This book is about the practical realities of the film market today and how to make a film while minimizing financial risk. Film is a risky investment and securing that investment is a huge challenge. The best way to get investors is to do everything possible to make the film without losing money. Featuring interviews with film industry veterans - sales agents, producers, distributors, directors, film investors, film authors and accountants - Daniel Harlow explores some of the biggest obstacles to making a commercially successful film and offers best practice advice on making a good film, that will also be a commercial success. The book explores key topics such as smart financing, casting to add value, understanding the film supply chain, the importance of genre, picking the right producer, negotiating pre-sales and much more. By learning how to break even, this book provides invaluable insight into the film industry that will help filmmakers build a real, continuing career. A vital resource for filmmakers serious about sustaining a career in the 21st century film industry.

Examines the roller coaster rise, fall, and re-emergence of one of North America's more enigmatic exhibition phenomena co-founded in Canada in 1977 by entertainment lawyer-turned-film producer, Garth Drabinsky, together with industry veteran, Nathan A Taylor, Cineplex Corporation had been among the first, to unveil a largely unprecedented concept before the movie-going public -- the cinema megaplex -- opening with a 'modest' 18-screen theatre in downtown Toronto's Eaton Centre shopping mall. The book looks at the birth and progress of the Canadian exhibitor, and at elements of its plush theatre circuit, built primarily upon the determination of 'one man and a multinational'. And with the aid of some previously unpublished photos, examined here, too, is an overview of the corporation's fledgling Gallery circuit, Cineplex Odeon's short-lived UK subsidiary, the dozen locations of which became surrendered initially to Cannon In 1990.

This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry. Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade. Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.

This interdisciplinary and international volume offers an innovative and critical exploration of the impact of motherhood on the engagement of women in media and creative industries across the globe. Diverse contributions critically engage with the intersections and overlap between the social categories of worker and mother, and the work of media production and maternal caregiving. Conflicting ideas about, and expectations of, mothers are untangled in the context of the working world of radio, film, television and creative media industries. The book teases out commonalities between experiences that are evident across a number of countries, from Hollywood to Bollywood, as well as examining the differences between class, religion, maternal status and cultural frameworks that surround working mothers in various nation states. It also offers some possibilities for ways forward that can improve the lives of women workers who are also mothers. A timely and valuable contribution to international debates on equality, mothers and motherhood in audiovisual industries, this book will be of interest to scholars and students of media, communication, cultural studies and gender, programmes engaged with work inequalities and motherhood studies, and activists, funders, policymakers and practitioners.

In 1978 animation director Yoshiyuki Tomino set forth to change the Japanese animation industry. For decades prior, Japanese science fiction had churned out numerous tales of semi-autonomous robots that would often come to the aide of humanity, but as someone who worked on a number of those works, Tomino came to the realization that he wanted to see a more realistic robot narrative. His vision was one where the robot while just slightly more human in appearance, was utilized more as a tool manipulated by man. With renowned artist Yoshikazu Yasuhiko by his side, and occasionally as his artistic rival, Tomino would change the way the whole world came to see Japanese animation and the broader toy and comics industries built around it. This evolution would be a war in its own right! Battles were fought in the offices of the animation studio! Conflicts were equally as heated in the recording booth!

Introduction to Media Distribution offers a clear, direct and comprehensive overview of the entire film, television and new media distribution business, valuable to both students and professionals. In this book, author Scott Kirkpatrick draws from over a decade of personal experience in the distribution arena to explore what fuels the distribution process, and explains in real-world terms how the business works from beginning to end-not merely what happens to a film or television series after a distributor acquires it, but how distributors develop, pre-sell and broker deals on content before it even exists. Kirkpatrick covers deal structures, release strategies, acquisition approaches, rights sales, international co-productions, tax credits, audience research, global regulatory boards, and even 'behind closed doors' monetization practices. The book offers: A straightforward, clear and insightful approach to understanding the fundamental basics of how the global distribution marketplace works, and how distribution companies actually operate and create the content they need; An insider's analysis of all levels of the business with an emphasis on the independent scene, the root from where development in the industry grows; A comprehensive overview of how film and television markets and festivals work, and how buyers and sellers actually broker deals in the field; Detailed explanations of how each media right is defined and windowed to maximize potential revenue; A detailed overview of several major international territories, and how each operates within the context of the global media business; Guidance and advice from an industry expert on how one can initiate their professional career in the entertainment industry, applicable to individuals in all roles; A robust appendix containing in-depth studies of legal definitions, material delivery requirements, territory-by-territory financial projections, and more. An accompanying eResource offers template contracts, sample agreements, and further resources for download.

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

Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

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.

Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

This book examines cross-regional film collaboration within the Asia-Pacific region. Through a mixed methods approach of political economy, industry and market, as well as textual analysis, the book contributes to the understanding of the global fusion of cultural products and the reconfiguration of geographic, political, economic, and cultural relations. Issues covered include cultural globalization and Asian regionalization; identity, regionalism, and industry practices; and inter-Asian and transpacific co-production practices among the U.S.A., China, South Korea, Japan, India, Hong Kong, Taiwan, Argentina, Australia, and New Zealand.

