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Books > Business & Economics > Industry & industrial studies > Media, information & communication industries > Cinema industry
This collection of essays explores the complex issue of film distribution from the invention of cinema into the 1910s. From regional distribution networks to international marketing strategies, from the analysis of distribution catalogs to case studies on individual distributors, these essays written by well-known specialists in the field discuss the intriguing question of how films came to meet their audiences. Among the authors are Richard Abel, Marta Braun, Joseph Garncarz, Andre Gaudreault, Francois Jost, Charlie Keil, Martin Loiperdinger, Viva Paci, Wanda Strauven, and Gregory Waller."
This book gives a panoramic view of the rise and growth of Nollywood, Nigeria's movie and home video entertainment industry, into the second largest and most prolific movie-producing industry in the world. It offers an analysis of Nollywood's influence as a local and global cultural force. Scholars from Africa, the African Diaspora and beyond examine the factors that have shaped Nollywood's unique story-telling, production, and distribution system. The volume shows how internal and external economic, social, cultural and technological changes intersect to define Nollywood's film-making and entertainment ethos. It is grounded in sound theoretical perspectives that help readers understand the texts and subtexts of the industry's emergence, transformation, and impact. The range of subjects covered span Nollywood's historical roots in Nigeria pre-colonial traveling/community theatre to colonial era film-making, and its contemporary spin-offs and inspired cousins across Africa and in Europe. It illuminates the interface of artistic, business, cultural and technological innovation and creativity at the heart of Africa's local and global pop culture explosion.
Drawing on first-hand materials collected from the Chinese and Japanese literature as well as interviews with more than twenty filmmakers and scholars Kinnia Shuk-ting Yau provides a solid historical account of the complex interactions between Japanese and Hong Kong film industries from the 1930s to 1970s. The author describes in detail how Japan's efforts during the 1930s and 1940s to produce a "Greater East Asian cinema" led to many different kinds of collaborations between the filmmakers from China, Hong Kong and Japan, and how such development had laid the foundation for more exchanges between the cinemas in the post-war period. The period covered by the book is the least understood period of the East Asian film history. Filling the gaps surrounding one of the most important but least understood periods of Asian film history this books discusses facts and resources once obscured by controversial issues related to wartime affairs with new insights and perspectives. This book is an invaluable source of information for understanding how the current East Asian film networks came into existence by looking beyond conventional single-case studies and adopting a transnational perspective in tracing the connections between different film industries.
This work concentrates on tracing the evolution of the so-called "red menace" phenomenon as a means of demonstrating the correlation between growing American paranoia and the success of the anticommunist campaign (1935-1955). The House Committee on Un-American Activities 1947 investigation of Hollywood, the nation's most visible industry, served a critical role in conjuring up anti-red hysteria and fanning the flames of virulent anticommunism. Using conveniently unjust tactics, the Committee "painted" targeted Hollywood personalities red and established the infamous blacklist - certified proof in the minds of many that "subversives" were indeed conspiring from within. A failed attempt on behalf of the "Hollywood Ten" to demonstrate the Committee's undemocratic nature allowed HUAC to forge ahead with its investigation and establish the anticommunist foundation upon which Joseph McCarthy would construct his campaign. Hollywood and Anticommunism stands as an important contribution to McCarthy-era literature and should appeal to all interested in the early Cold War and the impact that unwarranted hysteria has had and continues to have on the growth and development of the nation.
"The Contemporary Hollywood Film Industry" is a collection of
essays by leading scholars that examines the state of the U.S. film
industry, from the l980s to present day.
The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.
The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.
German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form. The book traces the central role of cinema in the nationa (TM)s turbulent history from the Wilhelmine Empire to the Berlin Republic, with special attention paid to the competing demands of film as art, entertainment, and propaganda. Hake also explores the centrality of genre films and the star system to the development of a filmic imaginary. This fully revised and updated new edition will be required reading for everyone interested in German film and the history of modern Germany.
From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of 'total entertainment'. Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding's significance for commercial film and the industrial culture from which it is produced.
