Argentina fell in love with movies as soon as they were first exhibited in1896. Even before World War I, Argentina was one of the biggest film markets in the world and continues to be a major film market today.

This history of the Argentine film industry starting with the earliest film exhibiions in 1897 covers film music, broadcasting, the introduction of film with sound, the impact of the American film industry on the Argentine, the industrialization of Argentine film, Hollywood films in Spanish, the tango in film and local stars. Reference material includes filmographic information and reviews from numerous publications. Photographs offer a look at film stills, promotions, and the people involved in the industry, and an index provides quick access to names and titles.

Contents:
Part 1. Box Office Champions, Chaotic Dynamics and Herding 1. Rank Revenue and Survival 1.1 Introduction 1.2 Exhibition 1.3 Tournaments 1.4 Data 1.5 Survival Model 1.6 Results 1.6.1 Survivors 1.6.2 Survival Rates 1.6.3 Rank and Revenue 1.7 Conclusions 2. Dynamics and Contracting 2.1 Introduction 2.2 Supply 2.2.1 Runs and Revenues 2.2.2 Booking and Supply 2.2.3 Contracting 2.2.4 Adaptation 2.2.5 Release Strategies 2.3 Discovery and Dynamics 2.3.1 Search 2.3.2 Bose-Einstein Distribution 2.3.3 Other Models 2.4 Revenue Distributions 2.4.1 Data 2.4.2 Revenue Concentration 2.4.3 Rank and Revenue 2.4.4 Revenue Distribution Dynamics 2.4.5 Identifying the Dynamic 2.5 Explaining the Industry 2.5.1 Launching the Opening 2.5.2 Adaptive Contracting 2.5.3 Admission Pricing 2.5.4 Rentals 2.5.5 Decentralisation 2.6 Conclusions 3. The Breakdown of Herding 3.1 Introduction 3.2 Information and Demand Dynamics 3.3 The Model 3.4 Estimates 3.5 The Stable Paretian Model 3.6 Bifurcation 3.6.1 Path to Equilibrium 3.6.2 Correlations 3.7 Results 3.8 Conclusions Part 2. "Wild" Uncertainty, Tough Decisions and False Beliefs 4. Uncertainty and Stars 4.1 Introduction 4.2 Related Literature 4.2.1 Motion Picture Uncertainty 4.2.2 Stars 4.2.3 Pareto and Levy Distributions 4.3 Modelling Star Power 4.3.1 Modelling Probability Mass 4.3.2. Risk and Survival 4.4 The Movie Data 4.4.1 Sources 4.4.2 The Run 4.4.3 Revenues, Budgets and Profits 4.5 Estimation Results 4.5.1 Revenue Concentration 4.5.2 Opening and Staying Power 4.5.3 Pareto Distribution 4.5.4 The Probability of a Hit 4.5.5 Stars and Hits 4.5.6 Stars and Profit 4.6 'Greenlighting' Movies 4.7 Conclusions 5. Does Hollywood Make Too Many R-rated Movies? 