Venice Film Festival
The Venice Film Festival or Venice International Film Festival is the oldest film festival in the world and one of the "Big Three" film festivals, alongside the Cannes Film Festival and Berlin International Film Festival. The Big Three are internationally acclaimed for giving creators the artistic freedom to express themselves through film. Founded in Venice, Italy, in August 1932, the festival is part of the Venice Biennale, an exhibition of Italian art founded by the Venice City Council on 19 April 1893; the range of work at the Venice Biennale now covers Italian and international art, dance, music and cinema. These works are experienced at separate exhibitions: the International Art Exhibition, the International Festival of Contemporary Music, the International Theatre Festival, the International Architecture Exhibition, the International Festival of Contemporary Dance, the International Kids' Carnival, the annual Venice Film Festival, arguably the best-known of all the events; the festival is held in late August or early September on the island of the Lido in the Venice Lagoon.
Screenings take place in the historic Palazzo del Cinema on the Lungomare Marconi. The festival continues to be one of the world's most fastest-growing; the 76th Venice International Film Festival is scheduled for 28 August to 7 September 2019. During the 1930s, the government and Italian citizens were interested in film. Of the money Italians spent on cultural or sporting events, most of it went for movies; the majority of films screened in Italy were American, which led to government involvement in the film industry and the yearning to celebrate Italian culture in general. With this in mind, the Venice International Film Festival was created by Giuseppe Volpi, Luciano de Feo, Antonio Maraini in 1932. Volpi, a statesman, wealthy businessman, avid fascist, Benito Mussolini's minister of finance, was appointed president of the Venice Biennale the same year. Maraini served as the festival's secretary general, de Feo headed its executive committee. On the night of 6 August 1932, the festival opened with a screening of the American film Dr. Jekyll and Mr. Hyde on the terrace of the Excelsior Palace Hotel.
A total of nine countries participated in the festival. No awards were given at the first festival, but an audience referendum was held to determine which films and performances were most praiseworthy; the French film À Nous la Liberté was voted the Film Più Divertente. The Sin of Madelon Claudet was chosen the Film Più Commovente and its star, Helen Hayes, the best actress. Most Original Film was given to Dr. Jekyll and Mr. Hyde, its leading man, Fredric March, was voted best actor. Despite the success of the first festival, it did not return in 1933. In 1934, the festival was declared to be an annual event, participation grew from nine countries to seventeen; that year the festival gave its first official awards, namely the Mussolini Cup for Best Italian Film, the Mussolini Cup for Best Foreign Film, the Corporations Ministry Cup. Seventeen awards were given: fourteen to films and three to individuals. Five films received; the third installment of the festival in 1935 was headed by its first artistic director, Ottavio Croze, who maintained this position until World War II.
The following year, a jury was added to the festival's governing body. The majority of funds for the festival came from the Ministry of Popular Culture, with other portions from the Biennale and the city of Venice; the year 1936 marked another important development in the festival. A law crafted by the Ministry of Popular Culture made the festival an autonomous entity, separate from the main Venice Biennale; this allowed additional fascist organizations, such as the Department of Cinema and the Fascist National Federation of Entertainment Industries, to take control of the festival. The fifth year of the festival saw the establishment of its permanent home. Designed and completed in 1937, the Palazzo del Cinema was built on the Lido; the Palazzo has since been the site for every Venice Film Festival, with the exception of the three years from 1940 to 1942, when the festival was moved away from Venice for fear of bombing. However, Venice received no damage during that time; the 1940s represent one of the most difficult moments for the festival itself.
