DOCSLIB.ORG

Focus: Film in the English and Language Arts Classroom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Focus: Film in the English and Language Arts Classroom DOCUMENT RESUME ED 132 582 CS 203 102 AUTHOR Mullican, James S., Ed. TITLE Focus: Film in the English and Language Arts Classroom. INSTITUTION Indiana Council of Teachers of English, Terre Haute. - PUB DATE 76 NOTE 49p.; The Indiana Council of Teachers of English is an affiliate of the National Council of Teachers of English JOURNAL CIT Indiana English Journal; v10 n2 Entire issue Kin 1975-76 EDRS PRICE MF-$0.83 BC-$2.06 Plus Postage. DESCRIPTORS Creativity; Elementary Secondary Education; *English Curriculum; *English instruction; Filmographies; *Films; *Film Study; *Language Arts; *Visual Literacy ABSTRACT The articles collected in this issue are devoted to the topic of film in the English and language arts classroom. Titles include "Film Study: Some Problems and Approaches" (Judd Chesler), "The Bev Basic Skill: Film" (Harold M. Foster), "Caveat Viewer: Developing Viewing Perceptions" (Edward S. Dermon), "Shreds and Patches: Improvised Textbook" (Dorothy M. Hill), "110 Volt English Teaching" (Jane Bales), "Stimulating Creativity in the Classroom" (Shirley J. Jones), "Films for Children" (Jill P. Hay), "I Basic Library of Short Films: 50 Suggested Titles" (Ken Donelson), "Teleteach and the English Class: An Interview with Lewis Paige Sego" (Raul Rosenthal), and "NCTE Resolution on Promoting Media Literacy, as well as poems by Michael Dougherty, Michael Deeter, and Jill Lee and a call for sanuscripts. (KS) **************************** ***************** ***mow*** Documents acquired by ERIC include many info mal,unpublished * materials not available-from other sources. ERIC makes every-effort-* * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered ankthis'affects the:quality * of the microfiche and hardcopyrreproductions ERIC nakes available * via the ERIC Document Reproduction service (EMS),. EDRS.is not- * * responsible for the quality of the original document..Reproductions * supplied by EDRS are the best thatcan be made:from the':origineil. ******************************************************************* Focus: Film In the English and Language Arts Classroom L.CN INDIANA ENGLISH JOURNAL hrl Member of the NCTE InformationExchange Agreement r-4 Volume 10, Number 2 nter 1975-76 S DEPARTMENTOF HEALTIt CONTENTS: EDUCATION A WELFARE NATIONAL iNSTITUTE OF 2:Contributors EDUCATION THIS DOCUMENTHAS BEEN REARO, 3:Film Study: Some Problems and Approaches DUCE@ EXACTLY AS THE PERSON OR RECEIVED FROM Judd Chesler ORGANIzATIONORIGIN- ATiNQIT POINTS OFvIEW OR OPINIoNS STATED 00 NOT 9:The Snow is Falling SENT OFFIcIAL NATIDNALNECESSARILY REPRE- INSTITUTE OF: Michael Dougherty EDUCATION POSITIONDR POLICy 10:The New Basic Skill: Film Harold M. Foster 13:Caveat Viewer: Developing Viewing Perceptions Edward S. Dertnon 16:Shreds and Patches: Improvised Textbook Dorothy M. Hill 18:1 Wonder... Michael Deeter 19:110 Volt English Teaching Jane Bales 24:Stimulating Creativity in the Classroom Shirley J. Jones 28:Films for Children Jill P. May 32:A Basic Library of Short Films: 50 Suggested Titles Ken Donelson 38:Teleteach and the English Class: An Interview with !wis Paige Sego Saul Rosenthal 45:Poems 'PERMIsSION TO REPRODuCE THIS COPT Jill Lee RIGHTED mATERIAL HAS HEN GRANTEDay 47:NCTE Resolution on Promotingedia er cyInd iana Council of Teachers of English 48:Call for Manuscripts toERIC AND ORGANIZATIONS OPERATING uNDER AGREEMENTS WITH THE NATIONAL IN. STITUTE OF EDUCATION FURTHER REPRO DuCTION OUTSIDE THE ERIC SYSTEM RE. WIRES PERMISSION OF THE COPYRIGHT 15 EDITOR OWNER James S. Mullican ndiana State University Indiana. State Univerei. ASSOCIATE EDITOR Terri) Haute, Indiana Harold 0. Spicer, Indiana State Univers' Indiana Council of Teachers of English, Division of , ,;Continuine, Education.