1950 Hollywood History

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Hollywood hit its peak in 1946 and was on top of the world. However, a series of events after that, such as, the United States vs Paramount Anti-Trust Act, the suburbanization of America, the loss of foreign revenues, McCarthyism, and television, brought the industry to its knees. The soaring profits of the Golden Era were no longer as grand as they once were. Revenues fell to half their 1946 levels ("Post-war Hollywood," 2014).
The anti-trust act broke up the distribution and exhibition monopoly; America was no longer standing in line to see movies and despite the invention of television, the film industry ignored it believing this to be a passing fad.
This paper will explore the various changes that took place in 1950 Hollywood.

Television’s
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The movie industry initially ignored this side of the entertainment field and television was not a major threat in the 1940’s. In 1948, 90 percent of American citizens had not seen a television program. Only 20 commercial television stations were broadcasting in the United States and only 300,000 television sets were sold. There were no broadcasting companies in the southern states and very few states west of the Mississippi. However, by 1950, 98 commercial television stations were broadcasting and by 1954, there were 233. 7.3 million television sets were sold in 1950 and sales increased each year by at least 5 million (Gale, 1990).
American was now living in the suburbs and enjoying other leisure activities, such as golf and tennis. They were no longer looking to go to the movies. Television was taking its place. Theater attendance was on the
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This code set the moral standards of what was acceptable viewing for the American public. The American film industry followed these guidelines into the 1950’s. The Code either approved the film or not. If not, the major studios would not release a film without their seal of approval. .But the 1950’s started to push the limits and eventually filmmakers rebelled against the code. In 1956, a change in the code was made to allow the words hell and damn but not excessively and only when relevant. This was proof to the filmmakers that the Production Code was obsolete (Lewis,

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