Nazi propaganda movie Heimkehr was presented in 1941 winning an award from the Italian Ministry of Popular Culture. With the advent of the conflict the situation degenerated to such a point that the editions of 1940, 1941 and 1942, subsequently are considered as if they did not happen because they were carried out in places far away from Lido. Additionally, the festival was renamed the Italian-German Film Festival in 1940; the festival carried this title until 1942. The festival resumed full speed after the war. For the first time, the 1946 edition was held in the month of September, in accordance to an agreement with the newly-born Cannes Film Festival, which had just held its first review in the spring of that year. With the return of normalcy, Venice once again became a great icon of the film world. In 1947 the festival was held in the courtyard of the Doge's Palace, a most magnificent backdrop for hosting a record 90 thousand participants; the 1947 festival is considered one of the most successful editions in the history of the festival.
In 1963 the winds of change blow during Luigi C
A soap opera is an ongoing drama serial on television or radio, featuring the lives of many characters and their emotional relationships. The term soap opera originated from radio dramas being sponsored by soap manufacturers. BBC Radio's The Archers, first broadcast in 1950, is the world's longest-running radio soap opera; the first serial considered to be a "soap opera" was Painted Dreams, which debuted on October 20, 1930 on Chicago radio station WGN. Early radio series such as Painted Dreams were broadcast in weekday daytime slots five days a week. Most of the listeners would be housewives. Thus, the shows were consumed by a predominantly female audience; the first nationally broadcast radio soap opera was Clara, Lu, Em, which aired on the NBC Blue Network at 10:30 p.m. Eastern Time on January 27, 1931. A crucial element that defines the soap opera is the open-ended serial nature of the narrative, with stories spanning several episodes. One of the defining features that makes a television program a soap opera, according to Albert Moran, is "that form of television that works with a continuous open narrative.
Each episode ends with a promise that the storyline is to be continued in another episode". In 2012, Los Angeles Times columnist Robert Lloyd wrote of daily dramas, "Although melodramatically eventful, soap operas such as this have a luxury of space that makes them seem more naturalistic. You spend more time with the minor characters. An individual episode of a soap opera will switch between several different concurrent narrative threads that may at times interconnect and affect one another or may run independent to each other; each episode may feature some of the show's current storylines, but not always all of them. In daytime serials and those that are broadcast each weekday, there is some rotation of both storyline and actors so any given storyline or actor will appear in some but not all of a week's worth of episodes. Soap operas bring all the current storylines to a conclusion at the same time; when one storyline ends, there are several other story threads at differing stages of development.
Soap opera episodes end on some sort of cliffhanger, the season finale ends in the same way, only to be resolved when the show returns for the start of a new yearly broadcast. Evening soap operas and those that air at a rate of one episode per week are more to feature the entire cast in each episode, to represent all current storylines in each episode. Evening soap operas and serials that run for only part of the year tend to bring things to a dramatic end-of-season cliffhanger. In 1976, Time magazine described American daytime television as "TV's richest market," noting the loyalty of the soap opera fan base and the expansion of several half-hour series into hour-long broadcasts in order to maximize ad revenues; the article explained that at that time, many prime time series lost money, while daytime serials earned profits several times more than their production costs. The issue's cover notably featured its first daytime soap stars, Bill Hayes and Susan Seaforth Hayes of Days of Our Lives, a married couple whose onscreen and real-life romance was covered by both the soap opera magazines and the mainstream press at large.
The main characteristics that define soap operas are "an emphasis on family life, personal relationships, sexual dramas and moral conflicts. Fitting in with these characteristics, most soap operas follow the lives of a group of characters who live or work in a particular place, or focus on a large extended family; the storylines follow personal relationships of these characters. "Soap narratives, like those of film melodramas, are marked by what Steve Neale has described as'chance happenings, missed meetings, sudden conversions, last-minute rescues and revelations, deus ex machina endings.'" These elements may be found from EastEnders to Dallas. Due to the prominence of English-language television, most soap-operas are English. However, several South African soap operas started incorporating a multi-language format, the most prominent being 7de Laan, which incorporates Afrikaans, English and several other Bantu languages which make up the 11 Official Languages of South Africa. In many soap operas, in particular daytime serials in the US, the characters are attractive, seductive and wealthy.
