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When A Handshake Meant Something: Lawyers, Deal Making, and the Emergence of New Hollywood

Published online by Cambridge University Press:  08 December 2021

PETER LABUZA
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Type
Krooss Prize Dissertation Summaries
Information
Enterprise & Society , Volume 22 , Issue 4 , December 2021 , pp. 950 - 961
Copyright
© The Author(s), 2021. Published by Cambridge University Press on behalf of the Business History Conference. All rights reserved.

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References

Bibliography of Works Cited

Auerbach, Jerold S. Unequal Justice: Lawyers and Social Change in Modern America. New York: Oxford University Press, 1981.Google Scholar
Baker, Carroll. Baby Doll: An Autobiography. New York: Dell, 1984.Google Scholar
Banks, Miranda. The Writers: A History of American Screenwriters and Their Guild. New Brunswick, NJ: Rutgers University Press, 2015.10.36019/9780813571409CrossRefGoogle Scholar
Baxandall, Michael. Painting and Experience in Fifteenth-Century Italy. A Primer in the Social History of Pictorial Style. Oxford: Clarendon Press, 1972.Google Scholar
Becker, Christine. It’s the Pictures That Got Small: Hollywood Film Stars on 1950s Television. Middletown, CT: Wesleyan University Press, 2008.Google Scholar
Berebitsky, Julie. Sex and the Office: A History of Gender, Power, and Desire. New Haven, CT: Yale University Press, 2012.Google Scholar
Biskind, Peter. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ’N Roll Generation Saved Hollywood. New York: Simon & Schuster, 2008.Google Scholar
Caldwell, John. Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Durham, NC: Duke University Press, 2008.Google Scholar
Carman, Emily. Independent Stardom: Freelance Women in the Hollywood Studio System. Austin: University of Texas Press, 2016.Google Scholar
Caughie, John. Theories of Authorship: A Reader. New York: Routledge & Kegan Paul, 1981.Google Scholar
Caves, Richard. Creative Industries: Contracts between Art and Commerce. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Chandler, Alfred D. Jr. The Visible Hand: The Managerial Revolution in American Business Cambridge, MA: Belknap Press, 1993.10.2307/j.ctvjghwrjCrossRefGoogle Scholar
Conant, Michael. Antitrust in the Motion Picture Industry. Berkeley: University of California Press, 1960.Google Scholar
Davis, Clark. Company Men: White-Collar Life and Corporate Cultures in Los Angeles, 1892–1941. Baltimore, MD: John Hopkins University Press, 2000.Google Scholar
Didion, Joan. The White Album. New York: Simon and Schuster, 1979.Google Scholar
Douglas, Kirk. The Ragman’s Son: An Autobiography. New York: Simon & Schuster, 2011.Google Scholar
Elseasser, Thomas, King, Noel, and Horwath, Alexander, eds. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Chicago: University of Chicago Press, 2004.Google Scholar
Florida, Richard. The Rise of the Creative Class. New York: Basic Books, 2002.Google Scholar
Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. New York: Anchor, 1989.Google Scholar
Harris, Mark. Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. New York: Penguin Books, 2008.Google Scholar
Kirshner, Jonathan, and Lewis, Jon, eds. When the Movies Mattered: The New Hollywood Revisited. Ithica, NY: Cornell University Press, 2019.Google Scholar
Lev, Peter. The Fifties: Transforming the Screen, 1950–1959. Berkely: University of California Press, 2003.Google Scholar
Lewis, Jon. Whom God Wishes to Destroy: Francis Coppola and the New Hollywood. Durham, NC: Duke University Press, 1995.Google Scholar
Mann, Denise. Hollywood Independents: The Postwar Talent Takeover. Minneapolis: University of Minnesota Press, 2007.Google Scholar