- and _Eitendad,SerVices, , CONTRIBUTORS: JANE BALES, the Chairperson of the Department of English of Manchester (Indiana) High School, teaches filmmAing, creative writ- ing, and English_ JUDD CHESLER, an Assistant Professor of English and Film Studies at Purdue University, teaches courses in film history, theory, and apprecia- tion, as well as in English composition. He has his Ph.D. degree in Film from Northwestern University. MICHAEL DEETER was a senior at Manchester (Indiana) High School when he submitted his poem. He is now a student at Manchester Col- lege. EDWARD S. DERMON writes, am an English teacher at Herricks High School, in New Hyde Park, N. Y., where I watch as many films as I can. KEN DONELSON, a Professor of English at Arizona State University and the editor of the Ariwna English Bulletin, has thirteen years' ex- perience teaching in high school_ He is the author of 175 articles and a co-author of Teaching English Today (Houghtcn Mifflin, 1975). MICHAEL DOUGHERTY is in the eighth grade at Herbert Hoover Junior High School in Potomac, Maryland. HAROLD M. FOSTER is a graduate student and a university supervisor of student teachers at the University of Michigan. He expects to receive his Ph.D. degree this winter. DOROTHY M. HILL teaches senior English and sponsors the Hiking Club at Peabody (Pittsburgh, Pennsylvania) High School. She hasher D.A. degree from Carnegie-Mellon University_ SHIRLEY JEWELL JONES holds a teaching assistantship in the Depart- ment of English and Journalism at Indiana State University. Herin- terests include dance, poetry, children's literature, novels, and movies. JILL LEE is a senior at Plainfield (Indiana) High School. She is a former editor of her school paper and has written a sports column for the Hendricks County Flyet: JILL P. MAY is a Visiting Assistant Professor of Education at Purdue University. She has been the Children's Librarian and the Coordinator of Boo 'mobile Services, Madison (Wisconsin) Public Library. SAUL ROSENTHAL teaches creative writing at Indiana State University. He is a frequent contributor of poetry to Indiana English Journal. 3 JUDD CHESLER FILM STUDY: Some Problems andApproaches For the past ten years or so there has beenan explosion of interest in film all across the country_ In secondary schools anduniversities, film is now being taught in a wide variety of contexts: as a key for understanding culture, fine art, language, and literature,as well as a discipline in its own right. The viewpoint offered here is that film shouldbe understood in its own right before it is compared to, or used to explain, other things. Only in the past 20 years have film scholars begunto make strides toward under- standing the complex nature of cinema. Theresults of these studies, however, seem not to have achievedgeneral currency. Until recently, for ex- ample, most of the methodology for approachingfilm was borrowed from already established disciplines, for example,literary criticism and sociology. Now that film has been around forsome 80 years, some perspec- c has been gained. With this perspective havecome insights into the nature of cinematic art and film "language.- First. then, I would like to outlinesome of the problems which are in- volved in film study. Next. I will outlinesome approaches which seem most productive and which also seem to be conduciveto curriculum formula- tions. I would also suggest that the approaches offeredhere could be taken as a necessary first step toward the application of film to othercontexts. Problems One problem which this article attempts to address is thatmany of the existing approaches to film study do not take intoaccount the extremely complicated nature of film aesthetics. Briefly stated, film,more than any other medium, has a great variety of expressivemeans at its disposal, and usually it is a combination of thesemeans that is brought into play. For ex- ample, film employs both time (likea novel) and