In Hollywood, the goals of art and business are entangled. Directors, writers, actors, and idealistic producers aspire to make the best films possible. These aspirations often interact with the dominant firms that control Hollywood film distribution. This control of distribution is crucial as it enables the firms and other large businesses involved, such as banks that offer financing, to effectively stand between film production and the market. This book analyses the power structure of the Hollywood film business and its general modes of behaviour. More specifically, the work analyses how the largest Hollywood firms attempt to control social creativity such that they can mitigate the financial risks inherent in the art of filmmaking. Controlling the ways people make or watch films, the book argues, is a key element of Hollywood's capitalist power. Capitalist power-the ability to control, modify, and, sometimes, limit social creation through the rights of ownership-is the foundation of capital accumulation. For the Hollywood film business, capitalist power is about the ability of business concerns to set the terms that will shape the future of cinema. For the major film distributors of Hollywood, these terms include the types of films that will be distributed, the number of films that will be distributed, and the cinematic alternatives that will be made available to the individual moviegoer. Combining theoretical analysis with detailed empirical research on the financial performance of the major Hollywood film companies, the book details how Hollywood's capitalist goals have clashed with the aesthetic potentials of cinema and ultimately stymied creativity in the pursuit of limiting risk. This sharp critique of the Hollywood machine provides vital reading for students and scholars of political economy, political theory, film studies, and cinema.

In this second edition of Investing in Movies, industry veteran Joseph N. Cohen provides investors and producers with an analytical framework to assess the opportunities and pitfalls of film investments. The book traces macroeconomic trends and the globalization of the business, including the rise of streamers, as well as the impact these have on potential returns. It offers a broad range of guidelines on how to source interesting projects and advice on what kinds of projects to avoid, as well as numerous ways to maximize risk-adjusted returns. While focusing primarily on investments in independent films, Cohen also provides valuable insights into the studio and independent slate deals that have been marketed to the institutional investment community. As well, this new edition has been updated to fully optimize the current film industry climate including brand new chapters on the Chinese film market, new media/streaming services, and the effects of COVID-19 on the global film market. Written in a detailed and approachable manner, this book is essential for students and aspiring professionals looking to gain an insider perspective against the minefield of film investing.

The British Film Institute (BFI) is one of the UK's oldest and most important government-supported cultural institutions. From a modest start in the 1930s it grew rapidly after the war to encompass every kind of film-related activity from production to archiving to exhibition to education. At the beginning of the twenty-first century its turnover was approaching GBP30m and it had become a central point of reference for anyone whose interest in film stretched beyond what's on at the local multiplex. There was nothing straightforward about this rise to prominence. It was achieved in the face of government indifference, active obstruction from the film trade, internecine warfare within the organisation and fierce contestation on the part of the BFI's own core public. Based on intensive original research in the BFI's own voluminous archives and elsewhere, this book examines the interplay of external and internal forces that led to the BFI's unique development as a multi-faceted public body. This volume will be a treasure trove for anyone interested in film and the workings of cultural institutions, or more generally in twentieth-century British film history. -- .

In this second edition of Investing in Movies, industry veteran Joseph N. Cohen provides investors and producers with an analytical framework to assess the opportunities and pitfalls of film investments. The book traces macroeconomic trends and the globalization of the business, including the rise of streamers, as well as the impact these have on potential returns. It offers a broad range of guidelines on how to source interesting projects and advice on what kinds of projects to avoid, as well as numerous ways to maximize risk-adjusted returns. While focusing primarily on investments in independent films, Cohen also provides valuable insights into the studio and independent slate deals that have been marketed to the institutional investment community. As well, this new edition has been updated to fully optimize the current film industry climate including brand new chapters on the Chinese film market, new media/streaming services, and the effects of COVID-19 on the global film market. Written in a detailed and approachable manner, this book is essential for students and aspiring professionals looking to gain an insider perspective against the minefield of film investing.

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.

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 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.

