Hollywood Studio Magazine (May 1969)

Page scan 0004 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
May 1969
Publisher:
San Fernando Valley Pub. Co.
Volume:
Hollywood Studio Magazine (May 1969)
Leaf #:
0004
Language:
English
Subjects:
Motion Pictures, Recorded Sound",Vaudeville,Theatre,Broadcastin
Collection:
Hollywood Studio System and Fan Magazines
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
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Hollywood. However, the psychological results obtained by using Barbra’s own mike were incalcuable. Either way, Barbra Streisand’s own sound certainly was obtained by Art Piantadosi and his team of sound technicians. Columbia Records (no relation to Columbia Pictures Corporation) liked the sound track from “Funny Girl” (six channel stereo) so well they had Art re-balance the vocal and music units for the new “Funny Girl” record album. Virtually no changes were required in the “Funny Girl” sound track in order to make the album (excluding the normal six channel to two channel home-type stereo process). Unfortunately, due to an oversight, no credit was given on the album as to who did the vocal and music mix for “Funny Girl” and its subsequent album. The quality of the sound in “Funny Girl” is an excellent representation of the work being done in the re-recording studios in Hollywood. Almost all the music and re-recording mixers in the motion picture and television industry in Hollywood belong to the Cinema Audio Society. The Cinema Audio Society is a professional fraternity recently formed for promoting improved technical methods, better understanding within the industry, more standardized operation, industry sponsored training programs, and philanthropy. Arthur Piantadosi is president of the Cinema Audio Society. The society currently plans for a variety of fund-raising projects, with the proceeds being donated to the John Tracy Clinic for Deaf Children. Art also states that they propose improved industry standards for sound recording. Further, the society is attempting to standardize commonly misunderstood terms (such as dubbing as opposed to re-recording) throughout the industry. As one can surmise, the activities going on behind the scenes in the post-production stages of motion picture release preparation can become quite extensive and complex. Professional organizations such as the Cinema Audio Society, American Society of Cinematographers and American Cinema Editors are doing their part in the industry by insuring the viewing public that their members adhere to the highest standards of operation possible. Consequently, as these organizations grow and improve, the product output from the motion picture industry consistantly improves . . . both aesthetically and technically. Fanny Brice (Barbra Streisand (arrives at the Baltimore train station with the Follies in a scene from the William Wyler-Ray Stark production of “Funny Girl” for Columbia Pictures. The film stars Barbra Streisand and Omar Sharif and co-stars Kay Medford, Anne Francis and Walter Pidgeon as Ziegfield. ACADEMY AWARD WINNER - Barbra Streisand has been the “Star Customer” of Arthur Piantadosi, in the Columbia Recording Studios. Page 5