McDonald, Paul, Carman, Emily, Hoyt, Eric, and Drake, Philip, eds. Hollywood and the Law. London: British Film Institute, 2015.10.1007/978-1-84457-929-7CrossRefGoogle Scholar
Menne, Jeff. Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture. New York: Columbia University Press, 2019.10.7312/menn18370CrossRefGoogle Scholar
Quinn, Eithne. A Piece of the Action: Race and Labor in Post–Civil Rights Hollywood. New York: Columbia University Press, 2019.10.7312/quin16436CrossRefGoogle Scholar
Regev, Ronny. Working in Hollywood: How the Studio System Turned Creativity into Labor. Chapel Hill: University of North Carolina Press, 2019.Google Scholar
Schatz, Thomas. The Genius of the System: Hollywood Filmmaking in the Studio Era. New York: MacMillan, 1986.Google Scholar
Shamir, Ronen. Managing Legal Uncertainty: Elite Lawyers in the New Deal. Durham, NC: Duke University Press, 1995.Google Scholar
Smukler, Maya Montañez. Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema. New Brunswick, NJ: Rutgers University Press, 2018.Google Scholar
Wexman, Virginia Wright. Hollywood’s Artists: The Directors Guild of America and the Construction of Authorship. New York: Columbia University Press, 2020.Google Scholar
Zunz, Olivier. Making American Corporate, 1870–1920. Chicago: The University of Chicago Press, 1990.Google Scholar
Barnett, Jonathan M. “Hollywood Deals: Soft Contracts for Hard Markets.” Duke Law Journal 64, no. 4 (2015): 605–669.Google Scholar
Bernstein, Lisa. “Beyond Relational Contracts: Social Capital and Network Governance in Procurement Contracts.” Legal Analysis 7, no. 2 (2015): 561–621.10.1093/jla/law001CrossRefGoogle Scholar
Bernstein, Matthew. “Hollywood’s Semi-Independent Production.” Cinema Journal 32, no. 3 (1993): 41–54.10.2307/1225878CrossRefGoogle Scholar
Chisholm, Darlene C. “Profit-Sharing Versus Fixed-Payment Contracts: Evidence from the Motion Pictures Industry.” Journal of Law, Economics, & Organization 13, no. 1 (1997): 169–201.10.1093/oxfordjournals.jleo.a023378CrossRefGoogle Scholar
Corrigan, Timothy. “Auteurs and the New Hollywood.” In The New American Cinema, edited by Jon Lewis, 38–63. Durham, NC: Duke University Press, 1998.Google Scholar
Franklin, Samuel. “Creativity.” Business History Review 90, no. 4 (2016): 694–701.10.1017/S0007680517000034CrossRefGoogle Scholar
Friedman, Lawrence M., Gordon, Robert W., Pirie, Sophie, and Whatley, Edwin. “Law, Lawyers, and Legal Practice in Silicon Valley.” Indiana Law Journal 64, no. 3 (1989): 555–568.Google Scholar
Gordon, Robert W. “The American Legal Profession, 1870–2000.” In The Cambridge History of Law in America: Volume III—The Twentieth Century and after (1920–2000), edited by Grossberg, Christopher Tomlins Michael, 73–126. New York: Cambridge University Press, 2008.10.1017/CHOL9780521803076.004CrossRefGoogle Scholar
Kohler, Arnold. “Some Aspects of Conditions of Employment in the Film Industry.” International Labor Review 23, no. 6 (1931): 773–804.Google Scholar
Macaulay, Stewart. “Non-Contractual Relations in Business: A Preliminary Study.” American Sociological Review 28, no. 1 (1963): 55–67.10.2307/2090458CrossRefGoogle Scholar
Peary, Gerald. “Odets of Hollywood.” Sight & Sound 56, no. 1 (1986): 59–63.Google Scholar
Penn, Arthur. “Making Waves: The Directing of Bonnie and Clyde.” In Arthur Penn’s Bonnie and Clyde, edited by Friedman, Lester D., insert chapter page range. Cambridge: Cambridge University Press, 2000.Google Scholar
Weinstein, Mark. “Profit‐Sharing Contracts in Hollywood: Evolution and Analysis.”Google Scholar
Investor’s Reader Google Scholar
The Los Angeles Daily Journal Google Scholar
Variety Google Scholar