From the late 1930s to the mid-1950s, five big movie studios-Paramount, Warner Bros., Twentieth Century-Fox, Metro-Goldwyn-Mayer (MGM), and RKO-dominated Hollywood's film industry. This "big studio system" operated primarily as a series of assembly-line production factories. Ideally, each churned out fifty-two movies a year, enough to supply showcase theaters across the country with a new lineup each week-with profit being the overriding goal. Of this era, veteran screenwriter Julius Epstein ("Casablanca") said: "It was not called the motion picture industry for nothing. It] was like working at belts in a factory." Studios assigned the majority of the lower-tier screenplays to directors under long-term contract and expected them to stick to the script and keep productions within the budget. These filmmakers, known as "house directors," often made films quickly, inexpensively, and with limited resources. "Just Making Movies: Company Directors on the Studio System" collects twelve interviews with house directors from this era, all conducted by the author during the 1980s. These previously unpublished interviews provide a clear picture of how the big studio system operated, as told by those who knew it best. Despite limitations, house directors sometimes made enduring film classics, such as Charles Walters's "Easter Parade," Henry Koster's "The Bishop's Wife," George Sidney's "The Three Musketeers," and Vincent Sherman's "The Hasty Heart." In these interviews the filmmakers talk candidly about working with such superstars as Joan Crawford, Errol Flynn, Richard Burton, Bette Davis, Judy Garland, Cary Grant, Esther Williams, and Lana Turner. Ronald L. Davis is professor emeritus of history at Southern Methodist University. He is the author of "Van Johnson: MGM's Golden Boy" (University Press of Mississippi) and "The Glamour Factory: Inside Hollywood's Big Studio System."
From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of 'total entertainment'. Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding's significance for commercial film and the industrial culture from which it is produced.
This work concentrates on tracing the evolution of the so-called "red menace" phenomenon as a means of demonstrating the correlation between growing American paranoia and the success of the anticommunist campaign (1935-1955). The House Committee on Un-American Activities 1947 investigation of Hollywood, the nation's most visible industry, served a critical role in conjuring up anti-red hysteria and fanning the flames of virulent anticommunism. Using conveniently unjust tactics, the Committee "painted" targeted Hollywood personalities red and established the infamous blacklist - certified proof in the minds of many that "subversives" were indeed conspiring from within. A failed attempt on behalf of the "Hollywood Ten" to demonstrate the Committee's undemocratic nature allowed HUAC to forge ahead with its investigation and establish the anticommunist foundation upon which Joseph McCarthy would construct his campaign. Hollywood and Anticommunism stands as an important contribution to McCarthy-era literature and should appeal to all interested in the early Cold War and the impact that unwarranted hysteria has had and continues to have on the growth and development of the nation.
One of the world's most prolific creative industries, the Indian movie industry has received scant attention for its spirit of enterprise. Indian Movie Entrepreneurship addresses this omission. For many readers, it might come as a surprise that the Indian movie industry is not just Bollywood and that it has several regional clusters, which are just as vibrant, with a significant output. The authors begin by outlining the contours of Indian cinema and the different regional language hubs that form part of the larger picture. The reader is then offered a glimpse into the actual process of making a film from day zero to release day. The key players in the Indian movie ecosystem are analysed, with the central role of the producer highlighted. Concluding with a look into the future of the entrepreneurial process in the Indian movie industry, the authors illuminate the shifting parameters of distribution and exhibition. Appealing to those interested in understanding the entrepreneurial journey of the Indian movie industry, the book provides a sneak peek into the business landscape of India more broadly.
Based on extensive original research, including in studio archives, industrial surveys, official records, trade journals, and English and Chinese newspapers, this book explores the role of the American film industry in the development of cinema in China. It examines the Chinese industry's response to the American industry and the consequences of this response. It also considers the attitudes of Chinese film practitioners towards Hollywood and the contribution of those figures who acted as intermediaries between the two industries. Overall, the book casts much new light on the early development of the film industry in China and demonstrates the huge influence Hollywood had on it. Winner of the inaugural 2021 New Zealand Asia Society Book Award, second prize.
Independent filmmaking is often regarded as a relatively recent phenomenon, yet the so-called movement has actually existed as long as movies themselves. In this indispensable single-volume reference work, LoBrutto surveys the subject from cinema's inception through the 21st century, with alphabetical entries discussing: BLFilmmakers BLSignificant films BLGenres BLCritical views BLIndustry information BLWorking methods BLAnd more Written in an accessible style and including biographical, critical, factual, and bibliographical information, this remarkable source encompasses films and filmmakers operating independently from the studio system in concept, financing, production, and distribution. Such a broad interpretation of independent filmmaking separates it from that of commercial Hollywood, a conglomerate existing to create product rather than support personal artistic vision. Many of the entries' subjects have rarely been investigated and studied--yet knowledge of independent filmmaking is vital to any understanding the cinematic medium, making this an essential book for any library's film shelves.