5.1 Introduction 5.2 Production 5.3 'Greenlighting' 5.4 Ranking by Success Rates 5.4.1 Box Office Revenue Success Rates 5.4.2 Return on Production Cost Success Rates 5.5 Ranking by Stochastic Dominance 5.5.1 Revenues 5.5.2 Production Budgets 5.5.3 Rates of Return 5.5.4 Profits and Losses 6. Openings, Legs and Blockbusters 6.1 Introduction 6.2 Cascades 6.3 Performance Statistics 6.4 Modelling the Box Office 6.4.1 Budgets 6.4.2 Sequels 6.4.3 Opening Screens 6.4.4 Genre and Rating 6.4.5 Stars 6.5 Conclusions Part 3. Judges, Lawyers and the Movies 7. Motion Picture Antitrust 7.1 Motion Picture Economics 101 7.1.1 Discovering Demand 7.1.2 Determining Supply 7.1.3 Structuring Incentives 7.1.4 Contracts 7.2 The Feature Motion Picture 7.3 Integration and Licensing 7.3.1 Admission Prices 7.3.2 Runs and Clearance 7.3.3 Exotic Deals 7.3.4 Block Booking and Blind Selling 7.3.5 Integration and Contracts 7.4 The Courts' Analyses 7.4.1 Bidding for Licenses 7.4.2 Controlling the First Run 7.4.3 Leveraging Monopoly 7.5 Paramount's Effects 7.6 Conclusions 8. Paramount and the Stock Market 8.1 Introduction 8.2 The Studio System 8.3 The Paramount Litigation 8.4 Stock Prices 8.5 Was a Cartel Feasible? 8.6 Winners and Losers 8.7 Conclusions 9. Stochastic Market Structure 9.1 Introduction 9.2 Market Power 9.3 Motion Pictures in the Era of Paramount 9.4 Instability 9.5 Turnover of Leaders 9.6 Standard Models are Wrong 9.7 The HHI Does Not Exist 9.8 Conclusions Part 4. A Business of Extremes 10. Profit and the Curse of the Superstar 10.1 Introduction 10.2 The Stable Hypothesis 10.3 Profit 10.4 The Stable Distribution 10.5 Estimation 10.6 Stable Probabilities 10.7 Nobody Knows 10.8 Superstars and Profit 10.9 Averages 10.10 The Curse of the Superstar 10.11 Success Breeds Success 10.12 The Angel's Nightmare 10.13 Contracting 10.14 Conclusions 11. Artists 11.1 Introduction 11.2 On Becoming a Superstar 11.3 Artists and Kurtosis 11.4 Career Expectations and Opportunities 11.5 Luck or Talent? 11.6 Competing for Stars 11.7 Artist Contracts 11.8 Pay When You Do Know 11.9 Director Contracts 11.10 Conclusions 12. Extreme Uncertainty 12. 1 Introduction 12.2 Complex Systems 12.2.1 Chaos 12.2.2 Complexity 12.3 Universality 12.4 Deep Order 12.4.1 Increasing Returns to Information 12.4.2 Nobody Knows 12.4.3 Dominance of Extreme Events 12.4.4 Self-similarity 12.4.5 Runs, Legs and Chaos 12.5 Complexity and the Stable Paretian Distribution Epilogue: Managing when "Nobody Knows Anything" 12.6 Probabilities 12.7 Inside and Outside the Studio 12.8 Risk and Decision Bias 12.9 Narrow Framing and Sure Things 12.10 Financing Movies 12.11 Causality and Kim Basinger 12.12 A Skeptical Attitude

