Convinced that sexual immorality and unstable gender norms were endangering national recovery after World War One, German lawmakers drafted a constitution in 1919 legalizing the censorship of movies and pulp fiction, and prioritizing social rights over individual rights. These provisions enabled legislations to adopt two national censorship laws intended to regulate the movie industry and retail trade in pulp fiction. Both laws had their ideological origins in grass-roots anti-'trash' campaigns inspired by early encounters with commercial mass culture and Germany's federalist structure. Before the war, activists characterized censorship as a form of youth protection. Afterwards, they described it as a form of social welfare. Local activists and authorities enforcing the decisions of federal censors made censorship familiar and respectable even as these laws became a lightning rod for criticism of the young republic. Nazi leaders subsequently refashioned anti-'trash' rhetoric to justify the stringent censorship regime they imposed on Germany.

Combining industry analysis, interviews and detailed textual readings, this book examines the post-millennial revival of British horror cinema. Drawing on key films such as The Descent (2005), Eden Lake (2008) and The Woman in Black (2012), as well as lesser-known productions such as The Devil's Chair (2007), Doghouse (2009) and F (2010), the book analyses the cultural and industrial imperatives at work within (and beyond) these films, and the companies that produced and distributed them.

During the 1930s many Americans avoided thinking about war erupting in Europe, believing it of little relevance to their own lives. Yet, the Warner Bros. film studio embarked on a virtual crusade to alert Americans to the growing menace of Nazism.

Polish-Jewish immigrants Harry and Jack Warner risked both reputation and fortune to inform the American public of the insidious threat Hitler's regime posed throughout the world. Through a score of films produced during the 1930s and early 1940s-including the pivotal "Sergeant York"-the Warner Bros. studio marshaled its forces to influence the American conscience and push toward intervention in World War II.

Celluloid Soldiers offers a compelling historical look at Warner Bros.'s efforts as the only major studio to promote anti-Nazi activity before the outbreak of the Second World War.

Written for working and aspiring filmmakers, directors, producers and screenwriters, The Marketing Edge for Filmmakers walks through every stage of the marketing process - from concept to post-production - and illustrates how creative decisions at each stage will impact the marketability of a film. In this book, marketing experts Schwartz and MacDonald welcome you behind the curtain into the inner workings of Marketing department at both the studios and independents. They also track films of different budgets (studio, genre, independent and documentary) through the marketing process, examining how each discipline will approach your film. Featuring interviews with both marketers and filmmakers throughout, an extensive glossary and end-of-chapter exercises, The Marketing Edge for Filmmakers offers a unique introduction to film marketing and a practical guide for understanding the impact of marketing on your film.

Financing an independent feature film production is a highly complex process. This book demystifies the legal and commercial implications of a film from start to finish. It provides a detailed survey of each of the processes and players involved, and analyses of the legal and commercial issues faced by all of the participants in a film financing transaction. Packed with legal advice and straight forward explanations this is an essential reference for filmmakers worldwide. With contributions from leading professionals around the world, and an up-to-date international approach, this is an invaluable tool for producers, and others involved in the film industry. Includes: Case studies, Sample Recoupment Schedules, Alternative Financing Models, Glossary of Film Financing and Banking Terms Philip Alberstat is a media finance and production lawyer specialising in film, television and broadcasting. He has worked on films such as The 51st State, Goodbye Mr Steadman, Tooth and numerous television programmes and series. He is on the editorial board of Entertainment Law Review and is the author of The Independent Producers Guide to Film and TV Contracts (2000), and Law and the Media (2002). Philip is involved in raising finance for film and television productions and negotiating and structuring film and television deals. He undertakes corporate and commercial work and handles the intellectual property aspects of broadcasting and finance transactions. He has also executive produced numerous film and television productions. He won an Emmy Award in 2004 as an Executive Producer of the Film, "The Incredible Mrs. Ritchie". Philip joined Osborne Clarke as a partner in February 2002. Prior to that he was Head of Legal and Business Affairs with one of the largest independent TV production companies in the UK. He was previously Head of Media at Baker & McKenzie and began his career at Olswang. He was winner of the Lawyer/Hifal Award for Solicitor of the year in 1997 and is listed in Legal Experts in the area of Film Finance/Media.