Soap operas from the United Kingdom and Australia tend to focus on more everyday characters and situations, are set in working class environments. Many of the soaps produced in those two countries explore social realist storylines such as family discord, marriage breakdown or financial problems. Both UK and Australian soap operas feature comedic elements affectionate comic stereotypes such as the gossip or the grumpy old man, presented as a comic foil to the emotional turmoil that surrounds them; this diverges from US soap operas. UK soap operas make a claim to presenting "reality
World War I
World War I known as the First World War or the Great War, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. Contemporaneously described as "the war to end all wars", it led to the mobilisation of more than 70 million military personnel, including 60 million Europeans, making it one of the largest wars in history, it is one of the deadliest conflicts in history, with an estimated nine million combatants and seven million civilian deaths as a direct result of the war, while resulting genocides and the 1918 influenza pandemic caused another 50 to 100 million deaths worldwide. On 28 June 1914, Gavrilo Princip, a Bosnian Serb Yugoslav nationalist, assassinated the Austro-Hungarian heir Archduke Franz Ferdinand in Sarajevo, leading to the July Crisis. In response, on 23 July Austria-Hungary issued an ultimatum to Serbia. Serbia's reply failed to satisfy the Austrians, the two moved to a war footing. A network of interlocking alliances enlarged the crisis from a bilateral issue in the Balkans to one involving most of Europe.
By July 1914, the great powers of Europe were divided into two coalitions: the Triple Entente—consisting of France and Britain—and the Triple Alliance of Germany, Austria-Hungary and Italy. Russia felt it necessary to back Serbia and, after Austria-Hungary shelled the Serbian capital of Belgrade on the 28th, partial mobilisation was approved. General Russian mobilisation was announced on the evening of 30 July; when Russia failed to comply, Germany declared war on 1 August in support of Austria-Hungary, with Austria-Hungary following suit on 6th. German strategy for a war on two fronts against France and Russia was to concentrate the bulk of its army in the West to defeat France within four weeks shift forces to the East before Russia could mobilise. On 2 August, Germany demanded free passage through Belgium, an essential element in achieving a quick victory over France; when this was refused, German forces invaded Belgium on 3 August and declared war on France the same day. On 12 August and France declared war on Austria-Hungary.
In November 1914, the Ottoman Empire entered the war on the side of the Alliance, opening fronts in the Caucasus and the Sinai Peninsula. The war was fought in and drew upon each power's colonial empire as well, spreading the conflict to Africa and across the globe; the Entente and its allies would become known as the Allied Powers, while the grouping of Austria-Hungary and their allies would become known as the Central Powers. The German advance into France was halted at the Battle of the Marne and by the end of 1914, the Western Front settled into a battle of attrition, marked by a long series of trench lines that changed little until 1917. In 1915, Italy opened a front in the Alps. Bulgaria joined the Central Powers in 1915 and Greece joined the Allies in 1917, expanding the war in the Balkans; the United States remained neutral, although by doing nothing to prevent the Allies from procuring American supplies whilst the Allied blockade prevented the Germans from doing the same the U. S. became an important supplier of war material to the Allies.
After the sinking of American merchant ships by German submarines, the revelation that the Germans were trying to incite Mexico to make war on the United States, the U. S. declared war on Germany on 6 April 1917. Trained American forces would not begin arriving at the front in large numbers until mid-1918, but the American Expeditionary Force would reach some two million troops. Though Serbia was defeated in 1915, Romania joined the Allied Powers in 1916 only to be defeated in 1917, none of the great powers were knocked out of the war until 1918; the 1917 February Revolution in Russia replaced the Tsarist autocracy with the Provisional Government, but continuing discontent at the cost of the war led to the October Revolution, the creation of the Soviet Socialist Republic, the signing of the Treaty of Brest-Litovsk by the new government in March 1918, ending Russia's involvement in the war. This allowed the transfer of large numbers of German troops from the East to the Western Front, resulting in the German March 1918 Offensive.
