The Genius of the System
by Thomas Schatz
1996, originally published 1989 • 493 pages • Henry Holt and Company
Despite living a stone’s throw away from Atlanta (assuming that you can throw a stone with enough force to make it fly through the air for an hour) as a kiddo, my family never really cranked up the old Turner Classic Movies—or any classic Hollywood movies, really. My mother’s cinematic tastes run towards British film, my father’s cinematic tastes run towards near-future sci-fi, and all their nostalgic childhood movies are French. Which sometimes makes me wonder why I’m so fascinated with Anne Helen Petersen’s pieces on Old Hollywood when I have no context or nostalgia for them. (I’m not a Only Lovers Left Alive-esque immortal pop culture junkie, although I pretend to be sometimes.)
But I think that total unfamiliarity might actually be why it fascinates me. To me, Classic Hollywood feels like a monolith that has always been there. A lot of the world feels like that, sometimes, because I rarely interact with it, don’t have context for it, or whatever. But, as Captain Cinema often reminds me, everything was weird once. The studio system that once dominated all of American cinema no longer exists, shattered into a thousand pieces by the Red Scare, the coming of television, and creative types chafing under the seemingly oppressive regime of the major studios—a designation Thomas Schatz bestows upon Universal, MGM, Warner Brothers, and David O. Selznick’s various independent companies in his portrait of the Hollywood studio system of the early twentieth century, The Genius of the System. This obviously excludes 21st Century Fox, among others, but Schatz points out in his introduction that he had to draw the line somewhere or get bogged down in minutiae when the bigger picture is his entire point.