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The studio system is a method of film production and distribution dominated by a small number of "major" studios in Hollywood. Although the term is still used today as a reference to the systems and output of the major studios, historically the term refers to the practice of large motion picture studios between the 1920s and 1960s of (a) producing movies primarily on their own filmmaking lots with creative personnel under often long-term contract, and (b) dominating exhibition through vertical integration, i.e., the ownership or effective control of distributors and exhibition, guaranteeing additional sales of films through manipulative booking techniques. The studio system was challenged under the anti-trust laws in a 1948 Supreme Court ruling which sought to separate production from the distribution and exhibition and ended such practices, thereby hastening the end of the studio system. By 1954, with television competing for audience and the last of the operational links between a major production studio and theater chain broken, the historic era of the studio system was over. The period stretching from the introduction of sound to the court ruling and the beginning of the studio breakups, 1927/29–1948/49, is referred to by some film historians as the Golden Age of Hollywood. (Many modern film historians dispute that this age was so golden in an ''artistic'' sense, due to censorship and the mediocrity of many films made by the studio "moguls.") During the so-called Golden Age, eight companies constituted the so-called major studios that promulgated the Hollywood studio system. Of these eight, five were fully integrated conglomerates, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Fox Film Corporation (later 20th Century-Fox), Loew’s Incorporated (owner of America's largest theater circuit and parent company to Metro-Goldwyn-Mayer), Paramount Pictures, RKO Radio Pictures, and Warner Bros. Two majors—Universal Pictures and Columbia Pictures—were similarly organized, though they never owned more than small theater circuits. The eighth of the Golden Age majors, United Artists, owned a few theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, loaning money to independent producers and releasing their films. ==Sound and the Danger Five== The years 1927 and 1928 are generally seen as the beginning of Hollywood's Golden Age and the final major steps in establishing studio system control of the American film business. The success of 1927's ''The Jazz Singer'', the first feature-length "talkie" (in fact, the majority of its scenes did not have live-recorded sound) gave a big boost to the then midsized Warner Bros. studio. The following year saw both the general introduction of sound throughout the industry and two more smashes for Warners: ''The Singing Fool'', ''The Jazz Singers even more profitable follow-up, and Hollywood's first "all-talking" feature, ''Lights of New York''. Just as significant were a number of offscreen developments. Warner Bros., now flush with income, acquired the extensive Stanley theater chain in September 1928. One month later, it purchased a controlling interest in the First National production company, more prominent than Warners itself not long before. With the First National acquisition came not only a studio and backlot but another large string of movie theaters. Warners had hit the big time. The last of the "Big Five" Hollywood conglomerates of the Golden Age emerged in 1928: RKO. The Radio Corporation of America (RCA), led by David Sarnoff, was looking for ways to exploit the cinema sound patents, newly trademarked RCA Photophone, owned by its parent company, General Electric. As the leading film production companies were all preparing to sign exclusive agreements with Western Electric for their technology, RCA got into the movie business itself. In January, General Electric acquired a sizable interest in Film Booking Offices of America (FBO), a distributor and small production company owned by Joseph P. Kennedy, father of the future president. In October, through a set of stock transfers, RCA gained control of both FBO and the Keith-Albee-Orpheum theater chain; merging them into a single venture, it created the Radio-Keith-Orpheum Corporation, Sarnoff chairing the board. With RKO and Warner Bros. (soon to become Warner Bros.–First National) joining Fox, Paramount, and Loew's/MGM as major players, the Big Five that would remain for thirty years were now in place. Although RKO and Universal were exception, the heads of studios on the west coast, the 'movie moguls', had mostly been in place for some years: Louis B. Mayer at MGM, Jack L. Warner at Warner Bros., Adolph Zukor at Paramount, Darryl F. Zanuck (at 20th Century Fox from 1935), and Harry Cohn at Columbia. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「studio system」の詳細全文を読む スポンサード リンク
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