Contents:
Part 1. Box Office Champions, Chaotic Dynamics and Herding 1. Rank Revenue and Survival 1.1 Introduction 1.2 Exhibition 1.3 Tournaments 1.4 Data 1.5 Survival Model 1.6 Results 1.6.1 Survivors 1.6.2 Survival Rates 1.6.3 Rank and Revenue 1.7 Conclusions 2. Dynamics and Contracting 2.1 Introduction 2.2 Supply 2.2.1 Runs and Revenues 2.2.2 Booking and Supply 2.2.3 Contracting 2.2.4 Adaptation 2.2.5 Release Strategies 2.3 Discovery and Dynamics 2.3.1 Search 2.3.2 Bose-Einstein Distribution 2.3.3 Other Models 2.4 Revenue Distributions 2.4.1 Data 2.4.2 Revenue Concentration 2.4.3 Rank and Revenue 2.4.4 Revenue Distribution Dynamics 2.4.5 Identifying the Dynamic 2.5 Explaining the Industry 2.5.1 Launching the Opening 2.5.2 Adaptive Contracting 2.5.3 Admission Pricing 2.5.4 Rentals 2.5.5 Decentralisation 2.6 Conclusions 3. The Breakdown of Herding 3.1 Introduction 3.2 Information and Demand Dynamics 3.3 The Model 3.4 Estimates 3.5 The Stable Paretian Model 3.6 Bifurcation 3.6.1 Path to Equilibrium 3.6.2 Correlations 3.7 Results 3.8 Conclusions Part 2. "Wild" Uncertainty, Tough Decisions and False Beliefs 4. Uncertainty and Stars 4.1 Introduction 4.2 Related Literature 4.2.1 Motion Picture Uncertainty 4.2.2 Stars 4.2.3 Pareto and Levy Distributions 4.3 Modelling Star Power 4.3.1 Modelling Probability Mass 4.3.2. Risk and Survival 4.4 The Movie Data 4.4.1 Sources 4.4.2 The Run 4.4.3 Revenues, Budgets and Profits 4.5 Estimation Results 4.5.1 Revenue Concentration 4.5.2 Opening and Staying Power 4.5.3 Pareto Distribution 4.5.4 The Probability of a Hit 4.5.5 Stars and Hits 4.5.6 Stars and Profit 4.6 'Greenlighting' Movies 4.7 Conclusions 5. Does Hollywood Make Too Many R-rated Movies? 5.1 Introduction 5.2 Production 5.3 'Greenlighting' 5.4 Ranking by Success Rates 5.4.1 Box Office Revenue Success Rates 5.4.2 Return on Production Cost Success Rates 5.5 Ranking by Stochastic Dominance 5.5.1 Revenues 5.5.2 Production Budgets 5.5.3 Rates of Return 5.5.4 Profits and Losses 6. Openings, Legs and Blockbusters 6.1 Introduction 6.2 Cascades 6.3 Performance Statistics 6.4 Modelling the Box Office 6.4.1 Budgets 6.4.2 Sequels 6.4.3 Opening Screens 6.4.4 Genre and Rating 6.4.5 Stars 6.5 Conclusions Part 3. Judges, Lawyers and the Movies 7. Motion Picture Antitrust 7.1 Motion Picture Economics 101 7.1.1 Discovering Demand 7.1.2 Determining Supply 7.1.3 Structuring Incentives 7.1.4 Contracts 7.2 The Feature Motion Picture 7.3 Integration and Licensing 7.3.1 Admission Prices 7.3.2 Runs and Clearance 7.3.3 Exotic Deals 7.3.4 Block Booking and Blind Selling 7.3.5 Integration and Contracts 7.4 The Courts' Analyses 7.4.1 Bidding for Licenses 7.4.2 Controlling the First Run 7.4.3 Leveraging Monopoly 7.5 Paramount's Effects 7.6 Conclusions 8. Paramount and the Stock Market 8.1 Introduction 8.2 The Studio System 8.3 The Paramount Litigation 8.4 Stock Prices 8.5 Was a Cartel Feasible? 8.6 Winners and Losers 8.7 Conclusions 9. Stochastic Market Structure 9.1 Introduction 9.2 Market Power 9.3 Motion Pictures in the Era of Paramount 9.4 Instability 9.5 Turnover of Leaders 9.6 Standard Models are Wrong 9.7 The HHI Does Not Exist 9.8 Conclusions Part 4. A Business of Extremes 10. Profit and the Curse of the Superstar 10.1 Introduction 10.2 The Stable Hypothesis 10.3 Profit 10.4 The Stable Distribution 10.5 Estimation 10.6 Stable Probabilities 10.7 Nobody Knows 10.8 Superstars and Profit 10.9 Averages 10.10 The Curse of the Superstar 10.11 Success Breeds Success 10.12 The Angel's Nightmare 10.13 Contracting 10.14 Conclusions 11. Artists 11.1 Introduction 11.2 On Becoming a Superstar 11.3 Artists and Kurtosis 11.4 Career Expectations and Opportunities 11.5 Luck or Talent? 11.6 Competing for Stars 11.7 Artist Contracts 11.8 Pay When You Do Know 11.9 Director Contracts 11.10 Conclusions 12. Extreme Uncertainty 12. 1 Introduction 12.2 Complex Systems 12.2.1 Chaos 12.2.2 Complexity 12.3 Universality 12.4 Deep Order 12.4.1 Increasing Returns to Information 12.4.2 Nobody Knows 12.4.3 Dominance of Extreme Events 12.4.4 Self-similarity 12.4.5 Runs, Legs and Chaos 12.5 Complexity and the Stable Paretian Distribution Epilogue: Managing when "Nobody Knows Anything" 12.6 Probabilities 12.7 Inside and Outside the Studio 12.8 Risk and Decision Bias 12.9 Narrow Framing and Sure Things 12.10 Financing Movies 12.11 Causality and Kim Basinger 12.12 A Skeptical Attitude

