Bollywood in Britain provides the most extensive survey to date of the various manifestations and facets of the Bollywood phenomenon in Britain. The book analyzes the role of Hindi films in the British film market, it shows how audiences engage with Bollywood cinema and it discusses the ways the image of Bollywood in Britain has been shaped. In contrast to most of the existing books on the subject, which tend to approach Bollywood as something that is made by Asians for Asians, the book also focuses on how Bollywood has been adapted for non-Asian Britons. An analysis of Bollywood as an unofficial brand is combined with in-depth readings of texts like film reviews, the TV show Bollywood Star (2004) and novels and plays with references to the Bombay film industry. On this basis Bollywood in Britain demonstrates that the presentation of Bollywood for British mainstream culture oscillates between moments of approximation and distancing, with a clear dominance of the latter. Despite its alleged transculturality, Bollywood in Britain thus emerges as a phenomenon of difference, distance and Othering.

Film Distribution in the Digital Age critically examines the evolution of the landscape of film distribution in recent years. In doing so, it argues that the interlocking ecosystem(s) of media dissemination must be considered holistically and culturally if we are to truly understand the transnational flows of cultural texts.

This book offers an industrial, economic and aesthetic history of the early years of the British film industry from 1899-1911, through a case study of one of the most celebrated pioneer film makers, Cecil Hepworth. Presenting a picture of daily life in his film studio, an analysis of Hepworth's films is offered including the development of their content, production methods and marketing in this formative period. The early twentieth century saw British film production develop from a cottage industry of artisans to a multi-modal complex economic system with a global reach. Changes in the nature of exhibition and distribution caused a major crisis in the years 1908-1911, whereby Britain lost its status as a world leader in film making. Existing histories of this period lay this crisis at the feet of pioneers like Hepworth, whose perceived inability to improve the quality of film production led to stagnation. Brown attempts to challenge this assumption by analysing Hepworth's development of production methods as well as his strategies towards sales in the market to demonstrate the impact on the modernisation of the film industry.

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.

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.

East Germany's film monopoly, Deutsche Film-Aktiengesellschaft (DEFA), produced a breadth and depth of films ranging beyond simple propaganda to westerns, science fiction films, musicals, melodramas, spy thrillers, women's films, fairy tales, and children's films. This book covers the entire range of filmmaking under the DEFA logo, from their beginnings in the Soviet Occupied Zone through unification and shows their continuing impact in contemporary culture. East German cinema offers the opportunity to see the complete picture of German film past Murnau, Lang, von Sternberg, and Fassbinder to equally important East German directors such as Frank Beyer, Wolfgang Staudte, Kurt Maetzig, and Konrad Wolf.As an introductory work, this book equips scholars and students with the historical and cultural background to understand East German cinema and guides the readers through the DEFA archive using critical examinations of twelve films - a list one could consider the core of an East German film canon.

Aesthetics and Politics in the Mexican Film Industry is the first English-language analysis of what some called a "renaissance" at the turn of the twenty-first century. It examines the years surrounding Mexicos presidential elections in 2000 and the fall of the ruling party after seventy one years in power in order to better understand a moment when politics and cinema shared the limelight. Moving beyond the international blockbusters, the research evaluates a broad selection of films, produced from the early 1990s to the present, to help demystify this period for scholars and students. It explains in clear language how production methods, audience demographics, and aesthetic approaches have changed throughout the past two decades of Mexican cinema and how these changes relate to Mexico's transitions to a democratic political system and free-market economy.

