistic triumph and the films’ worst commercial disaster. Selling his rights to “Birth of a Nation,” borrowing everything he could, Griffith started to make “In¬ 7