AUTHORSHIP IN CLASSIC HOLLYWOOD CINEMA

• Published in: SEECI 2000 2019-07 (49), p.39-56
• Main Authors: Martínez, María Lara, Lara, Antonio
• Format: Article
• Language: eng ; spa
• Subjects: Audiovisual communications; Authorship; Editing; Editorials; Motion picture directors & producers; Motion pictures; Pragmatics; Spectatorship; Writers
• ISSN: 1575-9628; 1576-3420
• DOI: 10.15198/seeci.2019.49.39-57

[...]we have not forgotten the screenwriter or the director, because, although there is a huge theoretical body on their work, in general it has been done from a romantic perspective, with a focus on the most legendary aspects of their mission, instead of framing their responsibility from a pragmatic point of view. 3.METHODOLOGY The very concept of classical cinema is a notion that has changed its essence. [...]the very definition of authorship, even when we refer to an isolated artist, is a rather modern idea, derived and modified throughout history by the successive visions on Art that the Renaissance, Romanticism or contemporary movements brought with them. Higher-budget movies such as blockbusters became, according to researcher Jacqueline Nacache, an "ambiguous terrain, a place of elections and contradictions, where gigantism can amplify the voice of an artist or sink it completely" (1995, p. 81). [...]she stated that the dominant figure of this type of films used to be the producer, offering as a paradigmatic example Gone with the Wind (1939), with three directors, George Cukor, Sam Wood (both excluded of the credits) and Victor Fleming, but "a single true responsible person: According to Nacache, in classic cinema, especially in the studio of Warner Bros., a style of rapid editing was developed, that is, with plenty of ellipses and shots without excessive duration, since it allowed them to "tell complex stories, even dark ones, without producing traumas in the spectator" (Nacache, 1995, p. 33).