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Cinema of the United States
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Cinema of the United States
The Hollywood Sign in Hollywood, Los Angeles, California, often regarded as a symbol of the American film industry.
No. of screens
40,547 (2015)[1]
• Per capita
14 per 100,000 (2015)[2]
Main distributors
Paramount (19.2%)
Warner Bros. (18.0%)
Sony Pictures (12.5%)[3]
Produced feature films (2013)[4]
Fictional
727 (98.5%)
Animated
11 (1.5%)
Number of admissions (2015)[6]
Total
1,197,000,000
• Per capita
3.9 (2010)[5]
Gross box office (2015)[6]
Total
$10.1 billion
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The cinema of the United States, often metonymously referred to as Hollywood, has had a profound effect on cinema across the world since the early 20th century. The dominant style of American cinema is Classical Hollywood Cinema, which developed from 1917–1960 and characterizes most films to this day. While Auguste and Louis Lumière are generally credited with the birth of modern cinema,[7] it is American cinema that soon became the most dominant force in an emerging industry. Since the 1920s, the American film industry has grossed more money every year than that of any other country.[citation needed]. It also produces the largest number of films of any single language (English) with more than 800 movies churned out every year.[8]
In 1878, Eadweard Muybridge demonstrated the power of photography to capture motion. In 1894, the world's first commercial motion picture exhibition was given in New York City,[citation needed] using Thomas Edison's Kinetoscope. The United States was in the forefront of sound film development in the following decades. Since the early 20th century, the U.S. film industry has largely been based in and around the 30 Mile Zone in Hollywood, Los Angeles, California. Director D. W. Griffith was central to the development of film grammar. Orson Welles's Citizen Kane (1941) is frequently cited in critics' polls as the greatest film of all time.[9]
The major film studios of Hollywood are the primary source of the most commercially successful movies in the world, such as The Birth of a Nation (1915), Gone with the Wind (1939), The Sound of Music (1965), Jaws (1975), Star Wars (1977), E.T. the Extra-Terrestrial (1982), Jurassic Park (1993), Titanic (1997), The Dark Knight (2008), Avatar (2009), The Avengers (2012), Frozen (2013), and Star Wars: The Force Awakens (2015). Today, American film studios collectively generate several hundred movies every year, making the United States one of the most prolific producers of films in the world.
Contents
[hide]
1 History
1.1 Origins and Fort Lee
1.2 Rise of Hollywood
1.3 Portrait of Classical Hollywood Cinema and the Golden Age of Hollywood (1917–1960)
1.3.1 The studio system
1.4 Decline of the studio system (late 1940s)
1.4.1 Impact: Fewer films, larger individual budgets
1.5 New Hollywood and post-classical cinema (1960s–1980s)
1.6 Rise of the home video market (1980s–1990s)
1.7 Modern cinema
2 Hollywood and politics
2.1 Political endorsements
2.2 Political donations
3 Spread to world markets
4 Role of women
5 See also
6 Notes
7 References
8 Further reading
9 External links
History[edit]
Origins and Fort Lee[edit]
Main article: Silent film
Justus D. Barnes, as outlaw leader, "Bronco Billy Anderson", from The Great Train Robbery (1903), the first western on film
The first recorded instance of photographs capturing and reproducing motion was a series of photographs of a running horse by Eadweard Muybridge, which he captured in Palo Alto, California, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices that would capture such motion. In the United States, Thomas Edison was among the first to produce such a device, the kinetoscope.
The clock scene from Safety Last! (1923)
The history of cinema in the United States can trace its roots to the East Coast where, at one time, Fort Lee, New Jersey was the motion picture capital of America. The industry got its start at the end of the 19th century with the construction of Thomas Edison's "Black Maria", the first motion picture studio in West Orange, New Jersey. The cities and towns on the Hudson River and Hudson Palisades offered land at costs considerably less than New York City across the river and benefited greatly as a result of the phenomenal growth of the film industry at the turn of the 20th century.[10][11][12]
Film-making began attracting both capital and an innovative workforce, and when the Kalem Company began using Fort Lee in 1907 as a location for filming in the area, other filmmakers quickly followed. In 1909, a forerunner of Universal Studios, the Champion Film Company, built the first studio.[13] They were quickly followed by others who either built new studios or who leased facilities in Fort Lee. In the 1910s and 1920s, film companies such as the Independent Moving Pictures Company, Peerless Studios, The Solax Company, Éclair Studios, Goldwyn Picture Corporation, American Méliès (Star Films), World Film Company, Biograph Studios, Fox Film Corporation, Pathé Frères, Metro Pictures Corporation, Victor Film Company, and Selznick Pictures Corporation were all making pictures in Fort Lee. Such notables as Mary Pickford got their start at Biograph Studios.[14][15][16]
In New York, the Kaufman Astoria Studios in Queens, was built during the silent film era, was used by the Marx Brothers and W.C. Fields. The Edison Studios were located in the Bronx. Chelsea, Manhattan was also frequently used. Picture City, Florida was also a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City returned to its original name of Hobe Sound. Other major centers of film production also included Chicago, Texas, California, and Cuba.
The film patents wars of the early 20th century led to the spread of film companies across the U.S. Many worked with equipment for which they did not own the rights and thus filming in New York could be dangerous; it was close to Edison's Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the region's favorable year-round weather.[17]
Rise of Hollywood[edit]
"History of Hollywood" redirects here. For the history of the district itself, see Hollywood § History.
Hollywood Walk of Fame
In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Griffith stayed there for months and made several films before returning to New York. After hearing about Griffith's success in Hollywood, in 1913, many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.[18] Nestor Studios of Bayonne, New Jersey, built the first studio in Hollywood in 1911.[19] Nestor Studios, owned by David and William Horsley, later merged with Universal Studios; and William Horsley's other company, Hollywood Film Laboratory, is now the oldest existing company in Hollywood, now called the Hollywood Digital Laboratory. California's more hospitable and cost-effective climate led to the eventual shift of virtually all filmmaking to the West Coast by the 1930s. At the time, Thomas Edison owned almost all the patents relevant to motion picture production and movie producers on the East Coast acting independently of Edison's Motion Picture Patents Company were often sued or enjoined by Edison and his agents while movie makers working on the West Coast could work independently of Edison's control.[20]
In Los Angeles, the studios and Hollywood grew. Before World War I, movies were made in several U.S. cities, but filmmakers tended to gravitate towards southern California as the industry developed. They were attracted by the warm climate and reliable sunlight, which made it possible to film movies outdoors year-round and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.