Baltimore has been home to hundreds of theaters since the first moving pictures flickered across muslin sheets. These monuments to popular culture, adorned with grandiose architectural flourishes, seemed an everlasting part of Baltimore's landscape. By 1950, when the city's population peaked, Baltimore's movie fans could choose from among 119 theaters. But by 2016, the number of cinemas had dwindled to only three. Today, many of the city's theaters are boarded up, even burned out, while others hang on with varying degrees of dignity as churches or stores. In Flickering Treasures, Amy Davis, an award-winning photojournalist for the Baltimore Sun, pairs vintage black-and-white images of opulent downtown movie palaces and modest neighborhood theaters with her own contemporary full-color photographs, inviting us to imagine Charm City's past as we confront today's neglected urban landscape. Punctuated by engaging stories and interviews with local moviegoers, theater owners, ushers, and cashiers, plus commentary from celebrated Baltimore filmmakers Barry Levinson and John Waters, the book brings each theater and decade vividly to life. From Electric Park, the Century, and the Hippodrome to the Royal, the Parkway, the Senator, and scores of other beloved venues, the book delves into Baltimore's history, including its troubling legacy of racial segregation. The descriptions of the technological and cultural changes that have shaped both American cities and the business of movie exhibition will trigger affectionate memories for many readers. A map and timeline reveal the one-time presence of movie houses in every corner of the city, and fact boxes include the years of operation, address, architect, and seating capacity for each of the 72 theaters profiled, along with a brief description of each theater's distinct character. Highlighting the emotional resonance of film and the loyalty of Baltimoreans to their neighborhoods, Flickering Treasures is a profound story of change, loss, and rebirth.

Since 1999, South Korean films have dominated roughly 40 to 60 percent of the Korean domestic box-office, matching or even surpassing Hollywood films in popularity. Why is this, and how did it come about? In "Unexpected Alliances," Young-a Park seeks to answer these questions by exploring the cultural and institutional roots of the Korean film industry's phenomenal success in the context of Korea's political transition in the late 1990s. The book investigates the unprecedented interplay between independent filmmakers, the state, and the mainstream film industry under the post-authoritarian administrations of Kim Dae Jung (1998-2003) and Roh Moo Hyun (2003-2008), and shows how these alliances were critical in the making of today's Korean film industry.
During South Korea's post-authoritarian/reform era, independent filmmakers with activist backgrounds were able to mobilize and transform themselves into important players in state cultural institutions and in negotiations with the purveyors of capital. Instead of simply labeling the alliances "selling out" or "co-optation," Young-a-Park explores the new spaces, institutions, and conversations which emerged and shows how independent filmmakers played a key role in national protests against trade liberalization, actively contributing to the creation of the very idea of a "Korean national cinema" worthy of protection. Independent filmmakers changed not only the film institutions and policies but the ways in which people produce, consume, and think about film in South Korea--blurring the rigid boundaries that separated the state and political activism, corporate conglomerates and independent artists, and local and global cultural realms.

East Germany's film monopoly, Deutsche Film-Aktiengesellschaft, produced a films ranging beyond simple propaganda to westerns, musicals, and children's films, among others. This book equips scholars with the historical background to understand East German cinema and guides the readers through the DEFA archive via examinations of twelve films.

"The Art of Film Funding" is written for documentaries, shorts, and feature producers for funding via grants, individual investments/donations, online crowd funding, and distribution through streaming video. It also covers new online financing written by a woman who gives three grants a year valued at $100,000.

From 1933 until America's entry into World War II in 1941, nearly 500 Nazi films were shown in American theaters, accounting for nearly half of all foreign language film imports during the period. These poorly disguised propaganda films were produced by Germany's top studios and featured prominent pro-German and Nazi actors, directors and technicians. The films were replete with overt and covert anti-Jewish imagery and themes, but in spite of this obvious intent to use the medium to justify Nazi ascendancy, viewers and film critics from such prominent publications as the New York Times, Variety, the Washington Post and the Chicago Times consistently overlooked the films' anti-Semitic message, dubbing them harmless entertainment. This is the complete history of German films shown in America from the founding of the Nazi government to America's involvement in the war. Summaries, descriptions and discussions of these almost 500 films serve to examine the major filmmakers and distributors who kept the German film industry alive during the rule of Hitler and the Third Reich. Special emphasis is placed on films directly commissioned by Joseph Goebbels, head of the German Ministry for the Enlightenment of the People and Propaganda and the man directly responsible for ensuring that the anti-Semitic ideology of the new regime was reflected in all films produced after January 30, 1933. Rarely seen photographs and illustrations complete an in-depth study of the Nazi use of this global medium.

