The present studio dominated system also allows certain insider filmmakers or filmmakers with insider backing to pursue their own hidden agendas (i.e., plans of things to be done or intentions that are not apparent or divulged). Filmmakers make movies for many reasons. Making money, becoming famous, earning the respect of professional peers, providing entertainment and communicating important ideas would seem to be high on anyone's list of the typical reasons why movies are made, although the order of importance certainly may differ amongst individuals. The feature film, as a communications medium, with its large screen, color technology, special effects, lighting techniques, exquisite photography, incredible sound, excellent talent on and off the screen, is also, without question, one of the most effective forms of communicating ideas that the world has yet devised. It would indeed be naive for anyone to assume that the communication of ideas is not an important motive for any serious filmmaker or filmmaking concern. A feature film also affords a unique opportunity for those who control or dominate the process of decision-making as to which movies or ideas are included in motion pictures, to insert such ideas or select and actively promote the movies which best express the views held by those same decision-makers.
In the United States Roosevelt became President in 1933 and promised a"New Deal" under which the government would intervene to reduceunemployment by work-creation schemes such as street cleaning and the paintingof post offices. Both agriculture and industry were supported by policies (whichturned out to be mistaken) to restrict output and increase prices. The mostdurable legacy of the New Deal was the great public works projects such as theHoover Dam and the introduction by the Tennessee Valley Authority of floodcontrol, electric power, fertilizer, and even education to a depressedagricultural region in the south.
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Others have admitted that films changed the way they think about particular issues. In the Rosenberg book , contributing essayist and Princeton University Professor Russell Banks states that " . . . there have been many movies . . . which altered my thinking about the world and thus about myself and which, therefore, could be said, to a greater or lesser degree, to have changed my life." Banks also admits that " . . . a single movie (released in 1942) did have the capacity to alter and then shape my inner life with a power, clarity, and speed that would never be available to me again." Banks reports that this single movie " . . . describes and proscribes (from birth to death) the territory of a male life in a sequence that follows exactly the Victorian and modern middle-class view of that life properly lived." Banks also states that both the movie and the book on which it is based are " . . . moral tales about the proper relations between the genders, told for boys from the Victorian male point of view." "This movie . . . " Banks suggests " . . . is only going to drive (kids) . . . deeper into sexual stereotyping . . . to validate the worst attitudes of the adult world that surrounds . . . " them. The movie is Disney's based on the book , by Felix Salten, translated in 1928.