In the early 20th century, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the U.S. had at least one female director, producer and studio head in these early years: French-born director Alice Guy-Blaché.) They also set the stage for the industry's internationalism; the industry is often accused of Amero-centric provincialism.
Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week.[21]
The Hollywood Sign in the Hollywood Hills has become a landmark representing the Southern California film industry.
Sound also became widely used in Hollywood in the late 1920s.[22] After The Jazz Singer, the first film with synchronized voices was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound — which Warner Bros. owned until 1928 – in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution.[21]
A side effect of the "talkies" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Picture Producers and Distributors of America (MPPDA).[23] The organization became the Motion Picture Association of America after Hays retired in 1945.
In the early times of talkies, American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews.
Also, foreign unemployed actors, playwrights, and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat, and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:
Brown Derby an iconic image that became synonymous with the Golden Age of Hollywood.
The lower budgets were apparent.
Many theater actors had no previous experience in cinema.
The original movies were often second-rate themselves since studios expected that the top productions would sell by themselves.
The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.
Some markets lacked sound-equipped theaters.
In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.
Portrait of Classical Hollywood Cinema and the Golden Age of Hollywood (1917–1960)[edit]
Main article: Classical Hollywood
Classical Hollywood Cinema. 1st row, l-r: Greta Garbo, Humphrey Bogart, Lauren Bacall, Clark Gable, Katharine Hepburn, Fred Astaire, Ginger Rogers, Marlon Brando, Marx Brothers, Joan Crawford. 2nd row, l-r: John Wayne, James Stewart, Buster Keaton, Claudette Colbert, Gene Kelly, Burt Lancaster, Judy Garland, Gregory Peck, Elizabeth Taylor, Kirk Douglas. 3rd row, l-r: Bette Davis, Audrey Hepburn, Jean Harlow, Alfred Hitchcock, John Ford, Howard Hawks, Grace Kelly, Laurence Olivier, Marlene Dietrich, James Cagney. 4th row, l-r: Ava Gardner, Cary Grant, Ingrid Bergman, Henry Fonda, Marilyn Monroe, James Dean, Orson Welles, Mae West, William Holden, Sophia Loren. 5th row, l-r: Vivien Leigh, Joan Fontaine and Gary Cooper, Spencer Tracy, Barbara Stanwyck, Lillian Gish, Tyrone Power, Shirley Temple, Janet Leigh and Charlton Heston, Rita Hayworth, Mary Pickford.
Classical Hollywood Cinema is defined as a technical and narrative style characteristic of film from 1917 to 1960. During the Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the early 1960s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films.
Most Hollywood pictures adhered closely to a formula – Western, slapstick comedy, musical, animated cartoon, biographical film (biographical picture) – and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.
At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; MGM, for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this – a trait that does not exist today.
For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899–1957) and Lauren Bacall (1924–2014), but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899–1961), the author of the novel on which the script was nominally based, and William Faulkner (1897–1962), who worked on the screen adaptation.
After The Jazz Singer was released in 1927, Warner Bros. gained huge success and were able to acquire their own string of movie theaters, after purchasing Stanley Theaters and First National Productions in 1928. MGM had also owned the Loews string of theaters since forming in 1924, and the Fox Film Corporation owned the Fox Theatre strings as well. Also, RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America[24]) responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as Photophone, to put sound in films.[21]
Paramount, which already acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in Detroit, Michigan.[25] By the 1930s, almost all of the first-run metropolitan theaters in the United States were owned by the Big Five studios – MGM, Paramount Pictures, RKO, Warner Bros., and 20th Century Fox.[26]
The studio system[edit]
Hollywood movie studios, 1922
Movie-making was still a business, however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary — actors, producers, directors, writers, stunt men, craftspersons, and technicians. They owned or leased Movie Ranches in rural Southern California for location shooting of westerns and other large-scale genre films. And they owned hundreds of theaters in cities and towns across the nation in 1920 film theaters that showed their films and that were always in need of fresh material.

In 1930, MPPDA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930.[27] However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency – appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn't go into effect.[28] Those films that didn't obtain a seal of approval from the Production Code Administration had to pay a $25,000 fine and could not profit in the theaters, as the MPPDA controlled every theater in the country through the Big Five studios.
Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether.[29] Some MGM stars included "King of Hollywood" Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Joan Crawford, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly.[29] But MGM did not stand alone. Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.[30] This distinction was promptly topped in 1939 when Selznick International created what is still when adjusted for inflation, the most successful film of all time, Gone with the Wind.[31]
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not everyone had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980), and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions.
The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, Top Hat, City Lights, Red River, The Lady from Shanghai, Rear Window, On the Waterfront, Rebel Without a Cause, Some Like It Hot, and The Manchurian Candidate.
Decline of the studio system (late 1940s)[edit]
Percentage of the US population that went to the cinema on average, weekly, 1930–2000
Walt Disney introduces each of the seven dwarfs in a scene from the original 1937 Snow White theatrical trailer.
The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:
a federal antitrust action that separated the production of films from their exhibition; and
the advent of television.
In 1938, Walt Disney's Snow White and the Seven Dwarfs was released during a run of lackluster films from the major studios, and quickly became the highest grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.[32] This stoked already widespread frustration at the practice of block-booking, in which studios would only sell an entire year's schedule of films at a time to theaters and use the lock-in to cover for releases of mediocre quality.
Assistant Attorney General Thurman Arnold—a noted "trust buster" of the Roosevelt administration — took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the Sherman Anti-Trust Act.[33][34] The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:
Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.
Eliminate the block-booking of any more than five features in their theaters.
No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in the US would see films every two weeks before showing movies in theaters.
Set up an administration board in each theater district to enforce these requirements.[33]
The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree.[33][34] A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters — as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner Bing Crosby, Alan Ladd, and longtime actor for studio Gary Cooper too- by 1942. The Big Five studios didn't meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood anti-trust case, as did the Little Three studios.[35]
The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the Sherman Antitrust Act. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.
The decision resulted in the gradual loss of the characteristics which made Metro-Goldwyn-Mayer, Paramount Pictures, Universal Studios, Columbia Pictures, RKO Pictures, and 20th Century Fox films immediately identifiable. Certain movie people, such as Cecil B. DeMille, either remained contract artists till the end of their careers or used the same creative teams on their films so that a DeMille film still looked like one whether it was made in 1932 or 1956.
Impact: Fewer films, larger individual budgets[edit]
Stanley Kubrick was an American film director, screenwriter, producer, cinematographer, editor, and photographer. The scientific realism and innovative special effects of 2001: A Space Odyssey (1968) has Steven Spielberg referring to the film as his generation's "big bang", and it is regarded as one of the greatest films ever made.
Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.
Television was also instrumental in the decline of Hollywood's Golden Age as it broke the movie industry's hegemony in American entertainment. Despite this, the film industry was also able to gain some leverage for future films as longtime government censorship faded in the 1950s. After the Paramount anti-trust case ended, Hollywood movie studios no longer owned theaters and thus made it so foreign films could be released in American theaters without censorship.
This was complemented with the 1952 Miracle Decision in the Joseph Burstyn Inc. v Wilson case, in which the Supreme Court of the United States reversed its earlier position, from 1915's Mutual Film Corporation v. Industrial Commission of Ohio case, and stated that motion pictures were a form of art and were entitled to the protection of the First amendment; US laws could no longer censor films. By 1968, with film studios becoming increasingly defiant to its censorship function, the Motion Picture Association of America (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.
New Hollywood and post-classical cinema (1960s–1980s)[edit]
Main article: New Hollywood
Steven Spielberg is an American director, producer, and screenwriter. He is considered one of the founding pioneers of the New Hollywood era, as well as being viewed as one of the most popular directors and producers in film history. He is also one of the co-founders of DreamWorks Studios.
Post-classical cinema is the term used to describe the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "twist endings", and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock's storyline-shattering Psycho.
The New Hollywood describes the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s; The 1967 film Bonnie and Clyde marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well.[36] Filmmakers like Francis Ford Coppola, Steven Spielberg, George Lucas, Brian De Palma, Stanley Kubrick, Martin Scorsese, Roman Polanski, and William Friedkin came to produce fare that paid homage to the history of film and developed upon existing genres and techniques. Inaugurated by the 1969 release of Andy Warhol's Blue Movie, the phenomenon of adult erotic films being publicly discussed by celebrities (like Johnny Carson and Bob Hope),[37] and taken seriously by critics (like Roger Ebert),[38][39] a development referred to, by Ralph Blumenthal of The New York Times, as "porno chic", and later known as the Golden Age of Porn, began, for the first time, in modern American culture.[37][40][41] According to award-winning author Toni Bentley, Radley Metzger's 1976 film The Opening of Misty Beethoven, based on the play Pygmalion by George Bernard Shaw (and its derivative, My Fair Lady), and due to attaining a mainstream level in storyline and sets,[42] is considered the "crown jewel" of this 'Golden Age'.[43][44]
In the 1970s, the films of New Hollywood filmmakers were often both critically acclaimed and commercially successful. While the early New Hollywood films like Bonnie and Clyde and Easy Rider had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with The Exorcist, Spielberg with Jaws and Jurassic Park, Coppola with The Godfather and Apocalypse Now, Scorsese with Taxi Driver, Kubrick with 2001: A Space Odyssey, Polanski with Chinatown, and Lucas with American Graffiti and Star Wars, respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.[45]
The increasing indulgence of these young directors did not help.[citation needed] Often, they'd go overschedule, and overbudget, thus bankrupting themselves or the studio.[citation needed] The three most famous examples of this are Coppola's Apocalypse Now and One From The Heart and particularly Michael Cimino's Heaven's Gate, which single-handedly bankrupted United Artists. However, Apocalypse Now eventually made its money back and gained widespread recognition as a masterpiece, winning the Palme d'Or at Cannes.[46]
Rise of the home video market (1980s–1990s)[edit]
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The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as Showgirls, The Secret of NIMH, and The Shawshank Redemption, which may have performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of filmmakers with access to videotapes emerge. Directors such as Quentin Tarantino and Paul Thomas Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. Tarantino has had a number of collaborations with director Robert Rodriguez. Rodriguez directed the 1992 action film El Mariachi, which was a commercial success after grossing $2 million against a budget of $7,000.
This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.[citation needed]
Modern cinema[edit]
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Some of Hollywood's blockbuster action heroes from the 1980s and 1990s: From left: (top row) Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Steven Seagal (bottom row) Dolph Lundgren, Jean-Claude Van Damme, Wesley Snipes, Jackie Chan.
The drive to produce a spectacle on the movie screen has largely shaped American cinema ever since.[citation needed] Spectacular epics which took advantage of new widescreen processes had been increasingly popular from the 1950s onwards. Since then, American films have become increasingly divided into two categories: Blockbusters and independent films.
Studios have focused on relying on a handful of extremely expensive releases every year in order to remain profitable. Such blockbusters emphasize spectacle, star power, and high production value, all of which entail an enormous budget. Blockbusters typically rely upon star power and massive advertising to attract a huge audience.[citation needed] A successful blockbuster will attract an audience large enough to offset production costs and reap considerable profits.
Such productions carry a substantial risk of failure, and most studios release blockbusters that both over- and underperform in a year.[citation needed] Classic blockbusters from this period include Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Blade Runner, Ghostbusters, The Terminator, Back to the Future, Beverly Hills Cop, Top Gun, Aliens, Lethal Weapon, Fatal Attraction, Wall Street, Rain Man, Die Hard, Driving Miss Daisy, Dances with Wolves, Goodfellas, Thelma & Louise, The Silence of the Lambs, Terminator 2: Judgment Day, Unforgiven, The Bodyguard, The Fugitive, Jurassic Park, Schindler's List, Forrest Gump, Pulp Fiction, Seven, Braveheart, Austin Powers, Titanic, Saving Private Ryan, American History X, Fight Club, The Matrix, The Green Mile, The Sixth Sense, American Beauty, Star Wars: Episode I – The Phantom Menace, Gladiator, Gangs of New York, Lord of the Rings, Pirates of the Caribbean, The Notebook, Million Dollar Baby, Little Miss Sunshine, The Departed and The Bourne Identity.[47]
American film industry (1995–2014)
All values in billions
Year
Tickets
Revenue
1995 1.22 $5.29
1996 1.26 $5.59
1997 1.42 $6.51
1998 1.44 $6.77
1999 1.44 $7.30
2000 1.39 $7.48
2001 1.44 $8.13
2002 1.58 $9.19
2003 1.55 $9.35
2004 1.49 $9.27
2005 1.40 $8.95
2006 1.41 $9.25
2007 1.40 $9.63
2008 1.39 $9.95
2009 1.42 $10.65
2010 1.33 $10.48
2011 1.28 $10.14
2012 1.39 $11.07
2013 1.34 $10.90
2014 1.27 $10.37
As compiled by The Numbers[48]
Studios supplement these movies with independent productions, made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation.[citation needed] These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budget, a successful independent film can have a high profit-to-cost ratio while a failure will incur minimal losses, allowing for studios to sponsor dozens[citation needed] of such productions in addition to their high-stakes releases.