What exactly is a best boy or a grip? As the credits roll at the end of every film, listing the names of all the individuals who contributed to its making, many viewers have no idea what these people do. This book reveals the mystery behind the job titles as crew members tell their stories, explaining what their jobs are, how they came to have a career in filmmaking and their many experiences both serious and comic. The author has conducted interviews with 33 accredited members of film production crews from several different American and British films. Each interview includes a brief introduction to the person as well as their filmography. Examples of individuals interviewed include: an assistant director, a best boy, a boom operator, a foley artist, a grip, a set decorator, a storyboard artist and a wrangler.

This book explores the complex interplay of culture and economics in the context of Philippine cinema. It delves into the tension, interaction, and shifting movements between mainstream and independent filmmaking, examines the film distribution and exhibition systems, and investigates how existing business practices affect the sustainability of the independent sector. This book addresses the lack or absence of Asian representation in film distribution literature by supplying the much-needed Asian context and case study. It also advances the discourse of film distribution economy by expounding on the formal and semi-formal film distribution practices in a developing Asian country like the Philippines, where the thriving piracy culture is considered as 'normal,' and which is commonly depicted and discussed in existing literature. As such, this will be the first book that looks into the specifics of the Philippine film distribution and exhibition system and provides a historical grounding of its practices.

The Annual Index to Motion Picture Credits covers films eligible for the Academy Awards, as well as other films, released in the Los Angeles area, which do not meet the Academy's requirements. Each film entry includes title, production and releasing companies, approximate completion date, running time, MPAA rating, producer, director, art director, cinematographer, film editor, costume designer, sound, music, writers, and cast. In addition to the complete entry, many elements are indexed: by ten major crafts (actors, art direction, cinematographers, costume designers, directors, film editors, music, producers, sound, and writers) showing individual name and films; by releasing company; by individual name with reference to the craft and film; and by character name. Choice magazine described an earlier edition of the Annual Index to Motion Picture Credits as well done. Recommended for all large libraries.

Film piracy began almost immediately after the birth of the film industry. Initially it was a within-the-industry phenomenon as studios stole from each other. As the industry grew and more money was involved, outsiders became more interested in piracy. Stolen material made its way offshore since detection was less likely. Hollywood's major film studios vigorously pursued pirates and had the situation fairly well under control by the middle 1970s - not eliminated but reduced to a low level - until videocassettes arrived. This work begins with a discussion of some of the earliest cases of piracy in vaudeville, and then considers how the problem continued to grow caused by the lack of legal resource available to performers, and the ways film exhibitors cheated the film distributors and companies and the measures that the distributors and companies took to prevent piracy over the years. Also examined are the practices of American theater owners who tried to cheat Hollywood, especially through the practice known as bicycling - extra, unpaid for screenings of a legitimately held film - and altering paperwork to reduce the money owed to distributors on films screened on percentage contracts. Also examined, to a lesser degree, are Hollywood's own efforts to cheat, including the disregard of copyrights held by others.

Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.

It is often said that the greater Los Angeles area is the largest movie set in the world. Film and television series filming sites are, however, located all over the United States. This guidebook documents over 1500 locations where 1,106 movies and 48 television series have been filmed. Arranged by state and then alphabetically by movie title, each entry includes the year of release, the two main stars, a plot line and a description of the location. Filming sites located in Los Angeles are excluded. All sites are accessible to the public. The indexes make it possible to quickly locate a favorite star, favorite movie or favorite location.

From the kinetoscope, used by one viewer at a time, to the lavish movie palaces of Hollywood's golden era, the experience of watching films has varied enormously across film. Exhibition, The Film Reader traces the emergence of a culture of moviegoing, exploring the range of venues in which films have been shown and following the fluctuating status of film and the continuing struggle over audiences.
Contributors explore the meanings conveyed to spectators through exhibition sites and practices, and raise key issues of distribution, access and consumption.
Essays by: Dudley Andrew, Anthony Downs, Gary Edgerton, Anne Friedberg, Kathryn Helgesen Fuller, Douglas Gomery, Thomas Guback, Ben M. Hall, Ina Rae Hark, Charlotte Herzog, Russell Meritt, William Paul, Suzanne I. Schiller, Gregory Waller, Barbara Wilinsky.

From the 1970s onward, "exploitation cinema" as a concept has circulated inside and outside of East Asian nations and cultures in terms of aesthetics and marketing. However, crucial questions about how global networks of production and circulation alter the identity of an East Asian film as "mainstream" or as "exploitation" have yet to be addressed in a comprehensive way. Exploiting East Asian Cinemas serves as the first authoritative guide to the various ways in which contemporary cinema from and about East Asia has trafficked across the somewhat-elusive line between mainstream and exploitation. Focusing on networks of circulation, distribution, and reception, this collection treats the exploitation cinemas of East Asia as mobile texts produced, consumed, and in many ways re-appropriated across national (and hemispheric) boundaries. As the processes of globalization have decoupled products from their nations of origin, transnational taste cultures have declared certain works as "art" or "trash," regardless of how those works are received within their native locales. By charting the routes of circulation of notable films from Japan, China, and South Korea, this anthology contributes to transnationally-accepted formulations of what constitutes "East Asian exploitation cinema."