California State Archives, SacramentoGoogle Scholar
Margaret Herick Library, Beverily Hills, CaliforniaGoogle Scholar
Schomberg Center, New York Public Library, New YorkGoogle Scholar
Warner Bros. Archive, University of Southern California, Los AngelesGoogle Scholar
Wisconsin Center for Film and Television Research, MadisonGoogle Scholar
Auerbach, Jerold S. Unequal Justice: Lawyers and Social Change in Modern America. New York: Oxford University Press, 1981.Google Scholar
Baker, Carroll. Baby Doll: An Autobiography. New York: Dell, 1984.Google Scholar
Banks, Miranda. The Writers: A History of American Screenwriters and Their Guild. New Brunswick, NJ: Rutgers University Press, 2015.10.36019/9780813571409CrossRefGoogle Scholar
Baxandall, Michael. Painting and Experience in Fifteenth-Century Italy. A Primer in the Social History of Pictorial Style. Oxford: Clarendon Press, 1972.Google Scholar
Becker, Christine. It’s the Pictures That Got Small: Hollywood Film Stars on 1950s Television. Middletown, CT: Wesleyan University Press, 2008.Google Scholar
Berebitsky, Julie. Sex and the Office: A History of Gender, Power, and Desire. New Haven, CT: Yale University Press, 2012.Google Scholar
Biskind, Peter. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ’N Roll Generation Saved Hollywood. New York: Simon & Schuster, 2008.Google Scholar
Caldwell, John. Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Durham, NC: Duke University Press, 2008.Google Scholar
Carman, Emily. Independent Stardom: Freelance Women in the Hollywood Studio System. Austin: University of Texas Press, 2016.Google Scholar
Caughie, John. Theories of Authorship: A Reader. New York: Routledge & Kegan Paul, 1981.Google Scholar
Caves, Richard. Creative Industries: Contracts between Art and Commerce. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Chandler, Alfred D. Jr. The Visible Hand: The Managerial Revolution in American Business Cambridge, MA: Belknap Press, 1993.10.2307/j.ctvjghwrjCrossRefGoogle Scholar
Conant, Michael. Antitrust in the Motion Picture Industry. Berkeley: University of California Press, 1960.Google Scholar
Davis, Clark. Company Men: White-Collar Life and Corporate Cultures in Los Angeles, 1892–1941. Baltimore, MD: John Hopkins University Press, 2000.Google Scholar
Didion, Joan. The White Album. New York: Simon and Schuster, 1979.Google Scholar
Douglas, Kirk. The Ragman’s Son: An Autobiography. New York: Simon & Schuster, 2011.Google Scholar
Elseasser, Thomas, King, Noel, and Horwath, Alexander, eds. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Chicago: University of Chicago Press, 2004.Google Scholar
Florida, Richard. The Rise of the Creative Class. New York: Basic Books, 2002.Google Scholar
Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. New York: Anchor, 1989.Google Scholar
Harris, Mark. Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. New York: Penguin Books, 2008.Google Scholar
Kirshner, Jonathan, and Lewis, Jon, eds. When the Movies Mattered: The New Hollywood Revisited. Ithica, NY: Cornell University Press, 2019.Google Scholar
Lev, Peter. The Fifties: Transforming the Screen, 1950–1959. Berkely: University of California Press, 2003.Google Scholar
Lewis, Jon. Whom God Wishes to Destroy: Francis Coppola and the New Hollywood. Durham, NC: Duke University Press, 1995.Google Scholar
Mann, Denise. Hollywood Independents: The Postwar Talent Takeover. Minneapolis: University of Minnesota Press, 2007.Google Scholar
McDonald, Paul, Carman, Emily, Hoyt, Eric, and Drake, Philip, eds. Hollywood and the Law. London: British Film Institute, 2015.10.1007/978-1-84457-929-7CrossRefGoogle Scholar
Menne, Jeff. Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture. New York: Columbia University Press, 2019.10.7312/menn18370CrossRefGoogle Scholar
