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It is essential to recognize that the history of cinema did not emerge from a singular moment of artistic inspiration but rather from the commercial imperatives of early exhibition halls, where rudimentary projections offered fleeting diversions to urban laborers enduring economic hardship. "History of Movies" eschews nostalgic retrospectives, instead examining the industry's foundational conflicts, from Thomas Edison's aggressive patent enforcement that stifled innovation to the vertical integration of the studio system, which systematically marginalized dissenting voices through blacklisting and contractual coercion. This account presents an unflinching analysis of a medium that has perpetually reflected-and reinforced-societal inequities, as seen in D.W. Griffith's racially inflammatory epics and the subsequent Hays Office censorship that subdued provocative content in favor of moral conformity.Central to this narrative are the overlooked disruptions: the transition to sound films that precipitated the obsolescence of silent-era luminaries, the self-imposed Production Code that curtailed artistic expression during the 1930s and 1940s, and the advent of digital distribution that has further concentrated power among conglomerates, often at the expense of independent creators. Rather than celebrating figures like Steven Spielberg as unequivocal saviors of narrative cinema, the text interrogates the structural transformations they navigated, including the financial fallout from high-profile failures that accelerated the dominance of franchise-driven spectacles. Detractors may view this perspective as unduly critical, yet archival contracts and production records substantiate a pattern wherein cinematic achievement has frequently been predicated on exploitation and exclusion.