Hollywood Boulevard from the Dolby Theatre, before 2006
American independent cinema was revitalized[citation needed] in the late 1980s and early 1990s when another new generation of moviemakers, including Spike Lee, Steven Soderbergh, Kevin Smith and Quentin Tarantino made movies like, respectively: Do the Right Thing, Sex, Lies, and Videotape, Clerks and Reservoir Dogs. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example, Fox Searchlight Pictures.
To a lesser degree in the early 21st century, film types that were previously considered[citation needed] to have only a minor presence in the mainstream movie market began to arise as more potent American box office draws. These include foreign-language films such as Crouching Tiger, Hidden Dragon and Hero and documentary films such as Super Size Me, March of the Penguins, and Michael Moore's Bowling for Columbine and Fahrenheit 9/11.
According to Steven Spielberg and George Lucas, 2013 has seen "the industry at an extraordinary time of upheaval, where even proven talents find it difficult to get movies into theaters"; Spielberg predicts "there's eventually going to be an implosion — or a big meltdown. There's going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that's going to change the paradigm", with Lucas suggesting movie theaters following "a Broadway play model, whereby fewer movies are released, they stay in theaters for a year and ticket prices are much higher."[49]
Hollywood and politics[edit]
Main article: Good Neighbor policy
81st Academy Awards Presentations, Dolby Theatre, Hollywood, 2009
In the 1930s, the Democrats and the Republicans saw money in Hollywood. President Franklin Roosevelt saw a huge partnership with Hollywood. He used the first real potential of Hollywood's stars in a national campaign. Melvyn Douglas toured Washington in 1939 and met the key New Dealers.[citation needed]
Political endorsements[edit]
Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, John F. Kennedy was a new, young face for Washington, and his strong friendship with Frank Sinatra exemplified this new era of glamor. The last moguls of Hollywood were gone and younger, newer executives and producers began generating more liberal ideas.
Celebrities and money attracted politicians into the high-class, glittering Hollywood lifestyle. As Ronald Brownstein wrote in his book "The Power and the Glitter", television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like Jane Fonda against the Vietnam War.[50] This era saw former actor Ronald Reagan become Governor of California and subsequently become the 40th President of the United States. It continued with Arnold Schwarzenegger as California's Governor in 2003, and former reality star Donald Trump as the 45th President of the United States.
Political donations[edit]
Today, Washington's interest is in Hollywood donations.[51] On February 20, 2007, for example, Barack Obama had a $2300-a-plate Hollywood gala, being hosted by DreamWorks founders David Geffen, Jeffrey Katzenberg, and Steven Spielberg at the Beverly Hilton.[51]
Spread to world markets[edit]
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The Chinese Theatre before 2007
The Dolby Theatre
In 1912, American film companies were largely immersed in the competition for the domestic market. It was difficult to satisfy the huge demand for films created by the nickelodeon boom. Motion Picture Patents Company members such as Edison Studios, also sought to limit competition from French, Italian, and other imported films. Exporting films, then, became lucrative to these companies. Vitagraph Studios was the first American company to open its own distribution offices in Europe, establishing a branch in London in 1906, and a second branch in Paris shortly after.[52]
Other American companies were moving into foreign markets as well, and American distribution abroad continued to expand until the mid-1920s. Originally, a majority of companies sold their films indirectly. However, since they were inexperienced in overseas trading, they simply sold the foreign rights to their films to foreign distribution firms or export agents. Gradually, London became a center for the international circulation of U.S. films.[53]
Many British companies made a profit by acting as the agents for this business, and by doing so, they weakened British production by turning over a large share of the UK market to American films. By 1911, approximately 60 to 70 percent of films imported into Great Britain were American. The United States was also doing well in Germany, Australia, and New Zealand.[54]
More recently, as globalization has started to intensify, and the United States government has been actively promoting free trade agendas and trade on cultural products, Hollywood has become a worldwide cultural source. The success on Hollywood export markets can be known not only from the boom of American multinational media corporations across the globe but also from the unique ability to make big-budget films that appeal powerfully to popular tastes in many different cultures.[55]
With globalization, movie production has been clustered in Hollywood for several reasons: the United States has the largest single home market in dollar terms, entertaining and highly visible Hollywood movies have global appeal, and the role of English as a universal language contributes to compensating for higher fixed costs of production.
In the meantime, Hollywood has moved more deeply into Chinese markets, although influenced by China's censorship. Films made in China are censored, strictly avoiding themes like "ghosts, violence, murder, horror, and demons." Such plot elements risk being cut. Hollywood has had to make "approved" films, corresponding to official Chinese standards, but with aesthetic standards sacrificed to box office profits. Even Chinese audiences found it boring to wait for the release of great American movies dubbed in their native language.[56]
Role of women[edit]
Main article: Women in film
Patty Jenkins's Wonder Woman premiered in 2017 and gave Jenkins the biggest domestic opening of all-time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson).
Meryl Streep, Cecil B. DeMille Lifetime Achievement Award winner
Women are statistically underrepresented in creative positions in the center of the US film industry, Hollywood. This underrepresentation has been called the "celluloid ceiling", a variant on the employment discrimination term "glass ceiling". In 2013, the "...top-paid actors...made 2½ times as much money as the top-paid actresses." [57] "[O]lder [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34 while male stars earn the most at 51." [58]
The 2013 Celluloid Ceiling Report conducted by the Center for the Study of Women in Television and Film at San Diego State University collected a list of statistics gathered from "2,813 individuals employed by the 250 top domestic grossing films of 2012."[59]
Women accounted for...
"18% of all directors, executive producers, producers, writers, cinematographers, and editors. This reflected no change from 2011 and only a 1% increase from 1998."[59]
"9% of all directors."[59]
"15% of writers."[59]
"25% of all producers."[59]
"20% of all editors."[59]
"2% of all cinematographers."[59]
"38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3 to 5 women, and 10% employed 6 to 9 women."[59]
A New York Times article stated that only 15% of the top films in 2013 had women for a lead acting role.[60] The author of the study noted that "The percentage of female speaking roles has not increased much since the 1940s when they hovered around 25 percent to 28 percent." "Since 1998, women's representation in behind-the-scenes roles other than directing has gone up just 1 percent." Women "...directed the same percent of the 250 top-grossing films in 2012 (9 percent) as they did in 1998."[57]
See also[edit]
Film in the United States portal
Crossroads of the World
American comedy films
American Film Institute
History of animation in the United States
History of film
List of films in the public domain in the United States
Motion Picture Association of America film rating system
National Film Registry
General
List of cinema of the world
Photography in the United States of America
Cinema of North America
Notes[edit]
Jump up ^ Rahman, Abid (June 12, 2016). "Shanghai Film Festival: China to Top U.S. Screen Total by 2017, Says Wanda Cinema Chief". The Hollywood Reporter. Retrieved June 13, 2016.
