This book analyses the Korean film industry emergence and development in a global business and economic perspective. This is one of the first books to compare the film policies and industries of the world's six largest film industries - featuring Korea as the central character - with the aim of defining the contours of what constitutes an effective film policy. It presents many cases showing that, contrary to what is often believed, an economically sound policy is a good instrument for achieving desired cultural goals. It uses a set of analytical tools - borrowed from the economic analysis of international trade policies - to provide a rich harvest of new, rigorous, and often unexpected results on the effectiveness of the existing film policies. The implications found in this book are relevant not only for Korea, but for all other countries that wish to foster or enhance the competitiveness of their film industries. This book will be of interest to a wide spectrum of scholars interested in cultural studies - media and cultural specialists, political scientists, sociologists, historians - in addition to business analysts and economists specialized in cultural economics. As this book focuses on film policies and how to improve them, it will also appeal to policymakers, business figures, public relations officials, and staff from international organizations working on the film industry.

A Los Angeles Times Bestseller Winner of the Best Non-Fiction Book Prize at the 2018 National Arts & Entertainment Journalism Awards "Ben Fritz crafts an electrifying and essential book that carefully chronicles how Hollywood tradition is collapsing and new models are fueling the future. A must-read."--Ava DuVernay, director of A Wrinkle in Time, Selma, and 13th The stunning metamorphosis of twenty-first-century Hollywood and what lies ahead for the art and commerce of film Ben Fritz chronicles the dramatic shakeup of America's film industry, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He offers us an unprecedented look deep inside a Hollywood studio to explain why sophisticated movies for adults are an endangered species while franchises and super-heroes have come to dominate the cinematic landscape. And through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, Imax, and others, he reveals how the movie business is being reinvented. Despite the destruction of the studios' traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what entertainment will look like in the new era.

This book explores why word of mouth is the most important determinant of a movie's success. Beginning with a discussion of the enduring appeal of movies, and why the box office has survived the disruption of television and will likely survive the disruption of streaming services, Owen Eagan goes on to discuss the unpredictable nature of movies and ways to mitigate their risk. His astute analysis sheds light on the role of film festivals, film critics, Oscar campaigns, and word of mouth in influencing a film's success. Eagan concludes with a summary of why word of mouth is the most influential among all the variables that affect a film's outcome. Expertly synthesizing quantitative analyses of box office data with illuminating insights from industry experts, this concise and engaging book presents findings with important implications for scholars, industry insiders and marketing professionals alike.

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.

This book gives a panoramic view of the rise and growth of Nollywood, Nigeria's movie and home video entertainment industry, into the second largest and most prolific movie-producing industry in the world. It offers an analysis of Nollywood's influence as a local and global cultural force. Scholars from Africa, the African Diaspora and beyond examine the factors that have shaped Nollywood's unique story-telling, production, and distribution system. The volume shows how internal and external economic, social, cultural and technological changes intersect to define Nollywood's film-making and entertainment ethos. It is grounded in sound theoretical perspectives that help readers understand the texts and subtexts of the industry's emergence, transformation, and impact. The range of subjects covered span Nollywood's historical roots in Nigeria pre-colonial traveling/community theatre to colonial era film-making, and its contemporary spin-offs and inspired cousins across Africa and in Europe. It illuminates the interface of artistic, business, cultural and technological innovation and creativity at the heart of Africa's local and global pop culture explosion.

From films that claim the status of harsh realism to others which embody aspects of the tradition of modernism or the poetic, art cinema encompasses a variety of work from across the globe. But how is art cinema positioned in the film marketplace, or by critics and in academic analysis? Exactly what kinds of cultural value are attributed to films of this type and how can this be explained? This book offers a unique analysis of how such processes work, including the broader cultural basis of the appeal of art cinema to particular audiences. Geoff King argues that there is no single definition of art cinema, but a number of distinct and recurrent tendencies are identified. At one end of the spectrum are films accorded the most 'heavyweight' status, offering the greatest challenges to viewers. Others mix aspects of art cinema with more accessible dimensions such as uses of popular genre frameworks and 'exploitation' elements involving explicit sex and violence. Including case studies of key figures such as Michael Haneke, Pedro Almodovar and Jean-Pierre and Luc Dardenne, this is a crucial contribution to understanding both art cinema itself and the discourses through which its value is established.