This practical guide teaches readers the skills and business acumen required to build a career in the film industry from the ground up. While countless books and classes teach newcomers the creative aspects of the film industry, many fail to properly prepare readers for the reality of how to navigate a freelance film career today. From creating a business model, dealing with taxes and funding, finding and managing clients, networking, investing, cashflow, and planning for the long-term, Business and Entrepreneurship for Filmmakers provides real-world, pragmatic advice on navigating a freelance film career, whether you're a recent film school graduate looking to take the next step or a seasoned professional hoping to start a production company. Moreover, the skills taught here apply across the industry, from corporate media and commercials to music videos and feature films. Interviews with filmmakers, innovators, and business experts are included throughout the book to offer further expertise and examples.

- An engaging pocket sized introduction to African cinema, suitable for students and film enthusiasts alike - There is no real competitor for this book, yet interest in black cinema is growing strongly - Case studies, suggestions for further reading, and screening lists help to guide the reader to further study

Breaking In: Tales from the Screenwriting Trenches is a no-nonsense, boots-on-the-ground exploration of how writers REALLY go from emerging to professional in today's highly saturated and competitive screenwriting space. With a focus on writers who have gotten representation and broken into the TV or feature film space after the critical 2008 WGA strike and financial market collapse, the reader will learn from tangible examples of how success was achieved via hard work and specific methodology. This book includes interviews from writers who wrote major studio releases (The Boy Next Door), staffed on television shows (American Crime, NCIS New Orleans, Sleepy Hollow), sold specs and television shows, placed in competitions, and were accepted to prestigious network and studio writing programs. These interviews are presented as Screenwriter Spotlights throughout the book and are supported by insight from top-selling agents and managers (including those who have sold scripts and pilots, had their writers named to prestigious lists such as The Black List and The Hit List) as well as working industry executives. Together, these anecdotes, learnings and perceptions, tied in with the author's extensive experience in and knowledge of the industry, will inform the reader about how the industry REALLY works, what it expects from both working and emerging writers, as well as what next steps the writer should engage in, in order to move their screenwriting career forward.

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.

This study looks at how the movie industry organisation functioned between the late '40s and 1983 when it was originally published. It describes the changing role of domestic exhibition through this time and analyses the wider film industry to provide a model of the exhibition structure in relation to production, distribution and outside factors. It addresses the growing issues of the cable and video markets as competition to the film exhibition business at that time and looks forward into a highly turbulent environment. With particular interest now as the film industry address a new range of threats and adaptations of its working structure, this book offers and integral understanding of a key stage in cinema history.

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.

From the trailers and promos that surround film and television to the ads and brand videos that are sought out and shared, promotional media have become a central part of contemporary screen life. Promotional Screen Industries is the first book to explore the sector responsible for this thriving area of media production. In a wide-ranging analysis, Paul Grainge and Catherine Johnson explore the intermediaries - advertising agencies, television promotion specialists, movie trailer houses, digital design companies - that compete and collaborate in the fluid, fast-moving world of promotional screen work. Through interview-based fieldwork with companies and practitioners based in the UK, US and China, Promotional Screen Industries encourages us to see promotion as a professional and creative discipline with its own opportunities and challenges. Outlining how shifts in the digital media environment have unsettled the boundaries of 'promotion' and 'content', the authors provide new insight into the sector, work, strategies and imaginaries of contemporary screen promotion. With case studies on mobile communication, television, film and live events, this timely book offers a compelling examination of the industrial configurations and media forms, such as ads, apps, promos, trailers, digital shorts, branded entertainment and experiential media, that define promotional screen culture at the beginning of the twenty-first century.

East Asian Screen Industries provides a guide to the film industries of Japan, South Korea, Taiwan, Hong Kong and the PRC. The authors show how local cultural production has responded to global trends, especially those of American media, focusing on the effects of widespread de-regulation and China's accession to the World Trade Organisation. They use case study examples to demonstrate how each national screen industry has negotiated the crises of the 1990's to re-emerge as a flexible industrial and cultural force, able to respond vigorously to strenuous challenges in an age of global capitalism.

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.

This interdisciplinary and international volume offers an innovative and critical exploration of the impact of motherhood on the engagement of women in media and creative industries across the globe. Diverse contributions critically engage with the intersections and overlap between the social categories of worker and mother, and the work of media production and maternal caregiving. Conflicting ideas about, and expectations of, mothers are untangled in the context of the working world of radio, film, television and creative media industries. The book teases out commonalities between experiences that are evident across a number of countries, from Hollywood to Bollywood, as well as examining the differences between class, religion, maternal status and cultural frameworks that surround working mothers in various nation states. It also offers some possibilities for ways forward that can improve the lives of women workers who are also mothers. A timely and valuable contribution to international debates on equality, mothers and motherhood in audiovisual industries, this book will be of interest to scholars and students of media, communication, cultural studies and gender, programmes engaged with work inequalities and motherhood studies, and activists, funders, policymakers and practitioners.

This study looks at how the movie industry organisation functioned between the late '40s and 1983 when it was originally published. It describes the changing role of domestic exhibition through this time and analyses the wider film industry to provide a model of the exhibition structure in relation to production, distribution and outside factors. It addresses the growing issues of the cable and video markets as competition to the film exhibition business at that time and looks forward into a highly turbulent environment. With particular interest now as the film industry address a new range of threats and adaptations of its working structure, this book offers and integral understanding of a key stage in cinema history.

The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the 'recentness' of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to 'the nation' and 'transnationalism' in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of 'transnationalism', that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with 'nation-building' in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.

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.