Black And White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry.

At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution, and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States, and Australia, as well as from Africa. These included not only the original “long trek movie” and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu, and Msoga Mwana, who starred as the black revolutionary in Prester John.

In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses—plus quotations from reviews—so that readers can rediscover this long-lost treasure trove of silent cinema.

A unique cocktail of personal memoir, cultural criticism and Hollywood history by the one and only Quentin Tarantino.

In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with CINEMA SPECULATION, the time has come, and the results are everything his passionate fans - and all movie lovers - could have hoped for.

Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining.

At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT's and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.

Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich's Berlin flat. Coming of age in the Weimar Republic, both sought fame in Germany's silent film industry. While Dietrich's depiction of Lola Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl-who missed out on the part-insinuated herself into Hitler's inner circle and directed Nazi propaganda films, most famously, Triumph of the Will. Dietrich could never truly go home again, while Riefenstahl was contaminated by her political associations. Moving deftly between two stories never before told together, Karin Wieland contextualises these lives, chronicling revolutions in politics, fame and sexuality on a grand stage.

'One of the best business books I've read in years.' BILL GATES THE #1 NEW YORK TIMES BESTSELLER A SUNDAY TIMES BOOK OF THE YEAR 2019 _____________________________ The CEO of Disney, one of Time's most influential people of 2019, shares the ideas and values he embraced to reinvent one of the most beloved companies in the world and inspire the people who bring the magic to life. Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Morale had deteriorated, competition was intense, and technology was changing faster than at any time in the company's history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger-think global-and turn Disney into a stronger brand in international markets. Fourteen years later, Disney is the largest, most respected media company in the world, counting Pixar, Marvel, Lucasfilm and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era. In The Ride of a Lifetime, Robert Iger shares the lessons he's learned while running Disney and leading its 200,000 employees, and he explores the principles that are necessary for true leadership, including: Optimism. Even in the face of difficulty, an optimistic leader will find the path toward the best possible outcome and focus on that, rather than give in to pessimism and blaming. Courage. Leaders have to be willing to take risks and place big bets. Fear of failure destroys creativity. Decisiveness. All decisions, no matter how difficult, can be made on a timely basis. Indecisiveness is both wasteful and destructive to morale. Fairness. Treat people decently, with empathy, and be accessible to them. 'Bob Iger has not only lived up to ninety-six years of groundbreaking history but has moved the Disney brand far beyond anyone's expectations, and he has done it with grace and audacity. This books shows you how that happened.' STEVEN SPIELBERG

A riotous and revealing story of Hollywood’s most spectacular flops and how they ended careers, bankrupted studios and changed film history.

From grand follies to misunderstood masterpieces, disastrous sequels to catastrophic literary adaptations, Box Office Poison tells a hugely entertaining alternative history of Hollywood, through a century of its most notable flops. What can these films tell us about the Hollywood system, the public’s appetite–or lack of it–and the circumstances that saw such flops actually made? Away from the canon, this is the definitive take on these ill-fated, but essential celluloid failures.

Robey covers a vast century of flops, including: Intolerance; Queen Kelly; Freaks; Sylvia Scarlett; The Magnificent Ambersons; Land of the Pharoahs; Doctor Dolittle; Sorcerer; Dune; The Adventures of Baron Munchausen; Nothing But Trouble; The Hudsucker Proxy; Cutthroat Island; Speed 2: Cruise Control; Babe: Pig in the City; Supernova; Rollerball; The Adventures of Pluto Nash; Gigli; Alexander; Catwoman; A Sound of Thunder; Speed Racer; Synecdoche, New York; Pan; and Cats.

From Daily Telegraph film critic Tim Robey, this is a brilliantly fun exploration of human nature and stupidity in some of the greatest film flops throughout history.

Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such issues as Hollywood film studios' so-called "runaway productions" and multi-national co-productions; Hollywood remakes of Asian horror films or Hong-Kong martial arts films; and the growing significance of international film festivals. However, this volume proposes that globalization is not in itself new in the history of cinema, and that cinema has always been at the forefront of transnational culture from the beginning of its history.