In this book, film scholars, anthropologists, and critics discuss star-making in the contemporary Hindi-language film industry in India, also known as "Bollywood." Drawing on theories of stardom, globalization, transnationalism, gender, and new media studies, the chapters explore contemporary Hindi film celebrity. With the rise of social media and India's increased engagement in the global economy, Hindi film stars are forging their identities not just through their on-screen images and magazine and advertising appearances, but also through an array of media platforms, product endorsements, setting fashion trends, and involvement in social causes. Focusing on some of the best-known Indian stars since the late 1990s, the book discusses the multiplying avenues for forging a star identity, the strategies industry outsiders adopt to become stars, and the contradictions and conflicts that such star-making produces. It addresses questions such as: What traits of contemporary stars have contributed most to longevity and success in the industry? How has filmmaking technology and practice altered the nature of stardom? How has the manufacture of celebrity altered with the recent appearance of commodity culture in India and the rise of a hyper-connected global economy? By doing so, it describes a distinct moment in India and in the world in which stars and stardom are drawn more closely than ever into the vital events of global culture. Hindi films and their stars are part of the national and global entertainment circuits that are bigger and more competitive than ever. As such, this is a timely book creates opportunities for examining stardom in other industries and provides fruitful cross-cultural perspectives on star identities today. "Grounded in rigorous scholarship as well as a palpable love of Hindi cinema, this collection of 19 essays on a dizzying array of contemporary Hindi film stars makes for an informative, thought-provoking, illuminating, and most of all, a joyful read. Pushing boundaries of not only global Star Studies but also film theory as a whole, this de-colonised and de-colonising volume is a must read for film scholars, students and cinephiles!" Dr. Sunny Singh, Senior Lecturer - Creative Writing and English Literature, Sir John Cass School of Art, Architecture & Design, London Metropolitan University "A wide-ranging overview of Hindi cinema's filmi firmament today, focussing on its most intriguing and brightest-burning stars. The variety of approaches to stardom and celebrity by both established and upcoming scholars reveals a web of interconnecting stories and concerns that provide fascinating new insights into the workings of today's Hindi film industry, while shining fresh light on contemporary India and the world we live in." Professor Rosie Thomas, Centre for Research and Education in Arts and Media (CREAM), College of Design, Creative and Digital Industries, University of Westminster

The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term "art film" and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak-the leading figures of Indian art cinema-became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India's Forgotten Futures offers sweeping new insights into film's relationship with the postcolonial condition and its role in decolonial imaginations of the future.

Provincializing Bollywood argues that Bhojpuri cinema exemplifies the overflow of a provincial derivative form that defies its place in the given scheme of things. Situating it at the intersection of vernacular media production and the infrastructural-political reordering of provincial north India, the book shows that Bhojpuri media's characteristic 'disobedience' is marked by a libidinal excess - simultaneously scandalizing and moralizing - to address the inexact calculi of Bhojpuri speaking region's'underdevelopment'. Bhojpuri media therefore demands that it is assessed not merely for its internal content but within the comparative media crucible, marked by interpenetrating forms and histories as diverse as those of ecological distress, musical traditions, gendered segregation, real estate, urban resettlements, and highway modernities. Foregrounding the libidinal excess, language politics, and curatorial informalities, Provincializing Bollywood synthesizes Bhojpuri media's spectacular public insubordination and its invocation of a shared debt, which is by no means regional in its provenance.

A New York Times bestseller, now updated with an afterword and exclusive new material From the #1 bestselling author behind acclaimed oral histories of Saturday Night Live and ESPN comes "the most hotly anticipated book [in decades]" (Variety): James Andrew Miller's irresistible insider chronicle of the modern entertainment industry, told through the epic story of Creative Artists Agency (CAA)-the ultimate power player that has represented the world's biggest stars and shaped the landscape of film, television, comedy, music, and sports. Started in 1975, when five bright and brash upstarts left creaky William Morris to form their own innovative talent agency, CAA would come to revolutionize Hollywood, representing everyone from Tom Cruise, Meryl Streep, Robert De Niro, and Steven Spielberg to Jennifer Lawrence, J.J. Abrams, Will Smith, and Brad Pitt. Over the next decades its tentacles would spread aggressively into sports, advertising, and digital media. Powerhouse is the fascinating, no-holds-barred saga of that ascent. Drawing on unprecedented and exclusive access to the men and women who built and battled with CAA-including co-founders Michael Ovitz and Ron Meyer and rivals like Ari Emanuel of William Morris Endeavor-as well as the stars themselves, Miller spins a unique and unforgettable tale of brilliance, ambition, betrayal, and outrageous success.

This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions-Eurimages, the European Audiovisual Observatory and the European Commission-and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.

"Reel Racism: Confronting Hollywood's Construction of Afro-American Culture "goes beyond reflection theories of the media to examine cinema's active participation in the operations of racism --a complex process rooted in the dynamics of representation. Written for undergraduates and graduate students of film studies and philosophy, Reel Racism focuses on methods and frameworks that analyze films for their production of meaning and how those meanings participate in a broader process of justifying, naturalizing, or legitimizing difference, privilege, and violence based on race. In addition to analyzing how the process of racism is articulated in specific films, Reel Racism examines how specific meanings can resist their function of ideological containment, and instead, offer a perspective of a more collective, egalitarian social system-- one that transcends the discourse of race.

Hollywood: The Oral History covers the history of Hollywood from the Silent era up to the 21st century. What makes this book unique from any other survey of Hollywood's history is that it is the history of an art form through the words of those people who created it - from Harold Lloyd to Katharine Hepburn to Warren Beatty to Jane Fonda and beyond, including directors, writers, producers, editors, designers of sets and costumes. As such, the authenticity of the text is irrefutable. The material in the book - gathered over the decades by the American Film Institute - has never been published before, has never been heard before. It is comprehensive - a monument that will never age nor be surpassed.