As the film industry was establishing itself at the start of the twentieth century, trade associations played a pivotal role in the emergence of the studio system. These producer-distributor trade associations were forums for internal and external conflicts, as well as the true sources of influence and power in early Hollywood. In The Hollywood Trust: Trade Associations and the Rise of the Studio System, Kia Afra provides a detailed account of three successive trade organizations from 1915 to 1928. By examining the Motion Picture Board of Trade, the National Association of the Motion Picture Industry (NAMPI), and the Motion Picture Producers and Distributors of America (MPPDA), Afra outlines the relationships of power in Hollywood's early years, asking questions such as: How and why did the studio system come about, and what were the industrial and institutional forces that impacted Hollywood's development? In order to answer these crucial questions, The Hollywood Trust explores the role played by film industry trade associations in navigating important issues facing the burgeoning studio system, including censorship, public relations, trade practices, government regulation, film distribution, labor conflicts, taxes and tariffs, and exhibitor opposition. A vital look at an under-reported aspect of the studio system, this volume fills a gap in the history of the American film industry. As such The Hollywood Trust will be of particular interest to scholars of film history, as well as those concerned with cultural history and the political economics of entertainment.
The Politics of Nordsploitation takes a transnational approach to exploring Nordic ‘exploitation’ films in their industrial contexts, viewing them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like They Call Her One Eye (1974), homegrown martial arts films like The Ninja Mission (1984) to contemporary crowd-sourced fan productions like Iron Sky (2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries – emphasized here through the term ‘Nordsploitation’. This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, The Politics of Nordsploitation redefines the concept of ‘exploitation’ and its role in small nation cinemas.
"Moviegoing in America" catalogs the social and cultural change
that has attended America's favorite pastime from the days of the
nickelodeon to the dominance of the multiplex. Bringing together an
impressive range of historical scholarship, Gregory A. Waller
charts the evolution of film exhibition and reception as a function
of changing patterns of American community, identity, and
consumption. Pairing notable current research with extensive primary material - drawn from trade accounts, popular magazines, and exhibitor handbooks - "Moviegoing in America" deepens our understanding of the role of film in everyday life by exploring the movie theater as commercial venue, physical environment, public sphere, community centerpiece, and all-important site where audiences experience the movies and experience themselves as an audience.
The meteoric rise of "Killer Diller" Barry Diller has been a major player in the entertainment industry for more than thirty years. Always on the cutting edge, he revolutionized television with such groundbreaking concepts as the movie-of-the-week and the miniseries. He greenlighted the megahits Raiders of the Lost Ark, 48 Hours, and Terms of Endearment. Now, industry insider George Mair takes you behind the scenes for a perceptive, penetrating, and completely captivating look at both the public persona and the private life of a legendary media mogul. Learn the truth about:
"He taught movie executives to put some passion into their jobs. The business is a better place because of Barry."—the late Dawn Steel studio head and onetime Barry Diller protégé at Paramount "He really is the brightest of the bunch." —Julia Phillips Academy Award(r)-winning producer bestselling author of You'll Never Eat Lunch in This Town Again
Worms in the Winecup is the extraordinarily hard-hitting autobiography of John Bright, a screenplay writer who gained a major reputation with his first Hollywood script, Public Enemy, the classic gangster drama starring James Cagney. The book provides a vivid, often savage, commentary on Hollywood and the motion picture industry, with uncompromising portraits of Darryl F. Zanuck, Mae West, Errol Flynn, John Barrymore, B. P. Schulberg, Walter Wanger, John Howard Lawson, Elia Kazan, and countless others, including his writing partners, Kubec Glasmon and Robert Tasker. Bright writes of the Communist Party in Hollywood, the Hollywood Anti-Nazi League, and the House Committee on Un-American activities. At times bitter, at times tragic, this book is refreshingly frank and open, so much so that it could never have been published while John Bright was still alive. Bright is honest as he discusses his wartime experiences and his "exile" in Mexico. Complete with a filmography and an introduction by distinguished film historian Patric McGilligan, Worms in the Winecup is both entertaining and thought-provoking. An emotional and insightful read for students of political history, film scholars, screenwriters, and film enthusiasts.
From their very inception, European cinemas undertook collaborative ventures in an attempt to cultivate a transnational "Film-Europe." In the postwar era, it was DEFA, the state cinema of East Germany, that emerged as a key site for cooperative practices. Despite the significant challenges that the Cold War created for collaboration, DEFA sought international prestige through various initiatives. These ranged from film exchange in occupied Germany to partnerships with Western producers, and from coproductions with Eastern European studios to strategies for film co-authorship. Uniquely positioned between East and West, DEFA proved a crucial mediator among European cinemas during a period of profound political division. |
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