Completely demystifies the art of fundraising for independent film and video projects for students, emerging, and seasoned media makers.

Tapping experts in an industry experiencing major disruptions, The Movie Business Book is the authoritative, comprehensive sourcebook, covering online micro-budget movies to theatrical tentpoles. This book pulls back the veil of secrecy on producing, marketing, and distributing films, including business models, dealmaking, release windows, revenue streams, studio accounting, DIY online self-distribution and more. First-hand insider accounts serve as primary references involving negotiations, management decisions, workflow, intuition and instinct. The Movie Business Book is an essential guide for those launching or advancing careers in the global media marketplace.

This expanded and revised edition explores and updates the cultural politics of the Walt Disney Company and how its ever-expanding list of products, services, and media function as teaching machines that shape children's culture into a largely commercial endeavor. The Disney conglomerate remains an important case study for understanding both the widening influence of free-market fundamentalism in the new millennium and the ways in which messages of powerful corporations have been appropriated and increasingly resisted in global contexts. New in this edition is a discussion of Disney's shift in its marketing strategies towards targeting tweens and teens, as Disney promises to provide (via participation in consumer culture) the tools through which young people construct and support their identities, values, and knowledge of the world. The updated chapters from the highly acclaimed first edition are complimented with two new chapters, 'Globalizing the Disney Empire' and 'Disney, Militarization, and the National Security State After 9/11,' which extend the analysis of Disney's effects on young people to a consideration of the political and economic dimensions of Disney as a U.S.-based megacorporation, linking the importance of critical reception on an individual scale to a broader conception of democratic global community.

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.

'Bollywood' is the dominant global term to refer to the prolific Hindi language film industry in Bombay (renamed Mumbai in 1995). Characterised by music, dance routines, melodrama, lavish production values and an emphasis on stars and spectacle, Bollywood films have met with box-office success and enthusiastic audiences from India to West Africa to Russia, and throughout the English-speaking world.

In Bollywood, anthropologist and film scholar Tejaswini Ganti provides a guide to the cultural, social and political significance of Hindi cinema, outlining the history and structure of the Bombay film industry, and the development of popular Hindi filmmaking since the 1930s. Providing information and commentary on the key players in Bollywood, including directors and stars, as well as material from current filmmakers themselves, the areas covered in Bollywood include:

• history of Indian cinema
• narrative style, main themes, and key genres of Hindi cinema
• significant films, directors and stars
• production and distribution of Bollywood films
• interviews with actors, directors and screenwriters.

This volume contains twenty in-depth studies of prominent New Zealand directors, producers, actors, and cinematographers. ""New Zealand Filmmakers"" outlines and examines three major constituent groups who are responsible for the industry as it appears today: those involved in pioneering film in New Zealand, those associated with the New Wave of the 1970s and 1980s, and those post - mid-1980s visionaries and fantasists who have produced striking individual productions. A comprehensive introduction situates the New Zealand film industry in cultural, historical, and ideological contexts.The book displays the diversity of filmmaking in New Zealand and highlights the specific industrial, aesthetic, and cultural concerns that have created a film culture of international significance. With the majority of the contributions in the book containing analysis developed through dialogue with the filmmakers, ""New Zealand Filmmakers"" is an authoritative study of the film industry in New Zealand. Each essay also includes a thorough and definitive filmography, detailing the full nature of the work produced by each individual, with key titles highlighted.Filmmakers covered in this volume include Barry Barclay, David Blyth, Jane Campion, Roger Donaldson, Rudall Hayward, Peter Jackson, John Laing, Bruno Lawrence, Len Lye, Alison Maclean, Merata Mita, Ian Mune, Geoff Murphy, Leon Narbey, John O'Shea, Gaylene Preston, John Reid, Vincent Ward, Jennifer Ward-Lealand, and Peter Wells. This collection is illustrated with 50 film prints, many of which have never before been published. With the New Zealand film industry poised to become a center of film production and already a major topic of critical interest, this volume will find many interested readers among film scholars and educators.

