The Hollywood Reporter一般译为“好莱坞记者”或“好莱坞报道者”，是美国电影业中最重要的行业媒体之一，一般认为其地位仅次于《[[综艺]]》（Variety）。如今两家媒体的覆盖领域都扩展到整个娱乐业，包括广播、电视、游戏等行业。
The Hollywood Reporter是好莱坞第一份行业性日报。其创办伊始是专门向好莱坞业内人士提供信息的电影报纸，50年代开始涉足电视的报道，到80年代，已扩展到对整个知识产权行业进行报道。
1930年9月，William R. “Billy” Wilkerson出版了第一期The Hollywood Reporter。头版头条的标题是“INDIE REVOLUTION”。制片厂的老板们对自己登上日报都感到吃惊。
The dapper, smooth, but-tough-talking Wilkerson became a player in Hollywood, helping develop the Sunset Strip and launching famed celebrity watering holes and eateries, Cafe Trocadero and Ciro’s. He was part of the early stages of development of the Flamingo Hotel in Las Vegas, partnering at one point with gangster Bugsy Siegel, but was allegedly bought out before the hotel opened when he was ‘made an offer he couldn’t refuse.’
Wilkerson运营The Hollywood Reporter直到1962年去世。之后他的妻子Tichi Wilkerson担任出版人和主编。她在1980年代末将报纸售出。Then the editorial quality improved under editor Teri Ritzer (now a Disney international film executive) and publisher Robert Dowling. Ritzer hired editors with daily newspaper experience, in an attempt to dampen much of the rah-rah coverage and cronyism that had infected the paper since Wilkerson’s death. Dowling ran the paper until his retirement in late 2005, and the current publisher, Tony Uphoff, assumed the position in 2006.
The Hollywood Reporter is currently owned by the Netherlands-based VNU, whose properties include Billboard, Ad Week and A.C. Nielsen. It is published in English. The Reporter was acquired, along with the rest of the assets of VNU in early 2006 by a private equity consortium led by Blackstone and KKR.
The Hollywood Reporter was the first daily entertainment trade to go online, in late 1995. Yet to the dismay of many young staffers, it still used vintage IBM-styled selectric typewriters in several departments well into the 1990s and was sluggish in modernizing by adding common business equipment such as computers, scanners and color printers to all departments. Archival materials were routinely microfilmed as late as 1998 rather than digitized, even though the system to view it was in storage or broken. Interoffice email appeared only by the late 1990s as well. It was Dowling who was key in essentially dragging the paper into the 20th century just as it entered the 21st. The Reporter attempted archiving some news stories electronically in 1991 and published a primitive “satellite” digital edition in the late 1980s. The web site had already gone through several redesigns before Variety finally posted its own. In 2002, the Reporter’s web site won the prestigious Jesse H. Neal award for business journalism.
Other electronic products include U.S. and European daily email editions, a new digital-only publication for lawyers, a daily East Coast PDF edition, a business podcast, several blogs and the Times Square-like news scroll at the intersection of Hollywood and Highland in Los Angeles, commonly called a ‘zipper’ in the news business.
The Hollywood Reporter has been called an institution, (many who have worked there insist that it is) publishing out of the same offices on Sunset Boulevard for more than a half century, although by the 1970s the aging offices had become a time capsule more akin to the 1950s and the paper had clearly outgrown them. (Today, the offices are in L.A.’s Mid-Wilshire district.) Shirley MacLaine once paid a visit to the Sunset offices, marching up to a columnist and slapping him over an item he wrote. In 1962 Bette Davis took out an exclusive classified ad looking for work which only appeared in the Reporter. Game show host Bob Barker came in and personally placed ads in the paper. Even Michael Ovitz reads it. Many famous, not-so-famous and infamous people peruse the Reporter.
The Hollywood Reporter’s conferences and award shows include the Key Art Awards, which aim to recognize the best in movie marketing and advertising. Its Women in Film issue is a somewhat controversial if not subjective ranking of female movie executives. Their ‘Young Star Awards’ showed great promise but fizzled. Curiously, the paper’s influential celebrity marketability rating system, Star Power, has fallen out of use in recent years.
The Hollywood Reporter’s roster of editors and reporters numbers more than 60, with another 50 editors, reporters and correspondents spread around the globe, having downsized when VNU absorbed BPI in 2000. Like Daily Variety, the paper publishes only on weekdays, although both trade web sites essentially produce a Saturday edition.
Staffing at the Reporter remains in flux and has been for several quarters. In 2006 Tony Uphoff replaced Robert Dowling as publisher. Editorial director Howard ‘Scoop’ Burns, corporate content vp Matthew King and editor Cynthia Littleton remain in their respective positions. Anne Thompson, a veteran film reporter, brought her ‘Risky Business’ column to the paper and recently spun it off as a blog. However, staff turnovers continue to plague The Hollywood Reporter. It is indicative of a management problem that has haunted the paper for years. Tony Uphoff announced his departure from the paper in October, 2006 after just 9 months as Publisher. Replacing him from New York is John Kilcullen, who continues to be Publisher of Billboard magazine during the transition. Kilcullen, is best known as a co-creator of the “…….for Dummies” book series.