Quinn, Eithne. A Piece of the Action: Race and Labor in Post–Civil Rights Hollywood. New York: Columbia University Press, 2019.10.7312/quin16436CrossRefGoogle Scholar
Regev, Ronny. Working in Hollywood: How the Studio System Turned Creativity into Labor. Chapel Hill: University of North Carolina Press, 2019.Google Scholar
Schatz, Thomas. The Genius of the System: Hollywood Filmmaking in the Studio Era. New York: MacMillan, 1986.Google Scholar
Shamir, Ronen. Managing Legal Uncertainty: Elite Lawyers in the New Deal. Durham, NC: Duke University Press, 1995.Google Scholar
Smukler, Maya Montañez. Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema. New Brunswick, NJ: Rutgers University Press, 2018.Google Scholar
Wexman, Virginia Wright. Hollywood’s Artists: The Directors Guild of America and the Construction of Authorship. New York: Columbia University Press, 2020.Google Scholar
Zunz, Olivier. Making American Corporate, 1870–1920. Chicago: The University of Chicago Press, 1990.Google Scholar
Barnett, Jonathan M. “Hollywood Deals: Soft Contracts for Hard Markets.” Duke Law Journal 64, no. 4 (2015): 605–669.Google Scholar
Bernstein, Lisa. “Beyond Relational Contracts: Social Capital and Network Governance in Procurement Contracts.” Legal Analysis 7, no. 2 (2015): 561–621.10.1093/jla/law001CrossRefGoogle Scholar
Bernstein, Matthew. “Hollywood’s Semi-Independent Production.” Cinema Journal 32, no. 3 (1993): 41–54.10.2307/1225878CrossRefGoogle Scholar
Chisholm, Darlene C. “Profit-Sharing Versus Fixed-Payment Contracts: Evidence from the Motion Pictures Industry.” Journal of Law, Economics, & Organization 13, no. 1 (1997): 169–201.10.1093/oxfordjournals.jleo.a023378CrossRefGoogle Scholar
Corrigan, Timothy. “Auteurs and the New Hollywood.” In The New American Cinema, edited by Jon Lewis, 38–63. Durham, NC: Duke University Press, 1998.Google Scholar
Franklin, Samuel. “Creativity.” Business History Review 90, no. 4 (2016): 694–701.10.1017/S0007680517000034CrossRefGoogle Scholar
Friedman, Lawrence M., Gordon, Robert W., Pirie, Sophie, and Whatley, Edwin. “Law, Lawyers, and Legal Practice in Silicon Valley.” Indiana Law Journal 64, no. 3 (1989): 555–568.Google Scholar
Gordon, Robert W. “The American Legal Profession, 1870–2000.” In The Cambridge History of Law in America: Volume III—The Twentieth Century and after (1920–2000), edited by Grossberg, Christopher Tomlins Michael, 73–126. New York: Cambridge University Press, 2008.10.1017/CHOL9780521803076.004CrossRefGoogle Scholar
Kohler, Arnold. “Some Aspects of Conditions of Employment in the Film Industry.” International Labor Review 23, no. 6 (1931): 773–804.Google Scholar
Macaulay, Stewart. “Non-Contractual Relations in Business: A Preliminary Study.” American Sociological Review 28, no. 1 (1963): 55–67.10.2307/2090458CrossRefGoogle Scholar
Peary, Gerald. “Odets of Hollywood.” Sight & Sound 56, no. 1 (1986): 59–63.Google Scholar
Penn, Arthur. “Making Waves: The Directing of Bonnie and Clyde.” In Arthur Penn’s Bonnie and Clyde, edited by Friedman, Lester D., insert chapter page range. Cambridge: Cambridge University Press, 2000.Google Scholar
Weinstein, Mark. “Profit‐Sharing Contracts in Hollywood: Evolution and Analysis.”Google Scholar
Investor’s Reader Google Scholar
The Los Angeles Daily Journal Google Scholar
Variety Google Scholar
California State Archives, SacramentoGoogle Scholar
Margaret Herick Library, Beverily Hills, CaliforniaGoogle Scholar
Schomberg Center, New York Public Library, New YorkGoogle Scholar
Warner Bros. Archive, University of Southern California, Los AngelesGoogle Scholar
Wisconsin Center for Film and Television Research, MadisonGoogle Scholar