Since the 1930s, the Walt Disney Company has produced characters, images, and stories that have captivated audiences around the world. How can we understand the appeal of Disney products? What is it about the Disney phenomenon that attracts so many children, as well as adults? In this updated second edition, with new examples provided throughout, Janet Wasko examines the processes by which the Disney company - one of the largest media and entertainment corporations in the world - continues to manufacture the fantasies that enthrall millions. She analyses the historical expansion of the Disney empire into the twenty-first century, examines the content of Disney's classic and more recent films, cartoons and TV programs and discusses how they are produced, considering how some of the same techniques have been applied to the Disney theme parks. She also discusses the reception (and sometimes, reinterpretation) of Disney products by different kinds of audiences. By looking at the Disney phenomenon from a variety of perspectives, she provides an updated and comprehensive overview of one of the most significant media and cultural institutions of our time. This important book by a leading scholar of the entertainment industries will be of great interest to students in media and cultural studies, as well as a broader readership of Disney fans.

Italian Cinema presents an overview and analysis of one of the most prolific and influential of national cinemas. Italian film has always drawn on a wide range of popular themes - from ancient history to the mafia, the family, the Risorgimento, terrorism, corruption and immigration - and on an equally diverse range of film genres - from comedy to westerns, horror, soft-porn, epics and thrillers. Commercial constraints, state and European funding, international competition, as much as cultural and political trends, have all influenced the sorts of film that get made and exported. Outlining the artistic, cultural, technical and commercial context of film, Italian Cinema presents a history from silent to contemporary film. As well as illuminating the work of classic directors such as Visconti, Fellini, Rossellini, Antonioni and Rosi, the book explores the interaction between art and popular cinema, visual style and spectacle, space and architecture, gender representations and politics.

Blair Miller tells the story of the motion picture industry as it developed in Jacksonville after the turn of the twentieth century. Almost Hollywood reveals the meteoric rise of Jacksonville in early silent films. Home to over thirty studios employing actors, directors, and stagehands, Jacksonville became touted as the "winter film capital of the world" by 1915. A myriad of factors contributed to Jacksonville's rise and then fall by the mid 1920s. What were the reasons why Jacksonville missed out as the next mecca for filmmaking? Blair Miller tells the story through primary sources from that remarkable period.

Blair Miller tells the story of the motion picture industry as it developed in Jacksonville after the turn of the twentieth century. Almost Hollywood reveals the meteoric rise of Jacksonville in early silent films. Home to over thirty studios employing actors, directors, and stagehands, Jacksonville became touted as the "winter film capital of the world" by 1915. A myriad of factors contributed to Jacksonville's rise and then fall by the mid 1920s. What were the reasons why Jacksonville missed out as the next mecca for filmmaking? Blair Miller tells the story through primary sources from that remarkable period.

Founded in 1966 at McMaster University by avant-garde filmmaker John Hofsess and future frat-comedy innovator Ivan Reitman, the McMaster Film Board was a milestone in the development of Canada's commercial and experimental film communities. McMaster's student film society quickly became the site of art filmmaking and an incubator for some of the country's most famous commercial talent - as the well as the birthplace of the first Canadian film to lead to obscenity charges, Hofsess's Columbus of Sex. In Hamilton Babylon, Stephen Broomer traces the history of the MFB from its birth as an organization for producing and exhibiting avant-garde films, through its transformation into a commercial-industrial enterprise, and into its final decline as a show business management style suppressed many of its voices. The first book to highlight the work of Hofsess, an innovative filmmaker whose critical role in the MFB has been almost entirely eclipsed by Reitman's legend, Hamilton Babylon is a fascinating study of the tension between art and business in the growth of the Canadian film industry.

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.

