![]() ![]() With the brand new media potential of both cable and VCRs alongside a recent Reagan-era wave of government deregulation, it was increasingly viable for companies to gobble up all the media outlets they wanted in order to build themselves into considerably bigger Goliaths than ever before. What makes this era I’m writing about different is that it’s the moment tie-in merchandising, products with simultaneous reach across various corporate branches and, perhaps most significantly, an unquenchable desire to build increasingly gigantic global media empires, all begin to normalize. In the 1960s, as budgets skyrocketed and box-office tanked, they were recurring lifeboats for a dying and confused industry. Conglomerate buy-outs in the industry weren’t new. The only proper place to begin is with the multimedia corporatization of Hollywood. I can’t tell you how many times I thought: “damn, The Player really was a documentary.” Over the last year, I’ve read several books, many articles, and the majority of the Premiere magazines from 1990. So what happened? 1989-1991 is a comparatively ignored pocket of Hollywood history, which is odd considering that it’s ground zero for understanding where we are now. ![]() Many of these trends don’t account for, or even factor into, the primary transition between the two eras. For the 1990s it’s the gen-X indie sweep the Miramax era the software generation the Spielberg ‘look of wonder’ era of CGI white teens everywhere a post- Do the Right Thing-world sadly usurped by a post- Pulp Fiction world. For the 1980s it’s the emergence of high concept the trifecta MTV-ification of music, images, and editing yuppie & boomer cinema consensus-driven filmmaking. The respective Hollywood cinemas of the 1980s and 1990s come with broad and immediate signifiers. ![]() What I’ll Remember About the Films of 1990: A Love Letter 100 (or so) Favorite Images from the Films of 1990 ![]()
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