In 1985, Universal Pictures released Terry Gilliam's film, Brazil, under protest. Gilliam had mounted the first director's guerilla campaign against a major Hollywood studio to circumvent his mo being sliced to bits or shelved. LA Times film writer and writer Jack Mathews was right in the th the battle, acting as intermediary between the President of Universal, Sid Sheinberg and Gilliam and producer Arnon Milchan. This is a blow-by-blow account of that epic and historic fight as it happene 1985 as well as from the more sober perspective of a dozen years after.

Mix one American director with a German producer on a period extravaganza, set the locations in Italy and Spain and start the cameras rolling without enough money to do the job. Then sit back and watch disaster strike. That is the scenario Andrew Yule has painstakiingly reconstructed. The more problems and reverses, the greater our interest: costly postponements, overwhelming language difficulties, elephants and tigers turning on their trainers, illnesses, sets not being ready, special effects breaking down and cameo stars (from Marlon Brando to Sean Connery) backing out of the project. You name it, Andrew Yule reports it!

From Hollywood blockbusters to art films, distributors play an important role in getting films in front of audiences and thus in shaping the nature of film culture. Of central concern to "Reaching Audiences" are the distribution practices developed to counter Hollywood's dominance of the marketplace, designed to ensure audiences have access to a more diverse moving image culture. Through a series of case studies, the book tracks the inventive distribution and exhibition initiatives developed over the last forty years by small companies on the periphery of the United Kingdom's film industry--practices now being replicated by a new generation of digital distributors. Although largely invisible to outsiders, the importance of distribution networks is widely recognized in the industry, and this book is a key contribution to our understanding of the role they play.

This book describes and critically addresses the innovations and shifts made in the revision of the Audiovisual Media Services Directive (AVMSD) adopted by the European Parliament and Council in 2018. Reflecting on European Union regulation and policy practice in all its Member States, the book's unique approach places in-depth case study topics against the broader theoretical background. Taking a Europe-wide angle, an international team of authors focuses on key aspects of the AVMSD: the expansion of its scope to include video-sharing-platforms such as YouTube; the update of the rules for commercial communications; the first attempt for harmonized, minimal requirements at EU level regarding transparency of media ownership; new rules to ensure that video-on-demand services offer, invest in, and prioritise European content; the obligation on television distributors and smart TV manufacturers to pass on broadcasters' signal without any interference, alteration or modification; and, the formalisation and consolidation of new forms of collaboration among national regulatory authorities. This thorough analysis of the cornerstone of European media policy makes this edited collection a crucial reference for scholars and students of media and cultural industries, media law and policy, European and EU media policy, and technology studies.

- A new edition of a successful textbook on an established, growing and core area of film study, this book is specifically aimed at students taking film business courses. - The only book to look at the film business outside of Hollywood and to teach how to finance films within an international context. - Includes real life examples and case studies from UK, Europe and the USA, including new dedicated chapters on Netflix and the Chinese Film Industry.

"The most detailed and up-to-date book on independent cinema, an invaluable reference work." - Molly Haskell, "Washington Post"

"Thoughtful and substantial." - Stuart Klawans, "The Nation"

"An indispensable text for anyone who wants to understand the independent world." - David Ansen of "Newsweek"

"At a time when independent American films are more visible and important than ever before, this is an invaluable study. Emanuel Levy's writing is wise, passionate, and amazingly well-informed." - Roger Ebert

"The time is ripe for an intelligent, informed, well-organized book on the world of independent cinema - and Emanuel Levy has given us just that." - Leonard Maltin

A Los Angeles Times Bestseller

The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences.

Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ("Fargo"), Quentin Tarentino ("Pulp Fiction"), and Billy Bob Thornton ("Sling Blade"), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style.

Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience.

Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including "Choose Me," "Stranger Than Paradise," "Blood Simple," "Blue Velvet," "Desperately Seeking Susan," "Slacker," "Poison," "Reservoir Dogs," "Gas Food Lodging," "Menace II Society," "Clerks," "In the Company of Men," "Chasing Amy," "The Apostle," "The Opposite of Sex," and "Happiness,"

Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

The Companion Encyclopedia of Middle Eastern and North African Film is a unique, one volume work which illuminates a fascinating variety of cinema which is little known outside its own area. The Encyclopedia is divided into nine chapters, each written by a leading scholar in the field. Each chapter covers the history and major issues of film within that area, as well as providing bibliographies of the leading films, directors and actors. The areas covered are: Central Asia, Egypt, Iran, Lebanon, Syria, Iraq, Kuwait, Libya, The Magreb, Palestine, Turkey. This Encyclopedia will be an invaluable reference tool for students and scholars of Film and Media Studies. It contains more than 60 black and white photographs of featured films, includes references and suggestions for further reading at the end of each chapter, and the volume concludes with comprehensive name, film and general indexes.

eBook available with sample pages: 0203426495

Provides an introduction to the products and context of the new Australian film industry which arose toward the end of the 1960s. Traces the development of Australian film, in terms of prominent directors and stars, consistent themes, styles and evolving genres. The evolution of the film genres peculiar to Australia, and the adaptation of conventional Hollywood forms (such as the musical and the road movie) are examined in detail through textual readings of landmark films. Films and trends discussed include: the period film and Picnic at Hanging Rock; the Gothic film and the Mad Max trilogy; camp and kitsch comedy and the Adventures of Pricilla, Queen of the Desert. The key issue of the revival (the definition, representation and propagation of a national image) is woven through analysis of the new Australian cinema. -- .

Over the last two decades European films have lost two-thirds of the cinema-going audience to American films. Among the different approaches and cost structures of the European and American industries there is one area where the US invest significantly more than Europe: development. This text focuses on this critical stage of the film-making process. It is based on extensive research and interviews with more than 70 industry practitioners. It provides details of national and pan-European funds which are available for film development, as well as information about training initiatives for writers and producers. There is also a useful directory of contacts, addresses and application procedures for public and private funding bodies throughout Europe. This book provides practical advice and information for any film producer, script executive, writer or director aiming to move their projects from the idea stage into production, and to exploit the market for their scripts and films.

Gender studies has maintained its status as a heavily researched field. However, women and their role in cinema is a vastly understudied topic that deals with various aspects of feminism and sexism. The function of women in the film industry has evolved over time and proven to be an interesting area of research regarding the transition from sexual icons to respected professionals. Feminism is a widely researched subject, yet its specific application within cinema is an area that has yet to be studied. International Perspectives on Feminism and Sexism in the Film Industry is an essential reference source that examines the representation of women in cinema and provides a feminist approach to various aspects of the film industry including labor, production, and the cultural impact of women in motion pictures. Featuring research on topics such as violence against women, feminist film theory, and psychoanalysis, this book is ideally designed for directors, industry professionals, writers, screenwriters, activists, professors, students, administrators, and researchers in fields that include film studies, gender studies, mass media, and communications.

In Hollywood, the goals of art and business are entangled. Directors, writers, actors, and idealistic producers aspire to make the best films possible. These aspirations often interact with the dominant firms that control Hollywood film distribution. This control of distribution is crucial as it enables the firms and other large businesses involved, such as banks that offer financing, to effectively stand between film production and the market. This book analyses the power structure of the Hollywood film business and its general modes of behaviour. More specifically, the work analyses how the largest Hollywood firms attempt to control social creativity such that they can mitigate the financial risks inherent in the art of filmmaking. Controlling the ways people make or watch films, the book argues, is a key element of Hollywood's capitalist power. Capitalist power-the ability to control, modify, and, sometimes, limit social creation through the rights of ownership-is the foundation of capital accumulation. For the Hollywood film business, capitalist power is about the ability of business concerns to set the terms that will shape the future of cinema. For the major film distributors of Hollywood, these terms include the types of films that will be distributed, the number of films that will be distributed, and the cinematic alternatives that will be made available to the individual moviegoer. Combining theoretical analysis with detailed empirical research on the financial performance of the major Hollywood film companies, the book details how Hollywood's capitalist goals have clashed with the aesthetic potentials of cinema and ultimately stymied creativity in the pursuit of limiting risk. This sharp critique of the Hollywood machine provides vital reading for students and scholars of political economy, political theory, film studies, and cinema.