The winner of the 2019 Peter C. Rollins Book Award This is the first comprehensive history of MGM from its origins in 1905 to the present. Following a straightforward chronology corresponding to specific periods of film industry history, each chapter describes how successive managements adjusted their production strategies and business practices in response to evolving industrial and market conditions. As the production subsidiary of the Loew's Inc. theatre chain, MGM spent lavishly on its pictures and injected them with plenty of star power. The practice helped sustain MGM's preeminent position during the heyday of Hollywood. But MGM was a conservative company and watched as other studios innovated with sound and widescreen, adjusted to television, and welcomed independent producers. By the 1960s, the company, sans its theatre chain, was in decline and was ripe for a takeover. A defining moment occurred in 1969, when Kirk Kerkorian, a Las Vegas entrepreneur, made a successful bid for the company. There followed a tumultuous thirty-six-year period when Kerkorian bought and sold MGM three times. Meanwhile, MGM never regained its former status and has functioned as a second-tier company to this day. Focusing on MGM's top talent - such as Louis B. Mayer, Irving Thalberg, David O. Selznick, and Arthur Freed; directors King Vidor and Vincente Minnelli; and stars of the screen Greta Garbo, Judy Garland, Clark Gable, and Mickey Rooney - and award-winning films, this book highlights the studio's artistic achievements and status within the industry.

World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples-theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures-into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.

This work explores the film histories and cultures of Denmark, Finland, Iceland, Norway and Sweden, tracing the 20th-century development of each country's domestic film prodcuction and cinema audiences. The author discusses the place in cinema history of international figures such as Mauritz Stiller, Victor Sjostrom, Carl Dreyer and Ingmar Bergman, directors of films like "Vampyr", "Ordet", "Wild Strawberries", and "Cries and Whispers". The author looks at national film makers: August Blom, Bodil Ipsen, Lau Lauritzen and Nils Malmros; and also discusses contemporary film-makers like Gabriel Axel, the Kaurismaki brothers and Lars Von Trier. In discussing the film culture of each country, each section considers three specific questions: state control and support of film production; the cultural characteristics of Nordic film which both unify and define each country; and film production, content and form. In a final chapter, the authors assess the direction and future of the Nordic cinemas.

This edited collection focuses on the production cultures of successful small and medium-sized (SME) film and television companies in Norway, Denmark, the Netherlands and the UK, based on a three-year research project, 'Success in the Film and Television Industries' (SiFTI) funded by the Norwegian Research Council. It explores case studies of multiple businesses that have thrived over a period of at least five years and have made several successful productions: both in terms of popularity and critical acclaim. Chapters investigate their histories and evolution, contextualising these companies and the people who work for them within macro-economic and cultural conditions. This anthology goes further - to compare and contrast these companies cross-nationally, in order to seek common elements that may explain how they have been able to survive and thrive.

The past two decades have witnessed major changes in film industries worldwide in response to both economic globalisation and technological developments. The dominant position of Hollywood movies in the global film market has remained largely uncontested, but Hollywood itself has become increasingly international in its operations whilst 'regional' screen industries such as those in East Asia and in the Indian subcontinent have (re-)emerged and developed new forms of collaboration. The advent of digital technologies has also transformed the content of films and the ways in which they are made and consumed. Such changes, in turn, have posed new economic and cultural challenges for policy-makers around the world and led to a degree of rethinking of how film policy objectives are to be conceived, defined and implemented. This collection brings together a range of international scholars from the USA, Europe and Asia to consider how film policy has responded to the various economic, technological and political shifts shaping the global film industry; and to identify the many tensions between global and local, economic and cultural, and public and private policy objectives that have been the result of these changes. This book was originally published as a special issue of the International Journal of Cultural Policy.

Innovation in technology means that almost anyone can make an independent film these days. Although this may be good news for aspiring filmmakers, it also means that the oversupply of independent films on the market has caused acquisition prices to dramatically decrease. As a result, producers and investors rarely recover their initial investment in the films they make. But don't be discouraged! Use this book to learn the realities of the market in advance and map out a winning distribution plan. This comprehensive manual for filmmakers and producers dedicated to film distribution and the marketplace could mean the difference between getting your film out to the public and keeping it "in the can. Learn how to sell your movie to a studio, a cable network, a video distributor, or an international buyer. Self-distribution and other alternatives to traditional distribution are also considered. In addition, you'll hear some success stories from producers and hear exactly what buyers are seeking. Stacey Parks has worked with hundreds of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be. Let her show you how you can take control of your filmmaking career and start getting your work seen by audiences with a few little-known distribution secrets. Features include: . Interviews and case studies with producers and distributors. Ten ways to market your film for self-distribution. Sales projections per territory. Distribution resources listings. Negotiation tips for distribution agreements. Sample distribution agreements. What you must know to get your independent film distributed. Written by a distributor who knows the process inside and out. Interviews with buyers and acquisitions executives from every sector of the business on what kinds of films they look for, what they're sick of seeing, and how their acquisitions processes work. Web

