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When Kerry Met Sally: Politics and Perceptions in the Demand for Movies
When Kerry Met Sally: Politics and Perceptions in the Demand for Movies∗ Jason M.T. Roos† Ron Shachar‡ September 4, 2013 Abstract Movie producers and exhibitors make various decisions requiring an understanding of moviegoer’s preferences at the local level. Two examples of such decisions are exhibitors’ allocation of screens to movies, and producers’ allocation of advertising across different regions of the country. This study presents a predictive model of local demand for movies with two unique features. First, arguing that consumers’ political tendencies have unutilized predictive power for marketing models, we allow consumers’ heterogeneity to depend on their voting tendencies. Second, instead of using the commonly used genre classifications to characterize movies, we estimate latent movie attributes. These attributes are not determined a priori by industry professionals, but rather reflect consumers’ perceptions, as revealed by their movie-going behavior. Box-office data over five years from 25 counties in the U.S. Midwest provide support for the model. First, consumers’ preferences are related to their political tendencies. For example, we find that counties that voted for congressional Republicans prefer movies starring young, white, female actors over those starring African-American, male actors. Second, perceived attributes provide new insights into con- sumers’ preferences. For example, one of these attributes is the movie’s degree of seriousness. Finally and most importantly, the two improvements proposed here have a meaningful impact on forecasting error, decreasing it by 12.6 percent. ∗Our thanks go to Preyas Desai, Ron Goettler, Joel Huber, Wagner Kamakura, Carl Mela, Rick Staelin, and Andrew Sweeting who were kind enough to share some of their expertise. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
This Document Is Available on the Education Policy Studies Laboratory Website At: F C C C
This document is available on the Education Policy Studies Laboratory website at: http://www.asu.edu/educ/epsl/CERU/Articles/CERU-0502-115-OWI.pdf F C C C CAMPAIGN FOR A COMMERCIAL-FREE CHILDHOOD The Campaign for a Commercial-Free Childhood (formerly Stop Commercial Exploitation of Children) is a national coalition of health care professionals, educators, advocacy groups and concerned parents who counter the harmful effects of marketing to children through action, advocacy, education, research, and collaboration among organizations and individuals who care about children. CCFC supports the rights of children to grow up – and the rights of parents to raise them – without being undermined by rampant consumerism. The Coalition evolved from two events: In 1999, an innovative conference held at Howard University brought together a diverse and interdisciplinary group of activists, academics, educators and healthcare providers concerned about the corporate influences on children. One year later, a number of conference attendees gathered in New York City to protest the Golden Marble Awards, the advertising industry’s celebration of marketing to children; the Coalition was born. Since then, CCFC has been at the forefront of a growing movement to protect children from commercial exploitation. Our annual summit on the harms of marketing to children draws experts and activists from a number of fields. The Coalition continued to protest the Golden Marbles – until the industry canceled the awards in 2003. Our other grassroots efforts continue to take on the most egregious corporate offenders and mobilize support for legislation that would help protect children from marketers. CCFC has also hosted well-attended Congressional briefings. -
When Kerry Met Sally: Politics and Perceptions in the Demand for Movies
When Kerry Met Sally: Politics and Perceptions in the Demand for Movies∗ Jason M.T. Roos† Ron Shachar‡ September 4, 2013 Abstract Movie producers and exhibitors make various decisions requiring an understanding of moviegoer’s preferences at the local level. Two examples of such decisions are exhibitors’ allocation of screens to movies, and producers’ allocation of advertising across different regions of the country. This study presents a predictive model of local demand for movies with two unique features. First, arguing that consumers’ political tendencies have unutilized predictive power for marketing models, we allow consumers’ heterogeneity to depend on their voting tendencies. Second, instead of using the commonly used genre classifications to characterize movies, we estimate latent