In 1947, the Cold War came to Hollywood. Over nine tumultuous days in October, the House Un-American Activities Committee held a notorious round of hearings into alleged Communist subversion in the movie industry. The blowback was profound: the major studios pledged to never again employ a known Communist or unrepentant fellow traveler. The declaration marked the onset of the blacklist era, a time when political allegiances, real or suspected, determined employment opportunities in the entertainment industry. Hundreds of artists were shown the door-or had it shut in their faces. In Show Trial, Thomas Doherty takes us behind the scenes at the first full-on media-political spectacle of the postwar era. He details the theatrical elements of a proceeding that bridged the realms of entertainment and politics, a courtroom drama starring glamorous actors, colorful moguls, on-the-make congressmen, high-priced lawyers, single-minded investigators, and recalcitrant screenwriters, all recorded by newsreel cameras and broadcast over radio. Doherty tells the story of the Hollywood Ten and the other witnesses, friendly and unfriendly, who testified, and chronicles the implementation of the postwar blacklist. Show Trial is a rich, character-driven inquiry into how the HUAC hearings ignited the anti-Communist crackdown in Hollywood, providing a gripping cultural history of one of the most transformative events of the postwar era.

Hollywood is facing unprecedented challenges a " and is changing rapidly and radically as a result. In this major new study of the contemporary film industry, leading film historian Tino Balio explores the impact of the Internet, declining DVD sales and changing consumer spending habits on the way Hollywood conducts its business. Today, the major studios play an insignificant role in the bottom lines of their conglomerate parents and have fled to safety, relying on big-budget tentpoles, franchises and family films to reach their target audiences. Comprehensive, compelling and filled with engaging case studies (TimeWarner, DreamWorks SKG, Spider Man, The Lord of the Rings, IMAX, Netflix, Miramax, Sony Pictures Classics, Lionsgate and Sundance), Hollywood in the New Millennium is a must-read for all students of film studies, cinema studies, media studies, communication studies, and radio and television.

"Disney Stories: Getting to Digital" explores how Disney, the man and the company, used technological innovation to create characters and stories that engage audiences in many different media, in particular in Video Games and on the Internet.

Drawing on Disney films from the twenties and thirties, as well as the writings of historians, screenwriters and producers, "Disney Stories: Getting to Digital" explains how new film and animation techniques, many developed by Disney, worked together to evolve character and content development and produce entertaining stories that riveted audiences.

Through an insider's perspective of Disney's legendary creation process, the book closely examines how the Disney Company moved its stories into the "digital" world in the 1990s and the virtual, online communities of the 2000s. By embracing the digital era, Disney led storytelling and technological innovation by granting their audience the unique opportunity to take part in their creation process through their online games, including "The Lion King Animated Story Book," "Disney Blast" and "Toontown."

"Disney Stories: Getting to Digital" is intended for Disney fans and current practitioners looking to study the creation process of one of the most famous animation studios in existence. Professors teaching courses in new media, animation and interactive storytelling will also find this book a valuable asset.

Like many other cultural commodities, films and TV shows tend to work in such a way as to obscure the conditions under which they are produced, a process that has been reinforced by dominant trends in the practice of Film and Television Studies. This collection places the workplace experiences of industry workers at centre stage. It looks at film and television production in a variety of social, economic, political, and cultural contexts. The book provides detailed analyses of specific systems of production and their role in shaping the experience of work, whilst also engaging with the key theoretical and methodological questions involved in film and television production. Drawing together the work of historians, film scholars, and anthropologists, it looks at film and television production not only in Hollywood and Western Europe but also in less familiar settings such as the Soviet Union, India, Nigeria, and the Democratic Republic of Congo. Chronologically wide-ranging, interdisciplinary and international in scope, it is a unique introduction, critical for all students of the film industries and film production.

"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.

Film is often used to represent the natural landscape and, increasingly, to communicate environmentalist messages. Yet behind even today's ""green" movies are ecologically unsustainable production, distribution, and consumption processes. Noting how seemingly immaterial moving images are supported by highly durable resource-dependent infrastructures, The Cinematic Footprint traces the history of how the ""hydrocarbon imagination" has been central to the development of film as a medium.Nadia Bozak's innovative fusion of film studies and environmental studies makes provocative connections between the disappearance of material resources and the emergence of digital media-with examples ranging from early cinema to Dziga Vertov's prescient eye, from Chris Marker's analog experiments to the digital work of Agnes Varda, James Benning, and Zacharias Kunuk. Combining an analysis of cinema technology with a sensitive consideration of film aesthetics, The Cinematic Footprint offers a new perspective on moving images and the natural resources that sustain them.

