September 2004 Remember the essays you had to write in high school
Twenty-five years later, and after studying a lot more movies from the era, Istill think that we are dealing with a collective invention. It’s an academicstyle without much of a canon. In this respect (and to revise the formulationin our proposal), classical filmmaking isn’t a well-punctuated group stylelike Viennese classical music or Impressionist painting. It develops more inthe manner that visual perspective, or, to take a musical analogy, Western tonalitydid. Certainly there were powerful filmmakers who took the received style infresh directions, and sometimes those creators influenced others. But in itstotality, the classical Hollywood style is an instance of an “art historywithout names.” It is the result of many routine iterations, accompaniedby both striking innovations and minor tweaks. It was maintained for decadesby a host of creators both major and minor, famous and anonymous. Gathering datafrom films en masse seems to suit a collective trend.
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There is plenty of blame to go around for the WannaCry ransomware that spread throughout the Internet earlier this month, disrupting work at hospitals, factories, businesses, and universities. First, there are the writers of the malicious software, which blocks victims' access to their computers until they pay a fee. Then there are the users who didn't install the Windows security patch that would have prevented an attack. A small portion of the blame falls on Microsoft, which wrote the insecure code in the first place.
A number of issues that that need clarifying have arisen since this was written, and could use the services of a skilled journalist or investigator to look into. These include whatever changes have been made by insiders to ASCAP and BMI charters and bylaws, the emergence of SESAC as a larger player in this game, the complex issues of licensing Karaoke, games, podcasts, satellite, cable and internet music, as well as other changes involving the use of internet, television and video in public businesses. To the best of my knowledge, the basic system of licensing is still in place, and the explanation of its details is still accurate, and I would venture a guess that size of the "licensing empires" and the total dollar amounts of licensing money have gone much higher than the old numbers I give here.
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NOTE: I first wrote this article in 1993 when I became intrigued with the complexity of the music licensing system, and to help educate those who are affected by ASCAP, BMI and SESAC. I have been tinkering with it ever since trying to keep it more up-to-date, since I want to help shed some light on a complicated situation that has a large impact on musicians, music listeners and public places where music happens. My experience is that musicians, venues and the general public know almost nothing of this system that has a great deal of influence in the music business, and involves nearly a billion dollars annually. These organizations exist by a strange set of legal circumstances, and are very little understood or regulated, yet they have a wide influence and control a lot of money in the modern music industry and in hundreds of thousands of places of business. A number of publications declined to publish this, not wishing to stir up too much trouble. There have been many edits and updates since it was written, and one of these days I hope to seriously research and update it or encourage a professional journalist to dig into it... I welcome your input to update this information if you find something incorrect. My only intent is to explain what I understand to be the way the system works, though my own opinion that we could design a better system no doubt creeps in.
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Additionally, a whole field of scholarly study of screenwritingpractices has developed over the past thirty years. Starting from CHC’spremise that the script functioned in Hollywood not only as a guide for shootingthe film but as the blueprint for the entire efficient planning of the film,scholars are now exploring the historical transitions and variations of thispart of the work process.