The Hollywood Reporter can pay very well or very poorly, depending on a talent or need for a given battle in the paper wars, although top management is rumored to be generously if not lavishly compensated. This may or may not be a norm at trade journals in general, yet it is curious for well-heeled Tinseltown, where image over substance is the rule and inside information is worth millions. ‘High school with money’ is a commonly voiced truism. Staff turnover during the Dowling years could be considered abnormally high by most corporate standards in publishing or other industries– beyond what may be measured as normal attrition. It has been said that even today, both The Reporter and Variety, may still be ‘in transition’ from their boutique days as small, independent, privately owned papers steeped in the back street shenanigans that made Hollywood work in an era long gone, although both were absorbed into large publishing firms many years ago run from the other coast.
The Reporter’s website is competitive with Variety’s, but Variety’s site has grown more aggressive in recent years. Variety makes good use of its well-branded heritage as part of the Hollywood scene and culture, not just an observer reporting on it. The Reporter, on the other hand, is often considered by industry insiders as outside that circle looking in and continues to struggle with branding an image for itself, in spite of being established in Hollywood three years before Variety. For instance, Variety’s ‘brand’ is secure in Hollywood history thanks to countless radio, film and TV usages. It has vintage and high profiled product positioning that continues to perpetuate awareness of their place in Hollywood culture in such old films as Singin’ in the Rain, Yankee Doodle Dandy and timeless TV shows like I Love Lucy, Make Room For Daddy and others. The Reporter has tried to do the same in recent years.
Objective readers sense the Reporter is a better business tool and news product, but it is Variety that remains the first name that comes to mind when Hollywood trade papers are discussed. Daily Variety and The Hollywood Reporter both are located on Wilshire Boulevard along the well-trafficked ‘Miracle Mile.’ Staffers often migrate between the papers. There is a history of bad blood between the rivals bordering on the obsessive, sometimes petty and occasionally myopic. Variety was long established as an entertainment trade paper in Vaudeville circles, Tin Pan Alley and in the theatre district of New York City, but it was The Hollywood Reporter that began covering the developing film business in Hollywood in 1930. Variety didn’t start its Hollywood edition until 1933.
Today’s Variety editor, Peter Bart, once sputtered to a reporter, “They’re not journalists at all,” but even by Fox News standards, Bart himself is hardly regarded as an Edward R. Murrow. Yet ‘Blinkie’ Bart, as he’s known to some in the industry, has a history of recruiting Reporter writers once they’ve established bylines. A byline was a popular perk in the old days of print journalism for writers and reporters, when people got their business news a day later on paper ‘dan’ rather instantly on TV or via the web. Of course Bart’s loose, colorful, and sometimes questionable standards of ethics have been fodder for industry gossips, wags and tattlers for years.
Officially at least, the Reporter has taken the ‘high road’ in the paper wars. But it has had its own share of contoversies over ethics as recently as 2001, when the Reporter’s top editor and a key industry reporter resigned in protest when their journalistic ethics and integrity were stiff-armed then stonewalled by established and questionable corporate policies swirling around the ‘George Christy’ matter. There was also controversy when mainstream news organizations worldwide attempted to locate White House intern Monica Lewinsky, who had fled Washington as the Clinton scandal broke in 1998. Ms. Lewinsky’s mother had implied in some jacket notes on a book she wrote that she had been– or was then recently– a journalist at the Reporter. However, she had done part-time editing or reporting work a decade earlier (the specifics remain cloudy due to poor record keeping from the era) and in fact she was not a recent full-time staff employee. Resourceful, professional and intrepid journalists, who uncovered this errant fact, besieged the Reporter by phone, fax and in person searching for Monica Lewinsky– then rumored to be staying with her mother– by following the lead from her mother’s booknotes as the scandal unfolded. But neither person was found at or through the Reporter.
In the late 1940s and mid-1950s, many of Wilkerson’s red-baiting headlines in the Reporter during the HUAC hearings may have helped fan the flames of Hollywood’s ‘Red Scare’ when the industry blacklisting emerged. It was a dark but colorful era. Indeed, Wilkerson was reporting on communists in Hollywood as early as 1935. It was also a small news item placed in the Reporter about a studio press screening of a new RKO film called Citizen Kane that snowballed into the legendary industry showdown between the then rising talent, Orson Welles, and William Randolph Hearst, the powerful yellow journalist and publisher.
The trades’ print circulation figures are about the same as Variety’s– low in number (generally fluctuating between 25,000 – 35,000) but reach a lucrative demographic group. However, both trades have an advertising base of chiefly film and television studios peppered with a few upscale goods and services. Diversification by the Reporter, for example, into other consumer and business products, routine for most newspapers, many business and general consumer publications, remains a challenge for sales professionals plagued by the pressure to produce short term results without time or incentive to cultivate effective long-term relationships based on disciplined marketing strategies. Some critics have noted the trades can be little more than reams of ads dipped in a sugarcoating of studio press releases. Former Associate Publisher Lynne Segall, who was with the Hollywood Reporter for over 25 years and in 2006 joined the Los Angeles Times as Vice President of Entertainment Marketing, recently noted parent company VNU had put the trade paper up for sale in late 2005. VNU sold interest in the publication along with other properties to KKR Blackstone in March, 2006.