This volume provides a collection of original essays from leading scholars in the field exploring the contemporary debates, concerns and controversies ongoing in Spanish film industry, culture and scholarship. The essays reveal the far-reaching shifts that have occurred in the Spanish film scene, making essential reading for all interested in European cinema.

Beginning with basic black and white drawings of Oswald the Lucky Rabbit and Mickey Mouse in the 1920s, the Walt Disney Company, now nearly 100 years old, is an American institution and a global multimedia giant. More people visit Disneyland than the Great Wall of China, the Eiffel Tower, or the Grand Canyon, while annual revenue for the Disney Company exceeds the GDP of over 100 small countries. Disney owns ABC, ESPN, Pixar, Marvel, and Lucasfilm. Walt Disney himself is a national folk hero, with such films as The Jungle Book and Pinocchio considered national treasures. But how much do we really know about the company that "all started with a mouse"? Disney Culture explores the "wonderful world of Disney" in all its facets and dimensions. John Wills tackles Walt Disney's own unique vision of America, the history of mascot Mickey Mouse, and the design of Disneyland in the 1950s; he also examines a range of Disney movies including animation classics Snow White, Bambi, Fantasia, and more recently Frozen, as well as live-action productions such as Mary Poppins, Saving Mr. Banks and Star Wars: The Force Awakens. Other topics the book touches on are the creation of a specifically Disney way of doing things in the guise of business practice (the so-called Disney Way); advances in animation; theme park operations; the rise of the "Disney Princess"; and Disney fandom. Disney Culture ultimately challenges the reader to think more deeply about the U.S. entertainment industry, investigating how Disney has remained so popular with generations of children and adults, reshaping American and even global society and culture.

Hollywood is often characterized as a stronghold of left-liberal ideals. In "Reel Power," Matthew Alford shows it is in fact deeply complicit in serving the interests of the most regressive U.S. corporate and political forces. Films like "Transformers," "Terminator: Salvation" and "Black Hawk Down" are constructed with Defense Department assistance as explicit cheerleaders for the U.S. military, but Matthew Alford also emphasizes how so-called radical films like "Three Kings," "Hotel Rwanda" and "Avatar" present watered-down alternative visions of American politics that serve a similar function. "Reel Power" is the first book to examine the internal workings of contemporary Hollywood as a politicized industry as well as scores of films across all genres. No matter what the progressive impulses of some celebrities and artists, Alford shows how they are part of a system that is hard-wired to encourage American global supremacy and frequently the use of state violence.

Over the past decade, there has been a huge increase in ordinary people's access to video production technology. These essays explore the theoretical significance of this trend and its impact on society, as well as examining a wide range of case studies, from camcorders and camera phones to YouTube and citizen journalism --Provided by publisher.

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

In this second volume of Tino Balio's history of United Artists, he examines the turnaround of the company in the hands of Arthur Krim and Robert Benjamin in the 1950s, when United Artists devised a successful strategy based on the financing and distribution of independent production that transformed the company into an industry leader. Drawing on corporate records and interviews, Balio follows United Artists through its merger with Transamerica in the 1960s and its sale to MGM after the financial debacle of the film "Heaven's Gate." With its attention to the role of film as both an art form and an economic institution, "United Artists: The Company That Changed the Film Industry" is an indispensable study of one company's fortunes from the 1950s to the 1980s and a clear-eyed analysis of the film industry as a whole.
This edition includes an expanded introduction that examines the history of United Artists from 1978 to 2008, as well as an account of Arthur Krim's attempt to mirror UA's success at Orion Pictures from 1978 to 1991.

