Madame Bovary by Gustave Flaubert in a Thesis ..
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In addition to the more contemporary books about Hollywood noted above that came out in the summer of 1992, the earlier work by anthropologist Hortense Powdermaker (), adds a contrasting perspective from a different era. Dr. Powdermaker studied and wrote about Hollywood in the late '40s. She suggested that the " . . . choice of the social scientist is between being aware of his values and making them explicit, or being unaware and letting the reader get them by inference. It seems more scientific to openly present the values, which can then be rejected by a reader if he chooses, than to have them hidden and implicit." Powdermaker " . . . spent a year in Hollywood, from July 1946 to August 1947 . . . " Her " . . . hypothesis was that the social system in which (movies) . . . are made significantly influences their content and meaning." Powdermaker readily admits that her " . . . hypothesis is hardly original . . . (in that) [a]ll art, whether popular, folk or fine, is conditioned by its particular history and system of production."
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In other words, regardless of whether the " . . . executive reads or listens, acts singly or with others, he usually projects his own taste onto the public." The " . . . important decisions on scripts are conditioned by the taste, judgment and personality of executives. Decisions about casting and cutting or on shooting a picture on location or in the studio, on the production's budget, and the settlement of disputes which may arise between any of the important people involved in the movie are likewise the responsibility of the production executive." Of course, all of the above decisions made by a film's producer and/or its supervising studio executive will inevitably have creative effects on the ultimate film.