This offensive was successful, but the Allies rallied and drove the Germans back in their Hundred Days Offensive. Bulgaria was the first Central Power to sign an armistice—the Armistice of Salonica on 29 September 1918. On 30 October, the Ottoman Empire capitulated. On 4 November, the Austro-Hungarian empire agreed to the Armistice of Villa Giusti after being decisively defeated by Italy in the Battle of Vittorio Veneto. With its allies defeated, revolution at home, the military no longer willing to fight, Kaiser Wilhelm abdicated on 9 November and Germany signed an armistice on 11 November 1918. World War I was a significant turning point in the political, cultural and social climate of the world; the war and its immediate aftermath sparked numerous uprisings. The Big Four (Britain, the United States, It
Irving Grant Thalberg was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, make profitable films, including Grand Hotel, China Seas, Mutiny on the Bounty and The Good Earth, his films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. He was born in Brooklyn, New York, as a child was afflicted with a congenital heart disease that doctors said would kill him before he reached the age of thirty. After graduating high school he worked as a store clerk during the day and to gain some job skills took a night class in typing, he found work as a secretary with Universal Studios' New York office, was made studio manager for their Los Angeles facility. There, he oversaw production of a hundred films during his three years with the company.
Among the films he produced. In Los Angeles, he partnered with Louis B. Mayer's new studio and, after it merged with two other studios, helped create Metro-Goldwyn-Mayer, he was made head of production of MGM in 1925, at the age of twenty-six, helping MGM become the most successful studio in Hollywood. During his twelve years with MGM, until his early death at age 37, he produced four hundred films, most of which bore his imprint and innovations, including story conferences with writers, sneak previews to gain early feedback, extensive re-shooting of scenes to improve the film. In addition, he introduced horror films to audiences and coauthored the "Production Code," guidelines for morality followed by all studios. During the 1920s and 1930s, he synthesized and merged the world of stage drama and literary classics with Hollywood films. Thalberg groomed their screen images. Among them were Lon Chaney, Ramon Novarro, John Gilbert, Joan Crawford, Clark Gable, Jean Harlow, Wallace Beery, Luise Rainer, Greta Garbo, Lionel Barrymore, Norma Shearer, who became his wife.
He had the ability to combine quality with commercial success, was credited with bringing his artistic aspirations in line with the demands of audiences. After his death, Hollywood's producers said he had been the world's "foremost figure in motion-picture history." President Roosevelt wrote, "The world of art is poorer with the passing of Irving Thalberg. His high ideals and imagination went into the production of his masterpieces." The Irving G. Thalberg Memorial Award, given out periodically by the Academy of Motion Picture Arts and Sciences since 1937, has been awarded to producers whose body of work reflected high quality films. Thalberg was born in Brooklyn, to German Jewish immigrant parents and Henrietta. Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart; the prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains and fatigue.
This affected his ability to study. When he was 17, he contracted rheumatic fever, was confined to bed for a year, his mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school and tutors to teach him at home. She hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity, he devoured popular novels, classics and biographies. His books, of necessity, replaced the streets of New York, led to his interest in classical philosophy and philosophers, such as William James; when Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, in the evenings, to gain some job skills, taught himself typing and Spanish at a night vocational school; when he turned 18, he placed an ad with the local newspaper hoping to find better work: Situation Wanted: Secretary, Spanish, high school education, no experience.
He found work as an office secretary at Universal Pictures' New York office, became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films, he earned $25 weekly. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months Laemmle returned to California to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919.
At age 20, Thalberg became responsible for overseeing the nine ongoing film productions and nearly thirty scenarios under development. In describing the rationale f
The Front Page
The Front Page is a Broadway comedy about tabloid newspaper reporters on the police beat. Written by former Chicago reporters Ben Hecht and Charles MacArthur, it was first produced in 1928 and has been adapted for the cinema several times; the play's single set is the dingy press room of Chicago's Criminal Courts Building, overlooking the gallows behind the Cook County Jail. Reporters from most of the city's newspapers are passing the time with poker and pungent wisecracks about the news of the day. Soon they will witness the hanging of Earl Williams, a white man and supposed Communist revolutionary convicted of killing a black policeman. Hildy Johnson, cocky star reporter for the Examiner, is late, he appears only to say good-bye. The reporters hear that Earl Williams has escaped from the jail. All but Hildy stampede out for more information; as Hildy tries to decide how to react, Williams comes in through the window. He tells Hildy he is no revolutionary, that he shot the police officer by accident.