This title combines, in a unique and innovative way, analytical approaches from literary narratology, film studies and new media studies.This title examines the recent cinematic trend of 'modular' narrative form, in which the temporal flow of the narrative is disrupted. It identifies and describes four different models of cinematic modular narrative. There is increasing academic interest in the topic of narrative complexity in film, illustrated by significant recent attention in journal articles, but this is the first monograph to study the phenomenon exclusively. It combines analytical approaches from literary narratology, film studies and new media studies. It includes analysis of a number of 'cult' films that are popular among film students both in the UK and the US e.g. Run Lola Run, 21 Grams, and Memento.Since the early 1990s there has been a trend towards narrative complexity within popular cinema. This book examines a number of contemporary films that play overtly with narrative structure, raising questions of chance and destiny, memory and history, simultaneity and the representation of time.

In the first book-length study of this topic, D.W. McKiernan examines the way mainstream commercial cinema represents society's complex relationship with the idea and practice of community in the context of rapidly changing social conditions. Films examined include "Fond Kiss," "The Idiots" and "Monsoon Wedding."

A wickedly funny account of celebrity, Hollywood and everything in between ...now in paperback. What's it like to be a veteran director up against the machinations of modern-day Hollywood, with its self-absorbed stars, studio executives who think 'Singapore' is a made-up country, destitute producers posing as lords of finance - the mad, the bad and the downright notorious? Award-winning film-maker Bruce Beresford takes us through the highs and lows of the screen trade - from high-powered dinner tables to obscure backlots, from the centres of power to far-flung locations - with a cast of characters that includes Russell Crowe, Cate Blanchett, Jeffrey Archer, Steven Seagal, and many others. Delightfully literate and sharply observed, this is a highly entertaining insider's account of a rarely glimpsed world.

Learn the secrets of successfully marketing and selling your film. In this competitive market, this book will give readers the edge. It includes a scratch-off card containing an access code to the author's secure festival database online. Learn the secrets of successfully marketing and selling your film at more than 1,000 film festivals around the world, including the best ones for indie, documentary, short, student, digital, animation and more. Chris Gore reveals how to get a film accepted and what to do after acceptance. The updated and revised 4th edition includes new filmmaker interviews with Morgan Spurlock of "Super Size Me", Jared Hess of "Napolean Dynamite", as well as actor/director Crispin Glover and Seth Gordon, a documentary filmmaker; full listings and contact information for all festivals; in-depth analysis of the Big Ten festivals; and, fresh, timely how-tos for marketing, distributing, and selling a film and using the Internet to build buzz. The book includes a scratch-off card containing an access code to the author's secure festival database online: a comprehensive listing of more than 1,000 film festivals worldwide, with all location and contact information, where up-to-the-minute updates to the listings can be found.

"The Sounds of Commerce" is the first book to present a detailed historical analysis of popular music in American film, from the era of sheet music sales, to that of orchestrated pop records by Henry Mancini and Ennio Morricone in the 1960- to the MTV-ready pop songs that occupy soundtrack CDs of today. Jeff Smith's landmark exploration of film and music cross-promotion investigates the combination of historical, economic, and aesthetic factors that brought about the rise of popular music in the movies.Smith employs a sophisticated yet accessible fusion of musicology, film theory, and social history. In one chapter, a musicological unpacking of the theme song from Goldfinger is used to show how the repeated refrain developed massive cultural appeal, leading to huge singles sales and a ubiquitous tune that most Americans can recognize several decades after the film's release. Other chapters look at how the film and music industries became so heavily intertwined, how soundtrack music progressed from orchestral score to pop song, and how certain soundtracks today become chart successes while their accompanying films generate scant box-office interest.Throughout the text, Smith persuasively argues that the popular film score has been as successful as its classical predecessor at enhancing emotions and moods, cueing characters and settings, and signifying psychological states and points of view. With "The Sounds of Commerce, " he challenges film music scholarship to recognize the significance of popular music in modern film.

This book crosses the conventional border between the analysis of on-screen and off-screen intersections of law and cinema. It not only addresses the representation of law on screen (for example, through discussions of how lawyers, police, and prisons are depicted, or how courtroom sequences function as narratives), but also focuses on how the state shapes and regulates cinema. The volume addresses the distinct contexts of China, India, Japan, Korea, the Philippines, and Vietnam, along with an integrative introduction that puts the essays and themes into context for scholars and students alike.