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The 1920s was also the decade of the "Picture Palaces": large urban theaters that could seat 1–2,000 guests at a time, with full orchestral accompaniment and very decorative design (often a mix of Italian, Spanish, and Baroque styles). These picture palaces were often owned by the film studios and used to premier and first-run their major films.
Films worldwide began to noticeably adopt visual and narrative elements which would be found in classical Hollywood cinema. 1913 was a particularly fruitful year for the medium, as pioneering directors from several countries produced films such as The Mothering Heart (D. W. Griffith), Ingeborg Holm (Victor Sjöström), and L'enfant de Paris ...
The color boom was aided by the breakup of Technicolor's near-monopoly on the medium. The last stand of black-and-white films made by or released through the major Hollywood studios came in the mid-1960s, after which the use of color film for all productions was effectively mandatory and exceptions were only rarely and grudgingly made.
In 1920, there were two major changes to the film industry: the introduction of sound and the creation of studio systems. In the 1920s, talent who had been working independently began joining studios and working with other actors and directors. In 1927, The Jazz Singer was released, bringing sound to the motion picture industry.
Surrealist cinema is a modernist approach to film theory, criticism, and production, with origins in Paris in the 1920s. The Surrealist movement used shocking, irrational, or absurd imagery and Freudian dream symbolism to challenge the traditional function of art to represent reality.
Similar to spy films, the heist or caper film included worldly settings and hi-tech gadgets, as in the original Ocean's Eleven (1960), Topkapi (1964) or The Thomas Crown Affair (1968). The spaghetti westerns (made in Italy and Spain), were typified by Clint Eastwood films, such as For a Few Dollars More (1965) or The Good, the Bad and the Ugly ...
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By the 1960s the star system was in decline. The conspiratorial aspect of the star system manipulating images and reality eventually began to falter. By the 1960s and '70s, a more natural style of acting, "the Stanislavski Method", started. With competition from TV, and entire studios changing hands, the star system faltered and did not recover.