1) CAMERAMAN SYSTEM (1896-1907)

2) DIRECTOR SYSTEM (1907-9)

3) DIRECTOR-UNIT SYSTEM (1909-14)

4) CENTRAL PRODUCER SYSTEM (1914-1931)

5) PRODUCER-UNIT SYSTEM (1931-1955)

6) PACKAGE-UNIT SYSTEM (1955 -PRESENT)

Billy Blitzer, 1896

CAMERAMAN SYSTEM (1896-1907)

THE CAMERAMAN selected the subject matter, taged the film, made all technical decisions, photographed the film, developed the film, edited the film.

Erwin S. Porter, cameraman of 'The Great Train Robbery'

a Nickelodeon

DIRECTOR SYSTEM (1907-1909)

THE DIRECTOR selected subject matter, constructed the plot, ,broke the narrative into parts for filming, selected the stage settings, gave direction to carpenters, painters, property man, edited the final cut.

Edison Studio, 1912

DIRECTOR UNIT SYSTEM (1909-14)

-The film company is now comprised of different units, 1st, 2nd etc. units controlled by a single detailed continuity script. This results in predictable, dependable, efficient year round production.

-Studios are now designed for maximum efficiency.

-Layouts designed for speed & economy.Buildings & other structures doubled as exteriors. Location shooting gives way to studio shooting where conditions could be more tightly controlled

-There now exists an number of in-house shops to make lights, special effects departments, etc.

-Layouts designed for speed & economy.Buildings & other structures doubled as exteriors.

-Location shooting gives way to studio shooting where conditions could be more tightly controlled

-There now exist an number of in-house shops to make lights, special effects departments, etc.

CENTRAL PRODUCER SYSTEM (1914-31)

- Under the General Manager, there became large specialised departments such as Executive, Production, Direction, Art, Wardrobe, Small Properties, Mechanical, Sales, Publicity, shipping, Accounting, etc.

- The film companies set the standards for performance and efficient use of labour.

- Planning and estimating production becomes a matter of course.

Multiple reel films become the standard.

-All films were controlled & supervised by the production office.

-Director became another technical expert, and his decision-making power decreased

-Directors became more specialised, and became more identified with genres.

Dialogue allowed for more fully developing characters & defining character traits.

Background music encouraged and reinforced our emotional responses. Music could also be used to help define & identify characters.

Frank Capra

PRODUCER-UNIT SYSTEM (1931-1940)

-Central producer still maintained high degree of control over all of the film production at a given studio, but it was difficult to keep tabs on the growing number of films. It is also difficult for central producer to be an “expert” in every genre

- Various studios’ central producers began assigning assistants to take over a degree of control over smaller groups of film.

- Specialisation increased

-Different directors under central producer specialised in various genres of films

-Central producer replaced by a number of producers ( “associate producers”)

-Desire to decrease costs; with a smaller number of films for each producer to supervise, he could keeper tighter control over costs

-More different kinds of movies produced; producers made movies within their Specialisations

- Producer-Unit system adopted by all Big 5 studios, which allows them to make more film more efficiently than during the silent era.

- Part of general increase in Specialisation & departmentalization at the studios

- Increased the division of labor. Jobs in other departments also became more specialised. New jobs created by new technologies of sound & color (technicians, dialogue writers, voice coaches)

Brando, On The Waterfront

PACKAGE-UNIT (1955 - present)

- Independent producer works in association with a studio, not under authority of studio.

- No longer a contract system; producers can’t rely on profits from previous productions, so both the film’s creation & financing must be “packaged” & negotiated.

-Refers to productions made outside of major studios

Agents negotiate individually for cast & director.

Unions negotiate for technical crew.

Everything from the sets, costumes, cameras, lights, etc. were rented from the studio that agreed to distribute film.