movie attributes. These attributes are not determined a priori by industry professionals, but rather reflect consumers’ perceptions, as revealed by their movie-going behavior. Box-office data over five years from 25 counties in the U.S. Midwest provide support for the model. First, consumers’ preferences are related to their political tendencies. For example, we find that counties that voted for congressional Republicans prefer movies starring young, white, female actors over those starring African-American, male actors. Second, perceived attributes provide new insights into con- sumers’ preferences. For example, one of these attributes is the movie’s degree of seriousness. Finally and most importantly, the two improvements proposed here have a meaningful impact on forecasting error, decreasing it by 12.6 percent. ∗Our thanks go to Preyas Desai, Ron Goettler, Joel Huber, Wagner Kamakura, Carl Mela, Rick Staelin, and Andrew Sweeting who were kind enough to share some of their expertise. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
August 1997 ¥ MAGAZINE ¥ Vol
August 1997 ¥ MAGAZINE ¥ Vol. 2 No. 5 Computer Animation SIGGRAPH Issue NASA’s JPL on Animation From Space SIGGRAPH’s Early Years John Whitney’s Legacy Plus: Computer Animation for Beginners Table of Contents 2 Table of Contents August 1997 Vol. 2, No. 5 4 Editor’s Notebook Computer animation is on everyone’s lips, but what exactly is being said? Heather Kenyon discusses the good and the bad. 6 Letters: [email protected] COMPUTER ANIMATION 9 Animation and Visualization of Space Mission Data We have all been glued to our television screens, amazed by the images of Mars that are being beamed thousands of miles through space. How do they do that? William B. Green and Eric M. DeJong from the California Institute of Technology Jet Propulsion Laboratory explain. 13 SIGGRAPH: Past and Present Super hip SIGGRAPH was founded in the world of academia and military tests far before visual effects were even considered. Joan Collins traces the growth of computer animation through the organization’s confer- ences. 17 Don’t Believe Your Eyes It is real, or is it animation? Bill Hilf explores the aesthetic implications of our new digital realm. 20 Going Digital And Loving It Traditional animator Guionne Leroy describes her first digital experience. Currently working on a new clay short, she is shooting it with a digital camera and having a blast with the new opportunities. 1997 22 Computer Animation 101:A Guide for the Computer Illiterate Hand-Animator Jo Jürgens answers everything you ever wanted to know about basic computer animation but were afraid to ask. -
Robert Rodriguez and the Transformation of a Microbudget
FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL By Copyright 2015 Zachary Ingle Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chairperson _______________________________ Tamara Falicov, Ph.D. ______________________________ Michael Baskett, Ph.D. ______________________________ Germaine Halegoua, Ph.D. ______________________________ John Tibbetts, Ph.D. ______________________________ Ben Chappell, Ph.D. Date Defended: April 24, 2015 The Dissertation Committee for Zachary Ingle certifies that this is the approved version of the following dissertation: FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL ________________________________ Chairperson Tamara Falicov Date approved: April 24, 2015 ii ABSTRACT Studies based on a director often follow a common model, generally resorting to an overview of that director’s films and examining shared aesthetic qualities and themes. This sort of study was grounded in the auteur theory—following authorship approaches in literature—and was invested in a consistency that justified the place of film authorship as a worthy pursuit in academia. In this study, however, I examine Mexican-American filmmaker Robert Rodriguez through a discursive analysis, unencumbered to textual analysis or even a chronological approach, with a look at the media discourse, Rodriguez’s own writings and interviews, and the pertinent scholarship. His debut award-winning debut feature, El Mariachi (1992), as well as the production diary that would soon follow, Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player inspired a generation of filmmakers into making ultra-low (or microbudget) films. -
The Girl Typing Discourse in North American Children's Television