Jump up ^ "Table 8: Cinema Infrastructure – Capacity". UNESCO Institute for Statistics. Retrieved November 5, 2013.
Jump up ^ "Table 6: Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Retrieved November 5, 2013.
Jump up ^ "Table 1: Feature Film Production – Genre/Method of Shooting". UNESCO Institute for Statistics. Retrieved November 5, 2013.
Jump up ^ "Cinema – Admissions per capita". Screen Australia. Archived from the original on November 9, 2013. Retrieved November 9, 2013.
^ Jump up to: a b "Table 11: Exhibition – Admissions & Gross Box Office (GBO)". UNESCO Institute for Statistics. Retrieved November 5, 2013.
Jump up ^ "The Lumière Brothers, Pioneers of Cinema". History Channel. Retrieved January 15, 2017.
Jump up ^ http://data.uis.unesco.org/?ReportId=5538
Jump up ^ Village Voice: 100 Best Films of the 20th century (2001) Archived March 31, 2014, at the Wayback Machine.. Filmsite.org; "Sight and Sound Top Ten Poll 2002". Archived from the original on May 15, 2012. . BFI. Retrieved June 19, 2007.
Jump up ^ Kannapell, Andrea. "Getting the Big Picture; The Film Industry Started Here and Left. Now It's Back, and the State Says the Sequel Is Huge.", The New York Times, October 4, 1998. Accessed December 7, 2013.
Jump up ^ Amith, Dennis. "Before Hollywood There Was Fort Lee, N.J.: Early Movie Making in New Jersey (a J!-ENT DVD Review)", J!-ENTonline.com, January 1, 2011. Accessed December 7, 2013. "When Hollywood, California, was mostly orange groves, Fort Lee, New Jersey, was a center of American film production."
Jump up ^ Rose, Lisa."100 years ago, Fort Lee was the first town to bask in movie magic", The Star-Ledger, April 29, 2012. Accessed December 7, 2013. "Back in 1912, when Hollywood had more cattle than cameras, Fort Lee was the center of the cinematic universe. Icons from the silent era like Mary Pickford, Lionel Barrymore and Lillian Gish crossed the Hudson River via ferry to emote on Fort Lee back lots."
Jump up ^ Before Hollywood, There Was Fort Lee, Fort Lee Film Commission. Accessed April 16, 2011.
Jump up ^ Koszarski, Richard. "Fort Lee: The Film Town, Indiana University Press, 2004. ISBN 978-0-86196-652-3. Accessed May 27, 2015.
Jump up ^ Studios and Films Archived October 6, 2014, at the Wayback Machine., Fort Lee Film Commission. Accessed December 7, 2013.
Jump up ^ Fort Lee Film Commission (2006), Fort Lee Birthplace of the Motion Picture Industry, Arcadia Publishing, ISBN 0-7385-4501-5
Jump up ^ Jacobs, Lewis; Rise of the American film, The; Harcourt Brace, New York, 1930; p. 85
Jump up ^ Pederson, Charles E. (September 2007). Thomas Edison. ABDO Publishing Company. p. 77. ISBN 1-59928-845-1.
Jump up ^ Staff. "Memorial at First Studio Site Will Be Unveiled Today", Los Angeles Times, September 29, 1940. Accessed July 8, 2014. "The site of the Nestor Studios today is the Hollywood home of the Columbia Broadcasting System."
Jump up ^ Bishop, Jim. "How movies got moving...", The Lewiston Journal, November 27, 1979. Accessed February 14, 2012. "Movies were unheard if in Hollywood, even in 1900 The flickering shadows were devised in a place called Fort Le, N.J. It had forests, rocks cliffs for the cliff-hangers and the Hudson River. The movie industry had two problems. The weather was unpredictable, and Thomas Edison sued producers who used his invention.... It was not until 1911 that David Horsley moved his Nestor Co. west."
^ Jump up to: a b c "History of the motion picture". Encyclopædia Britannica. Retrieved June 14, 2013.
Jump up ^ [1] Archived April 29, 2007, at the Wayback Machine.
Jump up ^ "Will Hays and Motion Picture Censorship".
Jump up ^ "Thumbnail History of RKO Radio Pictures". earthlink.net.
Jump up ^ "The Paramount Theater Monopoly". Cobbles.com. Retrieved June 14, 2013.
Jump up ^ "Film History of the 1920s". Filmsite.org. Retrieved June 14, 2013.
Jump up ^ ""Father of the Constitution" is born". This Day in History — 3/16/1751. History.com. Retrieved June 14, 2013.
Jump up ^ Maltby, Richard. "More Sinned Against than Sinning: The Fabrications of "Pre-Code Cinema"". SensesofCinema.com. Retrieved June 14, 2013.
^ Jump up to: a b [2] Archived June 21, 2007, at the Wayback Machine.
Jump up ^ "Disney Insider". go.com. Retrieved June 14, 2013.
Jump up ^ [3] Archived May 14, 2007, at the Wayback Machine.
Jump up ^ Aberdeen, J A (September 6, 2005). "Part 1: The Hollywood Slump of 1938". Hollywood Renegades Archive. Retrieved May 6, 2008.
^ Jump up to: a b c "Consent Decree". Time Magazine. November 11, 1940. Retrieved May 6, 2008.
^ Jump up to: a b Aberdeen, J A (September 6, 2005). "Part 3: The Consent Decree of 1940". Hollywood Renegades Archive. Retrieved May 6, 2008.
Jump up ^ "The Hollywood Studios in Federal Court – The Paramount case". Cobbles.com. Retrieved June 14, 2013.
Jump up ^ Scott, A. O. (August 12, 2007). "Two Outlaws, Blasting Holes in the Screen". The New York Times.
^ Jump up to: a b Corliss, Richard (March 29, 2005). "That Old Feeling: When Porno Was Chic". Time. Retrieved January 27, 2016.
Jump up ^ Ebert, Roger (June 13, 1973). "The Devil In Miss Jones - Film Review". RogerEbert.com. Retrieved February 7, 2015.
Jump up ^ Ebert, Roger (November 24, 1976). "Alice in Wonderland:An X-Rated Musical Fantasy". RogerEbert.com. Retrieved February 26, 2016.
Jump up ^ Blumenthal, Ralph (January 21, 1973). "Porno chic; 'Hard-core' grows fashionable-and very profitable". The New York Times Magazine. Retrieved January 20, 2016.