Italian cinema triumphed globally in the 1960, with directors such as Rossellini, Fellini, and Leone, and actors like Sophia Loren and Marcello Mastroianni known to audiences around the world. But by the end of the 1980s, the Italian film industry was all but dead. The Rise and Fall of the Italian Film Industry traces the rise of the industry from its origins in the 19th century to its worldwide success in the 1960s, and its rapid decline in the subsequent decades. It does so by looking at cinema as an institution - subject to the interplay between the spheres of art, business, and politics at the national and international level. By examining the roles of a wide range of stakeholders (including film directors, producers, exhibitors, the public, and the critics) as well as the system of funding and the influence of governments, author Marina Nicoli demonstrates that the Italian film industry succeeded when all three spheres were aligned, but suffered and ultimately failed when they each pursued contradictory objectives. This in-depth case study makes an important contribution to the long-standing debate about promoting and protecting domestic cultures, particularly in the face of culturally dominant and politically- and economically-powerful creative industries from the United States. The Rise and Fall of the Italian Film Industry will be of particular interest to business and economic historians, cinema historians, media specialists, and cultural economists.

Hollywood and Silicon Valley have long been uncomfortable bedfellows. Out of fear of pirating and lost profits, entertainment companies have historically resisted technological changes. Conversely, high-tech companies, more concerned with technological progress, have largely ignored the needs of the entertainment industry. Nevertheless, those products that we now take for granted, such as DVDs, MP3 players, and the Internet, are all due to the synergy of technology and entertainment. The switch to digital and web formats for entertainment represents huge potential market opportunities for both Hollywood and Silicon Valley. It has opened up new possibilities for entertainment and expanded the way content is created, distributed and consumed. Consider the phenomenon of YouTube and its wildly popular user-created content, or the ability to download movies and TV shows from sites such as iTunes and watch them on your iPod or computer, anytime and anywhere. The dual forces of consumer demand and rapidly changing content distribution are combining in new ways to create changes that will strike at the very foundations of the entertainment and technology industries. Depending upon how entertainment and technology companies respond, these changes can help them prosper or put them out of business. Media companies will have to become more like technology companies; and technology companies will need to change too. Because content creation, distribution and consumption are ever more tightly linked, Hollywood will need to understand what's happening in Silicon Valley and vice versa; changes in one industry will reverberate through the other. Some companies such as AOL and Time Warner have tried and failed (at least so far) to harness these forces, while a few companies such as Disney, Intel, and Google have recently taken the initial steps. But many more companies wait, afraid to change but knowing they cannot conduct business as usual. With an insider's knowledge, researcher and consultant, Philip Meza insightfully clarifies what managers and investors in media and technology companies will need to do in order to successfully navigate today's tricky environment. Coming Attractions? Hollywood, High Tech, and the Future of Entertainment discusses the history of the key forces driving the relationship between entertainment and technology today and into the future.

From the beginning of the sound era until the end of the 1930s, independent movie-making thrived. Many of the independent studios were headquartered in a section of Hollywood called "Poverty Row." Here the independents made movies on the cheap, usually at rented facilities where shooting was limited to only a few days. From Allied Pictures Corporation to Willis Kent Production, 55 Poverty Row Studios are given histories in this book. Some of the studios, such as Diversion Pictures and Cresent Pictures, came into existence for the sole purpose of releasing movies by established stars. Others, for example J.D. Kendis, were early exploitation filmmakers under the guise of sex education. The histories include critical commentary on the studio's output and a filmography of all titles released from 1929 through 1940.