In this second edition of Investing in Movies, industry veteran Joseph N. Cohen provides investors and producers with an analytical framework to assess the opportunities and pitfalls of film investments. The book traces macroeconomic trends and the globalization of the business, including the rise of streamers, as well as the impact these have on potential returns. It offers a broad range of guidelines on how to source interesting projects and advice on what kinds of projects to avoid, as well as numerous ways to maximize risk-adjusted returns. While focusing primarily on investments in independent films, Cohen also provides valuable insights into the studio and independent slate deals that have been marketed to the institutional investment community. As well, this new edition has been updated to fully optimize the current film industry climate including brand new chapters on the Chinese film market, new media/streaming services, and the effects of COVID-19 on the global film market. Written in a detailed and approachable manner, this book is essential for students and aspiring professionals looking to gain an insider perspective against the minefield of film investing.

When, in October 2017, actress Alyssa Milano sparked the #MeToo movement, the ensuing protests quickly grew to encompass far more than Harvey Weinstein and the entertainment industry. They expressed women's outrage at decades of male workplace behavior in every sector and social class and even helped elect a new generation of women leaders in the next midterm elections. But what has been the effect of #MeToo in the entertainment industry itself? This book traces #MeToo's influence on the stories being told, on changing representations of women's lives and bodies, and on the slow institutional changes among the producers who shape the stories we consume. Analysing a wide set of TV and film genres--including crime, legal and medical dramas, comedies, horror, and reality programming--it covers the complex ways that media responds to social movements, sometimes giving voice to brand-new or previously silenced stories, but just as often making facile references that can blunt the potential for change, or even fuel cultural backlash.

First Published in 1964. Routledge is an imprint of Taylor & Francis, an informa company.

Peter Biskind's extraordinary book tells the story of creativity and excess in Hollywood. From the making of Easy Riders in 1969 to the release of Ragnig Bull in 1980 — when Coppola, Bogdanovich, Scorsese, Lucas, Hopper, Altman and Spielberg were at the height of their powers — Beverly Hills tossed and turned under a blanket of cocaine. All the biggest names spill their frankest stories, about sex, drugs and money, and, most venomously, about each other.

'If there is a better book about the inside of the film industry, I'd like to see it' —Nick Lezard, Sunday Times

Hollywood: The Oral History covers the history of Hollywood from the Silent era up to the 21st century. What makes this book unique from any other survey of Hollywood's history is that it is the history of an art form through the words of those people who created it - from Harold Lloyd to Katharine Hepburn to Warren Beatty to Jane Fonda and beyond, including directors, writers, producers, editors, designers of sets and costumes. As such, the authenticity of the text is irrefutable. The material in the book - gathered over the decades by the American Film Institute - has never been published before, has never been heard before. It is comprehensive - a monument that will never age nor be surpassed.

Reasserting the Disney Brand in the Streaming Era investigates the evolution of the Disney brand at a pivotal moment – the move from content creation to acquisition and streaming – and how the company reasserted its brand in a changing marketplace. Exploring how Disney’s acquisition of Pixar, Marvel, Lucasfilm and Fox positioned the company to launch the Disney+ streaming service, the chapters look at the history of those acquisitions, and the deployment of the content, brands, and intellectual property from those acquisitions, through an analysis of the original content that appeared on Disney+. Offering a focused investigation of how the content offered from these various media brands was adapted for Disney+ so that it reflects the Disney brand, the authors illustrate through close textual analysis how this content reflects elements of the "Classic Disney Style." The analysis positions these texts in relation to their industrial contexts, while also identifying important touchstone texts (both television and film) in Disney's catalog. This comprehensive and thoughtful analysis will interest upper-level students and scholars of media studies, political economy, Disney studies, media industries and new technology.