Jump up ^ Porno Chic (Jahsonic.com)
Jump up ^ Mathijs, Ernest; Mendik, Xavier (2007). The Cult Film Reader. Open University Press. ISBN 978-0335219230. [page needed]
Jump up ^ Bentley, Toni (June 2014). "The Legend of Henry Paris". Playboy. Retrieved January 26, 2016.
Jump up ^ Bentley, Toni (June 2014). "The Legend of Henry Paris" (PDF). ToniBentley.com. Retrieved January 26, 2016.
Jump up ^ Belton, John (November 10, 2008). American cinema/American culture. McGraw-Hill. p. 384. ISBN 978-0-07-338615-7.
Jump up ^ Sight & Sound. Modern Times Archived March 7, 2012, at the Wayback Machine. Sight & Sound British Film Institute, Dec. 2002. Web. October 16, 2010
Jump up ^ Belton, John (November 10, 2008). American cinema/American culture. McGraw-Hill. p. 420. ISBN 978-0-07-338615-7.
Jump up ^ "Domestic Movie Theatrical Market Summary 1995 to 2015". The Numbers. Retrieved 2015-03-08. Note: in order to provide a fair comparison between movies released in different years, all rankings are based on ticket sales, which are calculated using average ticket prices announced by the MPAA in their annual state of the industry report. [needs update]
Jump up ^ Bond, Paul (June 12, 2013). "Steven Spielberg Predicts 'Implosion' of Film Industry". The Hollywood Reporter. Retrieved June 14, 2013.
Jump up ^ Brownstein, Ronald (1990). The power and the glitter : the Hollywood-Washington connection . Pantheon Books. ISBN 0-394-56938-5
^ Jump up to: a b Halbfinger, David M. (February 6, 2007). "Politicians Are Doing Hollywood Star Turns". The New York Times. Retrieved February 5, 2008.
Jump up ^ Thompson, Kristin (2010). Film History: An Introduction. Madison, Wisconsin: McGraw-Hill. ISBN 978-0-07-338613-3.
Jump up ^ Thompson, Kristin (2010). Film History: An Introduction. Madison, Wisconsin: McGraw-Hill. ISBN 978-0-07-338613-3.
Jump up ^ Thompson, Kristin (2010). Film History: An Introduction. Madison, Wisconsin: McGraw-Hill. ISBN 978-0-07-338613-3.
Jump up ^ Scott, A. J. (2000). The Cultural Economy of Cities. London: Sage Publications. ISBN 0-7619-5455-4.
Jump up ^ Shirey, Paul (April 9, 2013). "C'mon Hollywood: Is Hollywood going to start being Made in China?". JoBlo.com. Retrieved June 14, 2013.
^ Jump up to: a b Betsy Woodruff (February 23, 2015). "Gender wage gap in Hollywood: It's very, very wide". Slate Magazine.
Jump up ^ Maane Khatchatourian. "Female Movie Stars Experience Earnings Plunge After Age 34 – Variety". Variety.
^ Jump up to: a b c d e f g h Lauzen, Martha. "The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 012" (PDF). The Center for the Study of Women in Television and Film. San Diego State University. Retrieved 2013-05-20.
Jump up ^ Buckley, Cara. "Only 15 Percent of Top Films in 2013 Put Women in Lead Roles, Study Finds". New York Times. Retrieved 2014-03-12.
References[edit]
Fraser, George McDonald (1988). The Hollywood History of the World, from One Million Years B.C. to 'Apocalypse Now'. London: M. Joseph; "First U.S. ed.", New York: Beech Tree Books. Both eds. collate thus: xix, 268 p., amply ill. (b&w photos). ISBN 0-7181-2997-0 (U.K. ed.), 0-688-07520-7 (U.S. ed.).
Gabler, Neal (1988). An Empire of Their Own: How the Jews Invented Hollywood. Crown. ISBN 0-385-26557-3.
Scott, A. J. (2000). The Cultural Economy of Cities. London: Sage Publications. ISBN 0-7619-5455-4.
Further reading[edit]
Hallett, Hilary A. Go West, Young Women! The Rise of Early Hollywood. Berkeley, CA: University of California Press, 2013.
Ragan, David. Who's Who in Hollywood, 1900–1976. New Rochelle, NY: Arlington House, 1976.i was thinking to
External links[edit]
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text:
Dallas Cowboys Cheerleaders: Making the Team
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Dallas Cowboys Cheerleaders: Making the Team
Genre
Reality television
Based on
Dallas Cowboys Cheerleaders
Starring
Kelli Finglass
Judy Trammell
Jay Johnson
Melissa Rycroft
Country of origin
United States
Original language(s)
English
No. of seasons
12
No. of episodes
104[1] (as of October 26, 2017)
Release
Original network
CMT
Original release
September 29, 2006 (2006-09-29) – present (present)
Chronology
Related shows
NFL Cheerleader Playoffs
External links
Website
www.cmt.com/shows/dallas-cowboys-cheerleaders/
Production
website
www.cmt.com
Dallas Cowboys Cheerleaders: Making the Team is an American reality television series that premiered in 2006 on Country Music Television.[2] The series follows the auditioning process and the making of the annual Dallas Cowboys Cheerleaders squad. The series features DCC director Kelli McGonagill Finglass and choreographer Judy Trammell (both of whom are former DCCs from the 1980s), and former Army drill sergeant Jay Johnson (who is the founder of "Boot Camp Fitness" and is responsible for the conditioning drills each girl must perform for testing).[2] Hundreds of young women audition each year and are put through the DCC "training camp" system before being cut down to the final 36 squad members for the first home football game of the Dallas Cowboys' preseason.
Contents
[hide]
1 Show style
2 Seasons
2.1 2017 season
2.2 2016 season
2.3 2015 season
2.4 2014 season
2.5 2013 season
2.6 2012 season
2.7 2011 season
2.8 2010 season
2.9 2009 season
2.10 2008 season
2.11 2007 season
2.12 2006 season
3 References
4 External links
Show style[edit]
The show tracks the progression each candidate must follow in order to make the final roster and premiere on opening day at Texas Stadium (Seasons 1-3) and going forward to AT&T Stadium (formerly Cowboys Stadium); first the open audition "cattle call", then the 5-person audition "cut-down", then the personal interviews, uniform fittings, BMI testing, physical fitness testing, etiquette training, mock media interviews, and calendar shoots. Successful candidates must also complete a knowledge test on various subjects; including, but not limited to: the Dallas Cowboys and their history, NFL Football in general and the rules of the game, general history, government, and current events. There is also the grueling elite dance choreography that tests each girl's capacity to grasp dance combinations and perform the trademark kick-line/jump-split routine for which the DCC is known. Girls are judged by a hand-picked panel of experts and scoring is based on physical appearance, physical fitness, dance style, poise, grace, intelligence, and showmanship.