Eddie Mannix and Howard Strickling are virtually unknown outside of Hollywood and little-remembered even there, but as General Manager and Head of Publicity for Metro-Goldwyn-Mayer Studios, they lorded over all the stars in Hollywood's golden age from the 1920s through the 1940s - including legends like Garbo, Dietrich, Gable and Garland. When MGM stars found themselves in trouble, it was Eddie and Howard who took care of them - solved their problems, hid their crimes, and kept their secrets. They were ""the Fixers."" At a time when image meant everything and the stars were worth millions to the studios that owned them, Mannix and Strickling were the most important men at MGM. Through a complex web of contacts in every arena, from reporters and doctors to corrupt police and district attorneys, they covered up some of the most notorious crimes and scandals in Hollywood history, keeping stars out of jail and, more importantly, their names out of the papers. They handled problems as diverse as the murder of Paul Bern (husband of MGM's biggest star, Jean Harlow), the studio-directed drug addictions of Judy Garland, the murder of Ted Healy (creator of The Three Stooges) at the hands of Wallace Beery, and arranging for an unmarried Loretta Young to adopt her own child - a child fathered by a married Clark Gable. Through exhaustive research and interviews with contemporaries, this is the never-before-told story of Eddie Mannix and Howard Strickling. The dual biography describes how a mob-related New Jersey laborer and the quiet son of a grocer became the most powerful men at the biggest studio in the world.

Financing an independent feature film production is a highly complex process. This book demystifies the legal and commercial implications of a film from start to finish. It provides a detailed survey of each of the processes and players involved, and analyses of the legal and commercial issues faced by all of the participants in a film financing transaction. Packed with legal advice and straight forward explanations this is an essential reference for filmmakers worldwide.
With contributions from leading professionals around the world, and an up-to-date international approach, this is an invaluable tool for producers, and others involved in the film industry.
Includes: Case studies, Sample Recoupment Schedules, Alternative Financing Models, Glossary of Film Financing and Banking Terms
Philip Alberstat is a media finance and production lawyer specialising in film, television and broadcasting. He has worked on films such as The 51st State, Goodbye Mr Steadman, Tooth and numerous television programmes and series. He is on the editorial board of Entertainment Law Review and is the author of The Independent Producers Guide to Film and TV Contracts (2000), and Law and the Media (2002).
Philip is involved in raising finance for film and television productions and negotiating and structuring film and television deals. He undertakes corporate and commercial work and handles the intellectual property aspects of broadcasting and finance transactions. He has also executive produced numerous film and television productions. He won an Emmy Award in 2004 as an Executive Producer of the Film, "The Incredible Mrs. Ritchie."
Philip joined Osborne Clarke as a partner in February 2002.Prior to that he was Head of Legal and Business Affairs with one of the largest independent TV production companies in the UK. He was previously Head of Media at Baker & McKenzie and began his career at Olswang. He was winner of the Lawyer/Hifal Award for Solicitor of the year in 1997 and is listed in Legal Experts in the area of Film Finance/Media.
* Offers an inside view on film finance with insights from leading professionals
* Provides all the information needed to become knowledgeable of the legal and commercial issues for film finance transactions
* Includes sample contracts, Inter-Party Agreement, Charge and Deed of Assignment, Notice of Assignment, Banking Term Sheets, Loan Agreement, Collection Agreement, Inter-Creditor Agreement, Chain of Title Opinion

This is the history of advertising in motion pictures from the slide ads of the 1890s to the common practice of product placement in the present. Initially, product placement was seen as a somewhat sleazy practice and also faced opposition from the film industry itself; it has grown dramatically in the past 25 years. From Maillards Chocolates advertising with a shot of Cardinal Richelieu enjoying a hot cup of cocoa in 1895, to product placements in 2002s Minority Report, for which advertisers were rumored to have paid $25 million, this book explores the developing union of corporate America and Hollywood.

This work addresses such topics as televisions conditioning of filmgoers to accept commercials, companies donation of props, the debate about advertising such activities as smoking and drinking in films, and product displacement, or demands by companies to keep their products absent from unpopular or controversial films. Film stills and a bibliography complete the book.

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 nation '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.

Now in Paperback! The New Historical Dictionary of the American Film Industry is a unique reference work, a 'what's what' of the history of filmmaking not only in Hollywood but throughout the United States. More than 750 entries document the history of studios, production companies and distributors, and provide complete information on technical innovations, genres, industry terms, and organizations. Included are entries on more than 100 film companies active in the 'teens, as well as all major Hollywood studios, and major technical innovations such as CinemaScope and Dolby Sound. General entries range from 'The Cold War' to 'Westerns' and include film series such as 'Andy Hardy' and 'The Thin Man.' Extensive cross referencing and an index help the reader locate information throughout the text. A completely revised and updated edition of The American Film Industry, this new edition furnishes an informed, experienced look behind the scenes of filmmaking and an invaluable reference source. Paperback edition available 2001.

"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."