The reporter realizes this bewildered, harmless little man was railroaded — just to help the crooked mayor and sheriff pick up enough black votes to win re-election. It is the story of a lifetime. Hildy helps Williams hide inside a roll-top desk, his daunting challenge now is to get Williams out of the building to a safe place for an interview before rival reporters or trigger-happy policemen discover him. Hildy has no choice but to ask for help from Walter Burns, managing editor of the Examiner — a devious tyrant who would do just about anything to keep Hildy with the newspaper; the Front Page was produced by Jed Harris and directed by George S. Kaufman, with settings by Raymond Sovey, it opened at the Times Square Theatre, New York City, on August 14, 1928, ran 278 performances before closing in April 1929. The authors' expert plotting and rapid-fire, streetwise dialogue delighted audiences and made their play an instant classic. Hecht and MacArthur influenced many other American comic writers in Hollywood.
In the 1970's, film producer Dore Schary told film historian David Bordwell that The Front Page influenced studio writers and directors in the 30s."The newspapers are modeled on the City News Bureau of Chicago, Chicago Daily News, Chicago's American. The character Earl Williams is loosely based on "Terrible" Tommy O'Connor. Walter Burns is a thinly disguised caricature of Hearst editor Walter Howey; the play was restaged four more times on Broadway. In 1946, the revival ran for 79 performances; the 1969-70 revival was the most successful of these. It was produced at the Ethel Barrymore Theatre and starred Robert Ryan and Bert Convy as Burns and Johnson, running for a total of 222 performances; the 1986-87 revival was produced at the Vivian Beaumont at Lincoln Center, directed by Jerry Zaks and starred Richard Thomas as Hildy and John Lithgow as Burns. This production ran for 57 performances. A Broadway revival opened at the Broadhurst Theatre, in a limited engagement, starting on September 20, 2016 in previews and on October 20.
Directed by Jack O'Brien, the cast starred Nathan Lane as Walter Burns, John Slattery as Hildy Johnson, John Goodman as Sheriff Hartman, Jefferson Mays as Bensinger, Holland Taylor as Mrs. Grant, Sherie Rene Scott as Mollie Malloy, Robert Morse as Silas Pinkus, Christopher McDonald as Murphy; the production received good notices for Lane, became the first show of the season to recoup and turn a profit. It received two Tony nominations: Best Scenic Design of a Play. An adaptation by John Guare of His Girl Friday was produced at The La Jolla Playhouse in San Diego, California, in 2013, directed by Christopher Ashley; the Front Page has been adapted to film and radio a number of times: The Front Page, directed by Lewis Milestone, starring Adolphe Menjou and Pat O'Brien and Helen Kane. The 1931 film was presented as a one-hour radio adaption on June 28, 1937 by Lux Radio Theatre, starring Walter Winchell and James Gleason, his Girl Friday, directed by Howard Hawks, starring Cary Grant as Walter and Rosalind Russell as Hildy, who in this version is female and Walter's ex-wife.