The Girl Typing Discourse in North American Children’s Television Animation, 1990-2010 Emily Chandler A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences March 2017 Table of Contents Abstract 4 Acknowledgements 5 List of Figures 6 Introduction 7 Problem Identification 7 Aims 9 Scope of Inquiry and Rationale for Time Period, Medium and Topic 10 Theoretical Framework 13 Gap in Research 16 Sampling and Selection Procedures 17 Data Analysis Methods 22 Research Questions 23 Thesis Chapter Outline 24 Chapter One: Literature Review 25 Girl Typing 25 Female Representation in Animation 30 Postfeminist Discourses of Girlhood and Feminism 34 Girls as Empowered 34 Girls Out of Control 37 Neoliberal Feminism 41 Gap Identification 44 Conclusion 46 Chapter Two: Methodology and Methods 48 Introduction 48 Methodology 48 Data Analysis Methods 49 Discourse Analysis 50 Textual Analysis 51 Narrative Analysis 53 Limitations of Data Analysis Methods 55 Positionality 56 Sampling and Selection Procedures 58 Limitations of Sampling and Selection Procedures 59 Conclusion 60 Chapter Three: Agency and Power in As Told By Ginger 61 Introduction 61 As Told By Ginger (Nickelodeon, 2000-2004) 63 Everygirls 66 Popular Girls 70 Girl Typing and the Subverted Transformation 78 Episode Analysis: “Deja Who?” 81 2 Conclusion 89 Chapter Four: Androcentrism and Gender Entitlement in Recess 91 Introduction 91 Recess (Disney, 1997-2003) 91 Tomboys 98 Girly-Girls 104 Episode Analysis: “First -
Movies and the Impact of Images
SOUNDS AND IMAGES Movies and the Impact of Images In every generation, a film is made that changes 240 Early Technology the movie industry. In 1941, that film was and the Evolution Orson Welles’s Citizen Kane. Welles produced, of Movies directed, wrote, and starred in the movie at age 244 twenty-five, playing a newspaper magnate from The Rise of the Hollywood Studio a young man to old age. While the movie was not System a commercial success initially (powerful news- 247 paper publisher William Randolph Hearst, whose The Studio System’s Golden Age life was the inspiration for the movie, tried to suppress it), it was critically praised for its act- 257 The Transformation ing, story, and directing. Citizen Kane’s dramatic of the Studio System camera angles, striking film noir–style light- 260 ing, nonlinear storytelling, montages, and long The Economics of the deep-focus shots were considered technically Movie Business innovative for the era. Over time, Citizen Kane 267 became revered as a masterpiece, and in 1997 Popular Movies and Democracy the American Film Institute named it the Great- est American Movie of All Time. “Citizen Kane is more than a great movie; it is a gathering of all the lessons of the emerging era of sound,” film critic Roger Ebert wrote.1 CHAPTER 7 ○ MOVIES AND THE IMPACT OF IMAGES237 MOVIES A generation later, the space epic Star generated world of the ethereal planet Wars (1977) changed the culture of the Pandora, home of the eleven-foot-tall movie industry. Star Wars, produced, blue beings called the Na’vi. -
The Differing Roles of Success Drivers Across Sequential Channels: an Application to the Motion Picture Industry
The Differing Roles of Success Drivers Across Sequential Channels: An Application to the Motion Picture Industry Thorsten Hennig-Thurau Bauhaus-University of Weimar, Germany Mark B. Houston University of Missouri−Columbia Gianfranco Walsh University of Koblenz-Landau, Germany In several product categories, it is typical to release Sequential distribution, a phenomenon that occurs products sequentially to different markets and customer across media and consumer product channels, refers to a segments. Conventional knowledge holds that the roles firm’s products becoming more extensively available to of various product success drivers do not differ signifi- the market over time (Lehmann and Weinberg 2000). cantly across these sequential channels of distribution. Specifically, a product is initially distributed through a The authors examine sequential distribution channels restricted set of channels, often tightly controlled by the within the motion picture industry and develop a model firm. Over time, distribution through an array of channels that proposes that such differences exist between a pri- makes the product accessible to a wider range of customers. mary (short- and long-term theatrical box office) and a For example, the PowerBar energy bar was introduced in sequential (video rental) channel. The authors test their 1997 and sold to endurance athletes through specialized model with a sample of 331 motion pictures released in athletic stores. However, by early 2003, nonathletes made theaters and on video during 1999-2001 using partial up more than 50 percent of PowerBar sales, and avail- least squares. Results reveal differences in the impact of ability had expanded into mass retail channels, including success factors across channels.