"Women stars in Hollywood were invariably in one of two categories," said director Otto Preminger. "One group was made up of women who were exploited by men, and the other, much smaller group was composed of women who survived by acting like men." Beginning with silent film vamp Theda Bara and continuing with icons like Greta Garbo, Marilyn Monroe and Raquel Welch, this study of film industry misogyny describes how female stars were maltreated by a sexist studio system--until women like Katharine Hepburn and Bette Davis fought for parity. The careers of Doris Day, Brigitte Bardot, Carole Landis, Francis Farmer, Dorothy Dandridge, Inger Stevens and many others are examined, along with more recent actresses like Demi Moore and Sharon Stone. Women who worked behind the scenes, writing screenplays, producing and directing without due credit, are also covered.

As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.

Modern Hollywood is dominated by a handful of studios: Columbia, Disney, Fox, Paramount, Universal, and Warner Bros. Threatened by independents in the 1970s, they returned to power in the 1980s, ruled unquestioned in the 1990s, and in the new millennium are again beseiged. But in the heyday of this new classical era, the major studios movies - their stories and styles - were astonishingly precise biographies of the studios that made them. Movies became product placements for their studios, advertising them to the industry, to their employees, and to the public at large. If we want to know how studios work-how studios think-we need to watch their films closely. How closely? Maniacally so. In a wide range of examples, The Studios after the Studios explores the gaps between story and backstory in order to excavate the hidden history of Hollywood's second great studio era.

In Hollywood's search for cheap, distinctive, and authentic locations, producers and directors are taking their business to foreign soil. Only one of the five 2002 Best Picture nominees was shot in the United States-The Hours, filmed in Hollywood, Florida. Contracting Out Hollywood addresses the American trend of "runaway productions"-the growing practice of producing American films and television programs on foreign shores. Greg Elmer and Mike Gasher have gathered a group of contributors who seek to explain the phenomenon from historical, political, economic, and cultural perspectives, using case studies, challenges to contemporary screen, media, and globalization theories, and analyses of changing government politics toward cultural industries.

"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.

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.

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 best business books I've read in years.' BILL GATES THE #1 NEW YORK TIMES BESTSELLER A SUNDAY TIMES BOOK OF THE YEAR 2019 _____________________________ The CEO of Disney, one of Time's most influential people of 2019, shares the ideas and values he embraced to reinvent one of the most beloved companies in the world and inspire the people who bring the magic to life. Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Morale had deteriorated, competition was intense, and technology was changing faster than at any time in the company's history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger-think global-and turn Disney into a stronger brand in international markets. Fourteen years later, Disney is the largest, most respected media company in the world, counting Pixar, Marvel, Lucasfilm and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era. In The Ride of a Lifetime, Robert Iger shares the lessons he's learned while running Disney and leading its 200,000 employees, and he explores the principles that are necessary for true leadership, including: Optimism. Even in the face of difficulty, an optimistic leader will find the path toward the best possible outcome and focus on that, rather than give in to pessimism and blaming. Courage. Leaders have to be willing to take risks and place big bets. Fear of failure destroys creativity. Decisiveness. All decisions, no matter how difficult, can be made on a timely basis. Indecisiveness is both wasteful and destructive to morale. Fairness. Treat people decently, with empathy, and be accessible to them. 'Bob Iger has not only lived up to ninety-six years of groundbreaking history but has moved the Disney brand far beyond anyone's expectations, and he has done it with grace and audacity. This books shows you how that happened.' STEVEN SPIELBERG

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.

Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. Established masters like Abbas Kiarostami and Mohsen Makhmalbaf have been joined by newcomers like Samira Makhmalbaf, Majid Majidi, Ja'far Qobadi and Bahman Qobadi, all directors whose films are screened to increasing acclaim in international festivals. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true 'world cinema'. From a range of perspectives, they explore cinema's development in post Revolution Iran and its place in Iranian culture.

The Film Studio sheds new light on the evolution of global film production, highlighting the role of film studios worldwide. The authors explore the contemporary international production environment, alleging that global competition is best understood as an unequal and unstable partnership between the 'design interest' of footloose producers and the 'location interest' of local actors. Ben Goldsmith and Tom O'Regan identify various types of film studios and investigate the consequences for Hollywood, international film production, and the studio locations.

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.