A romantic element is added to the plot, as Walter is trying to win Hildy back both professionally and personally. The 1931 film was adapted to radio on June 22, 1946 by Academy Award Theater, with Menjou and O'Brien reprising their roles from the film. A 1948 radio series titled The Front Page and based loosely on the play ran on the American Broadcasting Company network, it starred William Conrad. The Front Page, CBS Television series, starring John Daly and Mark Roberts; the Front Page, directed by Billy Wilder, starring Walter Matthau. Switching Channels, starring Burt Reynolds and Kathleen Turner, with the newspaper reporters updated to television reporters and none of the original dialogue retained, his Girl Friday and Switching Channels changed the male lead Hildebrand'Hildy' Johnson to females Hildegaard'Hildy' Johnson and Christy Colleran respectively. John Varley's 1991 science fiction novel Steel Beach takes the story — and the change of sex — to another level. There have been four television productions, all under the title The Front Page: 1945, in the US.
It premiered at the Victoria Palace Theatre, England on July 20, 1982 and ran for
Turner Classic Movies
Turner Classic Movies is an American movie-oriented pay-TV network operated by Warner Bros. Entertainment, a subsidiary of AT&T's WarnerMedia. Launched in 1994, TCM is headquartered at Turner's Techwood broadcasting campus in the Midtown business district of Atlanta, Georgia; the channel's programming consisted of classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. and Metro-Goldwyn-Mayer. However, TCM licenses films from other studios, shows more recent films; the channel is available in the United States, the United Kingdom, Malta, Latin America, Italy, Cyprus, the Nordic countries, the Middle East and Asia-Pacific. In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before.
As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; the film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. Turner Classic Movies debuted on April 14, 1994, at 6 p.m. Eastern Time, with Ted Turner launching the channel at a ceremony in New York City's Times Square district; the date and time were chosen for their historical significance as "the exact centennial anniversary of the first public movie showing in New York City". The first movie broadcast on TCM was the 1939 film Gone with the Wind, the same film that served as the debut broadcast of its sister channel TNT six years earlier in October 1988.
At the time of its launch, TCM was available to one million cable television subscribers. The network served as a competitor to AMC—which at the time was known as "American Movie Classics" and maintained a identical format to TCM, as both networks focused on films released prior to 1970 and aired them in an uncut and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002. In 1996, Turner Broadcasting System merged with Time Warner which, besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella gave TCM access to Warner Bros.' Library of films released after 1950. In the early 2000s, AMC abandoned its commercial-free format, which led to TCM being the only movie-oriented basic cable channel to devote its programming to classic films without commercial interruption or content editing. On March 4, 2019, Time Warner's new owner AT&T announced a planned reorganization that would dissolve Turner Broadcasting.
TCM, along with Cartoon Network, Adult Swim, over-the-top video company Otter Media, will be moved directly under Warner Bros.. Speaking about the move, then-Warner Bros. CEO Kevin Tsujihara explained that TCM was "a natural fit with Warner Bros." due the company's massive film library. In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network; as of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown and Greta Garbo's 1926 film The Temptress. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event—now held annually—at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood.
Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, featured celebrity appearances, special events, screenings of around 50 classic movies including several newly restored by The Film Foundation, an organization devoted to preserving Hollywood's classic film legacy. Turner Classic Movies operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM, featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, Robert Benchley – under the banner name TCM Extras (formerly On
Metro-Goldwyn-Mayer Studios Inc. is an American media company, involved in the production and distribution of feature films and television programs. One of the world's oldest film studios, MGM's headquarters are located at 245 North Beverly Drive in Beverly Hills, California. MGM was founded in 1924 when the entertainment entrepreneur Marcus Loew gained control of Metro Pictures, Goldwyn Pictures, Louis B. Mayer Pictures. In 1971, it was announced that MGM was to merge with 20th Century Fox, but the plan never came to fruition. Over the next 39 years, the studio was bought and sold at various points in its history until, on November 3, 2010, MGM filed for Chapter 11 bankruptcy. MGM emerged from bankruptcy on December 20, 2010, at which time the executives of Spyglass Entertainment, Gary Barber and Roger Birnbaum, became co-chairmen and co-CEOs of the holding company of Metro-Goldwyn-Mayer; as of 2017, MGM co-produces, co-finances, co-distributes a majority of its films with Sony Pictures, Paramount Pictures and Warner Bros.