In this volume, Charlotte Brunsdon analyzes a wide range of contemporary film and television programmes, from British soap operas and crime series such as "Crossroads" and "Widows" to Hollywood movies such as "Working Girl" and "Pretty Woman".;As well as interpreting the pleasures and meanings that these programmes offer - particularly for women viewers - the book is concerned with the nature of media criticism, particularly feminist criticism, and the problematic aesthetics of popular culture. Why have feminist media critics been so interested in the soap opera viewer? What are the "race" politics of the TV crime series? What is meant by "quality" in television? And was the fuss about the erection of satellite dishes on British homes really about architectural values?;The book brings together Charlotte Brunsdon's key writings on film and television and its criticism, with new introductions which contextualise and update the arguments, and recent work on the "post-feminist girly" in recent Hollywood cinema. Brunsdon's focus is on the tastes and pleasures of the female consumer as she is produced by popular film an television - and by feminist criticism.

Charlotte Brundson's key writings on film and television are bought together with new introductions which contextualise and update the arguments. The focus is on the tastes and pleasures of the female consumer as she is produced by popular film and television.

Projecting the Past analyses the ways in which the Hollywood and Italian film industries have resurrected ancient Rome to address present concerns. Through case studies of Spartacus, Cleopatra, Nero and Pompeii, the book explores cinema's use of the past to excavate present issues of nationhood, colonialism, gender and cinema itself.

Gain a comprehensive understanding of the business of entertainment and learn to successfully engage in all aspects of global production with the revised and updated 4th edition of The Producer's Business Handbook. Learn how to cultivate relationships with key industry players including domestic and foreign studios, agencies, attorneys, talent, completion guarantors, banks, and private investors. This edition has been updated to include the latest opportunities presented by changing technology and their impact on the producer's ability to brand, monetize, finance and globally release content. Also included is new information on audience, earning, distribution and funding opportunities created by the explosive growth of VR, AR, 360 and gaming, as well as the rapid conversion to OTT. Additional features include: Completely updated production financing worksheets - an essential tool for producers; Expanded information for low-budget independent producers, internationally-based producers, producers using government funding, and film school students alike; Coverage of China's changing entertainment landscape, including their entertainment consumption, their commitment to produce content for the big global territories, and more; New, full-color illustrations and graphics that provide a visual representation of complex topics.

Media Production Agreements is an invaluable reference tool for film, television and video producers and has been written specifically for all those involved in the media industry. Providing legal information and sound advice on the structuring of deals and negotiated agreements, this authoritative guide identifies potential pitfalls in the drafting and arrangement of contracts and proposals. Media Production Agreements contains legal agreements which independent producers, writers and all those involved in the film and television industry are faced with at the outset of a project. Typical agreements and sample contracts are presented in the text and practical explanatory notes provide clarification, caveats and advice. Contracts and agreements discussed include: * option and literary purchase * writer's and director's agreement * co-production agreement * distribution agreement * location agreement * non-disclosure agreement * release from a living person * release for extras * name product and logo release agreement * licence to reproduce still photographs.

Film Policy is the first comprehensive overview of the workings of the international film industry. The authors examine film cultures and film policy across the world, explaining why Hollywood cinema dominates the global film market, and the effects of the rise of television and video on the international industry. In a series of case studies drawn from North America, Europe, Latin America, Asia and Australia, the authors explore the relationship between Hollywood cinema product and national film cultures, and trace the development of international and national film policies, looking at issues of financing, regulation, protectionism and censorship.

This guide sets out in one comprehensive volume the major economic, financial and business considerations which independent producers need to bear in mind when making films in or with other countries within Europe. A key feature of the guide is its practical structure, which follows the chronology of the production of a film, from the film's concept and the formation of a production company to its final distribution strategies. The information is set out in chart and checklist format for easy reference, providing immediate answers to specific questions. Pecularities unique to each country are summarized. This arrangement allows for easy reference by the stage of a film or by a particular country, and also allows for easy comparison between countries. This guide is a management resource for film production in Europe. It should be useful reading for film and television professionals. "Arthur Andersen y Cia, S.R.C." is an international firm of auditors, business consultants, and tax advisors which is wholly owned by Spanish professionals. It is also a member of the Arthur Andersen Worldwide Organization.

eBook available with sample pages: HB:0415103134