The story of Isleworth Studios is essentially that of the British film industry from 1914 to 1952. Beginning with the first British Sherlock Holmes screen adaptation and ending with its Oscar-winning swansong, The African Queen, in the intervening years it was one of the most technically advanced studios in the country and home to some of the best and the worst examples of British cinema. It experienced the transition from silent films to talkies. Britain's only movie mogul, Alexander Korda, arrived, looking to rival Hollywood, followed by Douglas Fairbanks Jr looking to rival Korda. Buster Keaton struggled with alcoholism; Richard Burton made his screen debut; Bogart, Hepburn and Huston made a classic; and Emeric Pressburger directed his first and only film at Isleworth. Little by little the old dream factory's physical shape is now crumbling or altered, or is disappearing altogether. Soon it may be gone. Isleworth Studios has a history worthy of more than just an addendum in the annals of the British film industry. This is its story told for the very first time.

Florian Kumb provides a comprehensive review of the current state of the international literature on the motion picture industry and then applies a mix of appropriate quantitative and qualitative research methods in three empirical studies. He enters uncharted research territory examining the effects that major film characteristics cause in the post-theatrical exhibition, he identifies key factors that influence public film funding decisions, and then forecasts the future market development of a European film-financing network. The author shows that the characteristics of local movies, public film funding, and the local film financing network are major reasons for the low international competitiveness of Germany's motion picture industry.

Today, in a world of smartphones, tablets, and computers, screens are a pervasive part of daily life. Yet a multiplicity of screens has been integral to the media landscape since cinema's golden age. In On the Screen, Ariel Rogers rethinks the history of moving images by exploring how experiments with screen technologies in and around the 1930s changed the way films were produced, exhibited, and experienced. Marshalling extensive archival research, Rogers reveals the role screens played at the height of the era of "classical" Hollywood cinema. She shows how filmmakers, technicians, architects, and exhibitors employed a variety of screens within diverse spaces, including studio soundstages, theaters, homes, stores, and train stations. Far from inert, screens served as means of structuring mediated space and time, contributing to the transformations of modern culture. On the Screen demonstrates how particular approaches to the use of screens traversed production and exhibition, theatrical and extratheatrical practice, mainstream and avant-garde modes, and even cinema and television. Rogers's history challenges conventional narratives about the novelty of the twenty-first-century multiscreen environment, showing how attention to the variety of historical screen practices opens up new ways to understand contemporary media.

Starting with 1964's Goldfinger, every James Bond film has followed the same ritual, and so has its audience: after an exciting action sequence the screen goes black and the viewer spends three long minutes absorbing abstract opening credits and a song that sounds like it wants to return to 1964. In The James Bond SongsR authors Adrian Daub and Charles Kronengold use the genre to trace not only a changing cultural landscape, but also evolving conceptions of what a pop song is. They argue that the story of the Bond song is the story of the pop song more generally, and perhaps even the story of its end. Each chapter discusses a particular segment of the Bond canon and contextualizes it in its eras music and culture. But the book also asks how Bond and his music reflected and influenced our feelings about such topics as masculinity, race, money, and aging. Through these individual pieces the book presents the Bond song as the perfect anthem of late capitalism. The Bond songs want to talk about the fulfillment that comes from fast cars, shaken Martinis and mindless sex, but their unstable speakers, subjects, and addressees actually undercut the logic of the lifestyle James Bond is sworn to defend. The book is an invitation to think critically about pop music, about genre, and about the political aspects of popular culture in the twentieth century and beyond.

A new understanding of the culturally rich and historic relationship between Hollywood and Bollywood. With American cinema facing intense technological and financial challenges both at home and abroad, and with Indian media looking to globalize, there have been numerous high-profile institutional connections between Hollywood and Bombay cinema in the past few years. Many accounts have proclaimed India's transformation in a relatively short period from a Hollywood outpost to a frontier of opportunity. Orienting Hollywood moves beyond the conventional popular wisdom that Hollywood and Bombay cinema have only recently become intertwined because of economic priorities, instead uncovering a longer history of exchange. Through archival research, interviews, industry sources, policy documents, and cultural criticism, Nitin Govil not only documents encounters between Hollywood and India but also shows how connections were imagined over a century of screen exchange. Employing a comparative framework, Govil details the history of influence, traces the nature of interoperability, and textures the contact between Hollywood and Bombay cinema by exploring both the reality and imagination of encounter.

Flickering Empire tells the fascinating yet little-known story of how Chicago served as the unlikely capital of American film production in the years before the rise of Hollywood (1907-1913). As entertaining as it is informative, Flickering Empire straddles the worlds of academic and popular nonfiction in its vivid illustration of the rise and fall of the major Chicago movie studios in the mid-silent era (principally Essanay and Selig Polyscope). Colorful, larger-than-life historical figures, including Thomas Edison, Charlie Chaplin, Oscar Micheaux, and Orson Welles, are major players in the narrative-in addition to important though forgotten industry titans, such as "Colonel" William Selig, George Spoor, and Gilbert "Broncho Billy" Anderson.

In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.

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.

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.

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.