space (like a painting). -Another aspect is that film may include such dramaticmeans as acting, cos- tume, and decor; photographic means such as camera angle and lens distor- tion; and purely filmic means suchas camera movement and editing. Also, film may include various kinds of sound and variouskinds of visual content. Because of this multiplicity of means, film formsare also multiple. There is no such thing as "pure cinema." Nor is therea single and invariable concept of film "language- in the sameway we understand written or spoken language. Mint actually exists is a number of conventionalforms in which certain means have historically stabilizedLintopatterns of combina- tion. Hence we have:,cumentary films, in which dramatic means are eschewed and realistic photographic qualitiesare emphasized; narrative films, in which dramatic qualitiese.g., storystructure ane characteriza- tiondictate specific patterns of photographic and filmicorganization; 4 4 and experimental films, in which, for the most part, dramatic means are dis- carded in favor of finding significant patterns of organization based on corn- binations of photographic and filmic qualities. Another point is that film may be very "realistic," as in some documentariesand in some narrative films, or film may be totally unrealistic, as in the case of cartoons. Moreover, there may be combinations and variations on the above-stated conventions. The foregoing outline of some of the problems of film aesthetics is meant as an explanation of one basic point: film should be studied by ap- proaches appropriate to the forms it takes. There are different kinds of films, and there are approaches which help explain their nature, conven- tions, and significance. Too many people misuse and misunderstand film because they have not first considered approaches which
Load more

Recommended publications
  • RESUME 20 CONFERENCE Bucharest, 24 – 26 November 2017
    RESUME 20TH CONFERENCE Bucharest, 24 – 26 November 2017 20th Europa Cinemas Conference 2 TABLE OF CONTENTS OPENING OF THE 20th EUROPA CINEMAS CONFERENCE…………………………………………………….8 Nico Simon – President of Europa Cinemas………………………………………………………………………….……….8 Lucia Recalde - Head of Unit Creative Europe/MEDIA, EuropeanCommission……………………………...8 Claude-Eric Poiroux – General Director of Europa Cinemas…………………………………………………………..9 SESSION I – THE CHANGING CINEMA EXPERIENCE IN CHANGING TIMES…………………………10 Both directed by Michael Gubbins – Consultant, SampoMedia, UK Introduction: Keynote Interview with Cristian Mungiu (Director, Exhibitor and Distributor, Romania)………………………………………………………………………………………………………………………10 PANEL I – Entrepreneurialism & Evolving Cinema Experience…………………………………….……13 The role of entrepreneurial business thinking and practice Enhancing the cinema environment: architecture, design, sound and vision The essential role of cinema in communities across Europe Film as a vital art form in a period of disruptive change Lionello Ceri – CEO, Anteo & Producer, Lumière & Co, Italy………………………………………………………13 Heinrich-Georg Kloster – CEO, Yorck Kinogruppe, Germany…………………………………………..…….…..13 Bero Beyer – General and Artistic Director, Intl Film Festival Rotterdam, The Netherlands…………………………………………………………………………………………………………………..……….…14 Prof. Kazu Blumfeld Hanada & Diego Kaiser – Hands on Cinema, Münster School of Architecture, Germany………………………………………………………………………………………………………………15 PANEL 2 – Independence of Choice: Challenges & Opportunities for Cinema …………………16
    [Show full text]
  • I D II Ill TE 001 549 69 R