Once DCC training camp opens, the girls are put through a program of elite dance training and physical conditioning that is comparable to some professional sports training programs. If a girl is struggling, she is called into Finglass's office to discuss the nature of her difficulty and is generally given an opportunity to correct the shortcoming(s) to avoid being dismissed (cut) from the squad. However, some girls do have to be cut for several reasons. Common reasons for being cut include failure to correctly perform mandatory dance routines, failure to display an elite level of dance skill, a lack of physical fitness and/or failing to meet body fat requirements, and to reduce the squad roster down to the traditional number of 36 girls. Candidates have also been cut due to past legal problems, morality issues, domestic distractions (family issues), lack of preparedness, and poor time management skills. And rookie candidates haven't been the only ones who have been cut; even veterans have been cut due to some of the above-mentioned reasons. More often than not, a candidate who has been cut leaves in tears.
Seasons[edit]
The series returned for a second season in 2007, and with the success of the program, the series returned for a third season on October 4, 2008. The fourth season started on October 10, 2009. The fifth season began airing on October 15, 2010. Season 6 began airing on October 20, 2011. Season 7 premiered on September 7, 2012. Season 8 premiered on September 6, 2013. Season 9 premiered on August 1, 2014. Season 10 premiered on August 6, 2015.[3] Season 11 premiered on August 25, 2016.[4] Season 12 premiered on August 3, 2017.
2017 season[edit]
2017 - 2018 Squad
Veterans: Amy Leonall, Cersten Bradley, Chantel Jones, Elizabeth Voegtle, Heather O'Connor, Jenna Jackson, Jessika Palmer, Jinelle Davidson, KaShara Garrett, Kelli Sullivan, Kelsey Lowrance, Khalyn Cole, Lacey Munoz, Madeline Massingill, Maggie Rouse, Milan Brahney, Robin Richardson, Selina Flores, Simone Culwell, Stephanie Larson, Tasha Cruz, Tess Guidry, and Yuko Kawata.
Rookies: Alexandria Stavropoulos, Alexis Peterson, Christina Riccelli, Gina Ligi, Kalyssa Singleton, Keyra Ford, Lauren Parker, Lexie Sullivan, Miranda Tims, Molly Neumeister, Rachel Alexandra, Savannah Heineken, and Tara Szybillo.
2016 season[edit]
2016 - 2017 Squad
Veterans: Amy Trader, Amy Leonall, Chantel Jones, Claire Brown, Danielle Barhold, Elizabeth Voegtle, Erica Wilkins, Holly Powell, Jaclyn Tisdale, Jenna Jackson, Jennifer Amburn, Jessica Purdy, Jinelle Davidson, KaShara Garrett, Lacey Munoz, Megan Carcioppolo, Melissa Wallace, Raylee Stearman, Robin Richardson, Simone Culwell, and Stephanie Larson.
Rookies: Allie Droste, Cersten Bradley, Heather Hamilton, Heather O'Connor, Jessika Palmer, Kelli Sullivan, Kelsey Lowrance, Khalyn Cole, Madeline Massingill, Maggie Rouse, Mandy Voecks, Milan Brahney, Selina Flores, Tasha Cruz, Tess Guidry, and Yuko Kawata.
2015 season[edit]
2015 - 2016 Squad
Veterans: Angela Nicotera, Ashley Holland, Caila Sims, Danielle Barhold, Erica Wilkins, Holly Hubbard, Jacie Scott, Jenna Jackson, Jennifer Amburn, Jessica Purdy, Jinelle Davidson, Kelsey Bond, Kinzie Rusco, Lacey Munoz, Loren Roeder, Mary Dill, Melissa Wallace, Paige Cavalieri, Rachel Lunsford, and Victoria Carriere.
Rookies: Amy Trader, Amy Leonall, Chantel Jones, Claire Brown, Elizabeth Voegtle, Holly Powell, KaShara Garrett, Kat Rogers, Jaclyn Tisdale, Megan Carcioppolo, Raylee Stearman, Robin Richardson, Simone Culwell, and Stephanie Larson.
2014 season[edit]
2014 - 2015 Squad[5]
Veterans: Abby Bertrand, Angela Nicotera, Ashley Ferrel, Ashley Holland, Brittney Schram, Danielle Barhold, Emma Dutton, Holly Hubbard, Jacie Scott, Jasmine Goode, Jenna Jackson, Jennifer Colvin, Jennifer Amburn, Jessica Purdy, Jessica Kalil, Jinelle Davidson, Jordan Daigle, Katy Fink, Kelsey Bond, Kinzie Rusco, Nicole Bulcher, Paige Cavalieri, Rachel Lunsford, Samantha Clark, Sydney Durso, and Veronica Lind.
Rookies: Ashley Prochazka, Breelan Statham, Caila Sims, Courtney Russ, Erica Wilkins, Lacey Munoz, Loren Roeder, Mary Dill, Melissa Wallace, and Victoria Carriere.
2013 season[edit]
2013 - 2014 Squad[6]
Veterans: Alex Hermes, Amelia Smith, Angela Nicotera, Ashley Ferrel, Brittney Schram, Carisa McMillan, Danielle Barhold, Emma Dutton, Holly Hubbard, Jacie Scott, Jacqueline Bob, Jasmine Goode, Jenna Jackson, Jennifer Colvin, Jessica Purdy, Jordan Daigle, Katy Fink, Kelsey Bond, Kim Tong, Kinzie Rusco, Lauren Williams, Mackenzie Weeks, Mia Greenhouse, Nicole Bulcher, Olivia Sharber, Sydney Durso, and Veronica Lind.
Rookies: Abby Bertrand, Ashley Holland, Courtni Shae, Hannah West, Jennifer Amburn, Jessica Kalil, Jinelle Davidson, Kaitlyn Phillips, Morgan Jordan, Paige Cavalieri, Rachel Lunsford, and Samantha Clark.
2012 season[edit]
2012 - 2013 Squad
Veterans: Alexandra Gandara, Amelia Smith, Angela Nicotera, Brittney Schram, Cassie Trammell, Colleen Brent, Courtney Cook, Emma Dutton, Holly Hubbard, Jackie Bob, Katy Fink, Lauren Williams, Mackenzie Weeks, Meagan McVay, Melissa Kellerman, Mia Greenhouse, Nicole Bulcher, Sydney Durso, Veronica Lind, and Whitney Isleib.