MGM Resorts International, a Las Vegas-based hotel and casino company listed on the New York Stock Exchange under the symbol "MGM", was created in 1973 as a division of Metro-Goldwyn-Mayer. The company was spun out in 1979, with the studio's owner Kirk Kerkorian maintaining a large share, but it ended all affiliation with Metro-Goldwyn-Mayer in 1986. MGM was the last studio to convert to sound pictures, but in spite of this fact, from the end of the silent film era through the late 1950s, Metro-Goldwyn-Mayer was the dominant motion picture studio in Hollywood. Always slow to respond to the changing legal and demographic nature of the motion picture industry during the 1950s and 1960s, although at times its films did well at the box office, the studio lost significant amounts of money throughout the 1960s. In 1966, MGM was sold to Canadian investor Edgar Bronfman Sr. whose son Edgar Jr. would buy Universal Studios. Three years an unprofitable MGM was bought by Kirk Kerkorian, who slashed staff and production costs, forced the studio to produce low-budget fare, shut down theatrical distribution in 1973.
The studio continued to produce five to six films a year that were released through other studios United Artists. Kerkorian did, commit to increased production and an expanded film library when he bought United Artists in 1981. MGM ramped up internal production, as well as keeping production going at UA, which included the lucrative James Bond film franchise, it incurred significant amounts of debt to increase production. The studio took on additional debt as a series of owners took charge in early 1990s. In 1986, Ted Turner bought MGM, but a few months sold the company back to Kerkorian to recoup massive debt, while keeping the library assets for himself; the series of deals left MGM more in debt. MGM was bought by Pathé Communications in 1990, but Parretti lost control of Pathé and defaulted on the loans used to purchase the studio; the French banking conglomerate Crédit Lyonnais, the studio's major creditor took control of MGM. More in debt, MGM was purchased by a joint venture between Kerkorian, producer Frank Mancuso, Australia's Seven Network in 1996.
The debt load from these and subsequent business deals negatively affected MGM's ability to survive as a separate motion picture studio. After a bidding war which included Time Warner and General Electric, MGM was acquired on September 23, 2004, by a partnership consisting of Sony Corporation of America, Texas Pacific Group, Providence Equity Partners, other investors. In 1924, movie theater magnate Marcus Loew had a problem, he had bought Metro Pictures Corporation in 1919 for a steady supply of films for his large Loew's Theatres chain. With Loew's lackluster assortment of Metro films, Loew purchased Goldwyn Pictures in 1924 to improve the quality. However, these purchases created a need for someone to oversee his new Hollywood operations, since longtime assistant Nicholas Schenck was needed in New York headquarters to oversee the 150 theaters. Approached by Louis B. Mayer, Loew addressed the situation by buying Louis B. Mayer Pictures on April 17, 1924. Mayer became head of the renamed Metro-Goldwyn-Mayer, with Irving Thalberg as head of production.
MGM produced more than 100 feature films in its first two years. In 1925, MGM released the extravagant and successful Ben-Hur, taking a $4.7 million profit that year, its first full year. In 1925, MGM, Paramount Pictures and UFA formed a joint German distributor, Parufamet; when Samuel Goldwyn left he sued over the use of his name. Marcus Loew died in 1927, control of Loew's passed to Nicholas Schenck. In 1929, William Fox of Fox Film Corporation bought the Loew family's holdings with Schenck's assent. Mayer and Thalberg disagreed with the decision. Mayer was active in the California Republican Party and used his political connections to persuade the Justice Department to delay final approval of the deal on antitrust grounds. During this time, in the summer of 1929, Fox was badly hurt in an automobile accident. By the time he recovered, the stock market crash in the fall of 1929 had nearly wiped Fox out and ended any chance of the Loew's merger going through. Schenck and Mayer had never gotten along, the abortive Fox merger increased the animosity between the two men.
From the outset, MGM tapped into the audience's need for sophistication. Having inherited few big names from their predecessor companies and Thalberg began at once