A New Pot of Gold: Hollywood under the Electronic Rainbow, by Stephen Prince

By Stephen Prince

Facing an financial trouble within the Eighties, the Hollywood moved boldly to manage the ancillary markets of videotape, video disk, pay-cable and pay-per-view, and the key studios discovered themselves exact for acquisition through international media and communications businesses. This quantity examines the decade's transformation that took Hollywood from the creation of theatrical movie to media software.

Some of the flicks mentioned during this quantity include:


Do the perfect Thing

Blue Velvet




Body Heat

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Extra info for A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980–1989 (History of the American Cinema)

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Why then, in the light of these antidemocratic trends, did Ruskin’s book provoke such hostility? The initial adverse reaction to the articles which comprised Unto This Last cannot be dismissed as simply reactionary responses to what was considered an attack on a successful and well-established economic system. There were other factors involved. Was it simply fear of socialism, allied with an understandable nervousness among middle-class entrepreneurs? Was it indignation from the Church at Ruskin’s interpretation of Christ’s teaching?

18 His plea for greater state intervention was seen as an attack on both economics and politics and was another powerful factor in his early rejection: Mr Ruskin informs society, or government, what it must do and do quickly on pain of universal anarchy. 19 But this holistic approach was an essential part of Ruskin’s organicist ethic. It sprang from his most earnest desire to expand his own private aesthetic ideals into a collective scale. He moved easily from the particular to the general and the dogma of laissez-faire, which in the midnineteenth century was all-embracing, gave him many avenues of attack.

All great art is the work of the whole living creature, body and soul, and chiefly of the soul. But it is not only the work of the whole creature, it likewise addresses the whole creature. That in which the perfect being speaks must also have the perfect being to listen. 83 Organic unity made manifest in great works of art, whether it be Turner’s paintings or Gothic cathedrals, thus provided the original metaphor for Ruskin’s social criticism. Far from being a deviation from his original path, his incursion into the field of socio-economics was a moral obligation in which his studies of art, nature, the classics and the scriptures reconfigured as a complexity of mutually sustaining ideas.

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