Rookies: Alex Hermes, Ashley Ferrel, Carisa McMillan, Chelsea Chaney, Collin Sarvis, Danielle Barhold, Emily Claire, Jacie Scott, Jasmine Goode, Jenna Jackson, Jennifer Colvin, Jessica Purdy, Jordan Daigle, Kali Drake, Kelsey Bond, Kim Tong, Kinzie Rusco, Olivia Sharber, and Teri George.
2011 season[edit]
2011 - 2012 Squad
Veterans: Ally Traylor, Whitney Isleib, Kelsi Reich, Melissa Kellerman, Brittany Evans, Cassie Trammell, Kaitlin Ilseng, Sydney Durso, Mia Greenhouse, Ashton Torres, Ann Lux, Lauren Williams, Meagan McVay, Sunni Cranfill, Sasha Agent, Jackie Bob, and Nicole Bulcher.
Rookies: Colleen Brent, Cassie Dyson, Emma Dutton, Holly Hubbard, Kamilah Todd, Amelia Smith, Meghan Phillips, Brittney Schram, Amber Lea, Courtney Cook, Alexandra Gandara, Jenna Brooks, Angela Nicotera, Mackenzie Weeks, Katy Fink, Alyssa Torres, and Veronica Lind.
2010 season[edit]
2010 - 2011 Squad
Veterans: Ally Traylor, Ashton Torres, Brittany Evans, Brooke Sorenson, Carey DePasquale, Cassie Trammell, Crystal Trevino, Evan Anderson, Jackie Bob, Joannah Liad, Jordan Baum, Jordan Chanley, Kaitlin Ilseng, Kelsi Reich, Meagan McVay, Meagan Sharp, Melissa Kellerman, Meredith Oden, Mia Greenhouse, Michelle Keys, Sunni Cranfill, Sydney Durso, Tia Williams, Tobie Percival, Trisha Trevino, and Whitney Isleib.
Rookies: Alyssa Sarasani, Ann Lux, Kaitlin LeGrand, Lauren Williams, Nicole Bulcher, Olivia Stevanovski, Sasha Agent, and Stephanie Heymann.
2009 season[edit]
2009 - 2010 Squad
Veterans: Abigail Klein, Ally Traylor, Amy Reese, Brittany Evans, Brooke Sorenson, Cassie Trammell, Crystal Trevino, Jordan Baum, Jordan Chanley, Justine Phillips-Orf, Kaitlin Ilseng, Kelsi Reich, Kristen Gauthier, Meagan Sharp, Melissa Kellerman, Meredith Oden, Michelle Keys, Nicole Hamilton, Sarah Gourley, Sydney Durso, Tia Williams, Tobie Percival, Trisha Trevino, and Whitney Isleib.
Rookies: Ashton Torres, Brandi Kilby, Carey DePasquale, Evan Anderson, Jacqueline Bob, Joannah Liad, Malia Morales, Meagan McVay, Mia Greenhouse, Sunni Cranfill, and Vanessa Jenkins.
2008 season[edit]
2008 - 2009 Squad
Veterans: Abigail Klein, Ally Traylor, Brooke Sorenson, Dara McFarlane, Deryn Derbigny, Erica Jenkins, Julie Jacobs, Justine Phillips-Orf, Kandi Harris, Kristen Gauthier, Makenzi Swicegood, Meagan Sharp, Meredith Oden, Nicole Hamilton, Ryan Ray, Sarah Clay, Sarah Gourley, Tia Williams, Tobie Percival, and Trisha Trevino.
Rookies: Amy Reese, Brittany Evans, Cassandra Trammell, Crystal Trevino, Jennifer McMahon, Jordan Baum, Jordan Chanley, Jordyn Ketchum, Kaitlin Ilseng, Kelsi Reich, Lauren Castillo, Melissa Kellerman, Michelle Keys, Stefani Peterson, Sydney Durso, and Whitney Isleib.
2007 season[edit]
2007 - 2008 Squad
Veterans: Andrea Rogers, Brooke Sorenson, Carmen Butler, Christina Parker, Deryn Derbigny, Erica Perry, Jennifer Nix, Julie Jacobs, Justine Philips, Kandi Harris, Leah Mullinax, Makenzi Swicegood, Megan Fox, Melissa Rycroft, Misty Duncan, Nicole Hamilton, Sarah Gourley, Starr Spangler, Tobie Percival, and Trisha Trevino.
Rookies: Abigail Klein, Ally Traylor, Candice Carr, Christina Murphy, Dara McFarlane, Erica Jenkins, Gina Becchetti, Kelly Jo Stauffacher, Kristen Gauthier, Loni Lindsey, Meagan Sharp, Meredith Oden, Michelle Mozek, Natalie Woods, Ryan Ray, Sarah Clay, Sarah Shelton, and Tia Williams.
2006 season[edit]
2006 - 2007 Squad
Veterans: Andrea Richards, Becca Gambel, Carmen Butler, Christina Parker, Cori Robinson Brown, Elizabeth Davis, Emma Dawson, Erica Perry, Jen Hill, Justine Phillips, Leah Wilkins, Lisa Henslin, Lynlee Allen, Makenzi Swicegood, Megan Fox, Misty Duncan, Monica Moore, Nicole Hamilton, Sarah Gourley, Starr Spangler, Trisha Trevino, and Whitney Ott.
Rookies: Andrea Rogers, Brooke Sorenson, Carrie Stilwell, Deryn Derbigny, Dulce Rosales, Jennifer Nix, Julie Jacobs, Kandi Harris, Kristin Hager, Leah Mullinax, Melissa Rycroft, Tobie Percival, and Yoshiko Danjo.
References[edit]
Jump up ^ "Dallas Cowboys Cheerleaders: Making the Team 2006". TV Guide. Retrieved July 29, 2016.
^ Jump up to: a b "Dallas Cowboys Cheerleaders: Making the Team: Characters". Country Music Television. 2008.
Jump up ^ "CMT Announces Four New Fall Series; Return Of ‘Dallas Cowboy Cheerleaders’". Deadline. 2013-08-07. Retrieved 2015-09-05.
Jump up ^ "I Love Kellie Pickler and Dallas Cowboys Cheerleaders: Making The Team New Seasons Premiere Aug. 25". cmt.com. Retrieved 16 July 2017.
Jump up ^ "archived article". Archived from the original on September 21, 2014. Retrieved September 20, 2014.
Jump up ^ "archived article". Archived from the original on October 6, 2013. Retrieved September 30, 2013.
External links[edit]
Dallas-Fort Worth portal
Official site at CMT.com
Official MySpace
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