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.

Drawing on first-hand materials collected from the Chinese and Japanese literature as well as interviews with more than twenty filmmakers and scholars Kinnia Shuk-ting Yau provides a solid historical account of the complex interactions between Japanese and Hong Kong film industries from the 1930s to 1970s.

The author describes in detail how Japan's efforts during the 1930s and 1940s to produce a "Greater East Asian cinema" led to many different kinds of collaborations between the filmmakers from China, Hong Kong and Japan, and how such development had laid the foundation for more exchanges between the cinemas in the post-war period. The period covered by the book is the least understood period of the East Asian film history. Filling the gaps surrounding one of the most important but least understood periods of Asian film history this books discusses facts and resources once obscured by controversial issues related to wartime affairs with new insights and perspectives.

This book is an invaluable source of information for understanding how the current East Asian film networks came into existence by looking beyond conventional single-case studies and adopting a transnational perspective in tracing the connections between different film industries.

This work concentrates on tracing the evolution of the so-called "red menace" phenomenon as a means of demonstrating the correlation between growing American paranoia and the success of the anticommunist campaign (1935-1955). The House Committee on Un-American Activities 1947 investigation of Hollywood, the nation's most visible industry, served a critical role in conjuring up anti-red hysteria and fanning the flames of virulent anticommunism. Using conveniently unjust tactics, the Committee "painted" targeted Hollywood personalities red and established the infamous blacklist - certified proof in the minds of many that "subversives" were indeed conspiring from within. A failed attempt on behalf of the "Hollywood Ten" to demonstrate the Committee's undemocratic nature allowed HUAC to forge ahead with its investigation and establish the anticommunist foundation upon which Joseph McCarthy would construct his campaign. Hollywood and Anticommunism stands as an important contribution to McCarthy-era literature and should appeal to all interested in the early Cold War and the impact that unwarranted hysteria has had and continues to have on the growth and development of the nation.

The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.

The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah Street is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. Street divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.

Using in-depth analysis of film, TV, news and online productions, Understanding Media Production shows how media theory helps aspiring producers understand good practice in media production. With detailed contemporary examples, including Pirates of The Caribbean, Game of Thrones, Love Island and PewDiePie's "letsplay" videos, Dwyer highlights similarities and differences in the production strategies and styles used for a wide range of media products. The book tracks the evolution of these entertainment formats and the emergence of the media businesses which produce them. Chapters describe the key production practices associated with each format, including single and multi-camera filming, news reporting, three-point lighting and gameplay animation. They also explain the development of the production roles associated with these content forms; directors, producers, reporters, correspondents etc. The book goes on to explain how media businesses have used new technologies and production innovations to reduce costs and increase profits, resulting in dramatic changes to established production practices and roles. By comparing media production across media industries, in the UK and US, and illustrating the links between economic, sociopolitical and cultural influences on production, Understanding Media Production opens up a constructive debate between media practitioners and theorists about key questions of creativity and innovation in production.

From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of 'total entertainment'.

Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding's significance for commercial film and the industrial culture from which it is produced.

From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of 'total entertainment'.

Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding's significance for commercial film and the industrial culture from which it is produced.

Blumhouse Productions is the first book that systematically examines the corpus of Blumhouse's cinematic output. Individual chapters written by emerging and established scholars consider thematic trends across Blumhouse films, such as the use of found footage, haunted bodies/haunted houses, and toxic masculinity. Blumhouse's business strategies and funding model are considered - including the company's high-profile franchises Paranormal Activity, Insidious, The Purge, Happy Death Day, and Halloween - alongside such key standalone films as Get Out and Black Christmas, and nonhorror films like BlackKklansman. Taken together, the chapters provide a thorough primer for one of the most significant drivers behind the contemporary resurgence of horror cinema.

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

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

The history of London's West End cinemas dates back more than one hundred years. This book details all of them, in chronological order, totalling well over one hundred. The best of the West End's cinemas were outfitted to a very high standard to match their role as showcases for new films, hosting press shows and premieres, as well as a being a magnet for film enthusiasts anxious to see films on exclusive premiere runs. Even now, when films are available everywhere at the same time, the West End's cinemas are a vibrant attraction to visitors from all over the world as well as for Londoners having a night on the town. The oldest survivor is the Cineworld Haymarket, dating back to 1928 as a cinema. Other famous cinemas with a long history include the landmark Odeon Leicester Square and nearby Odeon West End as well as the Curzons in Mayfair and Soho, both replacing earlier picture houses. Many cinemas survive in other uses, such as the Rialto as a casino and the New Victoria as the Apollo Victoria live theatre. But here also are dozen of long vanished cinemas, some lasting only a few years and forgotten, others like the original Empire (1928 to 1961) - the largest cinema ever built in the West End - still living on in fond memory. There are interior views as well as exteriors of most of the cinemas, and over 50 illustrations are in full colour. This is a valuable and comprehensive addition to the history of the West End that will appeal to cinema enthusiasts as well as social historians and students of London and of architecture and design.

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

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

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

Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich's Berlin flat. Coming of age in the Weimar Republic, both sought fame in Germany's silent film industry. While Dietrich's depiction of Lola Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl-who missed out on the part-insinuated herself into Hitler's inner circle and directed Nazi propaganda films, most famously, Triumph of the Will. Dietrich could never truly go home again, while Riefenstahl was contaminated by her political associations. Moving deftly between two stories never before told together, Karin Wieland contextualises these lives, chronicling revolutions in politics, fame and sexuality on a grand stage.

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

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

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

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

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

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

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

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