    DEPARTMENT bF HEALTH, EDUCATION,AND WELFARE OE FORM 6000, 2169 OFFICE OF EDUCATION tillt.;Kt.1-1.)1%Iilr..UIVIC. ERIC ACC. NO. ED 032 316 IS DOCUMENTCOPYRIGHTED? YES NO0 fit CH ACC. NO. P.A.PUBL. DATE. I ESTI\N 71031CREPRODUCTION RELEASE? YES 0 NO i LEVELOF AVAILABILITY I D II Ill TE 001 549 69 R -.... AUTHOR Sohn, David A. Stucker, Melinda . TITLE Film Study in the Elementary School: Grades Kindergartenthrough Eight. A Curriculum Report to the American Film Institute. SOURCE CODEINSTITUTIONSOURCE) J1M25110 SP. AG. CODESPONSORING AGENCY BBB01992 . EDRS PRICE CONTRACT NO. GRANT NO. 1.25;14.60 REPORT. NO. BUREAU NO. AVAILABILITY JOURNAL CITATION DESCRIPTIVE NOTE 290p. DESCRIPTORS *Film Study; *Elementary Grades; *Instructional Aids; *ProgramEvaluation; *Films; Experimental Programs; Audiovisual Aids; Audiovisual Communication;Cartoons; Mass Media; Photography; Sound Effects; Sound Films; Teaching Methods;Teacher. Attitudes; Student Reaction; Student Attitudes IDENTIFIERS I . ABSTRACT The first and major portion of this 'report of ,a film study projectin Evanston, Illinois, lists films selected for use in grades 1-8, together with plotsummaries of varying lengths, special uses for the films, suggested study questionsand activities, sample student responses to questions and assignments,running times, appropriate age levels, and sourceslor ordering the filmt. Theresults of an evaluation of the film program as determined by questionnaires distributed to students and teachers are presented in parts two and three. A briefconclusion on the overall response to the program and the addresses of filmdistributors conclude the publication. (LH) . -... U.S. DEPARTMENT OF HEALTH, EDUCATION d WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY.
    [Show full text]
  • A Dark New World : Anatomy of Australian Horror Films
    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
    [Show full text]
  • **V************************************ Reproductions Supplied by Edits Are the Best That Can Be Made Froa Tae Original Document
    D0006661 RESUME ED 166 926 CS 205 566 AUTdOR Spann, Sylvia, El.; Culp, Mary Beth, Ed. TITLE Thematic Units in leaching English and the dumanities. Second Supplement. INsTirurION National Couacil of Teachers of English, Urbana, PUB DATE 30 NOTE 159p. AVAILABLE FRO3 Sational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 53755, $6.50-member, $7.00 non-member). EDRS PRICE SF01/PCO7 Plus Postage. DESCRIPTORS Advertising; Communication Skills; Curriculum Development; *English Instruction; Futures (of Society); History; *Humanities: Justice: Listening Sicills; Logic; Politics; Popular Culture: Resource Units; Schools; Secondary Education; *Teaching Guides; *Thematic Approach; *Units of Study; Writing Instruction; Writing Skills ABSTRACT Tae seven units in this second supplement to "Thematic Units" focus oa communication skills, offering English teachers conteaporary plans for teaching writing, listening, persuasion, and'reasoning. The units were selected for their humanistic approaches to student language learning, combining English instruction with,topics in the humanities. Each unit contains comments from the teacher who developed the unit, an overview of the unit, general obfectives, evaluation methods, daily lesson plans and activities, study guides, resource materials, and other appropriate suggestions and at:dchments. The topics of the units are the school system, logic, nostaigia (studying the popular culture ofa past decade), futurism as a framework for composition instruction, advertising, politics, and law and justice. (RL) ********************************v************************************ Reproductions supplied by EDitS are the best that can be made froa tae original document. *********************************************************************** U S DEPARTMENT OF nEALTN. EDUCATION A TVILITAIIE NTMNAL INSTITUTE OF EDUCATION TmpSDOC UMENT HAS BEEN REPRO. nur.t.,E.A Fl V AS RECEIVED FROM 111 -Admai-i-ka *HI Pf RsON OR ORCAN QAT tON OSI 'GIN- I.
    [Show full text]
  • Distribution Forward Distribution Forward: a Guide to Strategic Self-Initiated Digital and DVD Documentary Film Distribution
    Distribution Forward Distribution Forward: a guide to strategic self-initiated digital and DVD documentary film distribution. THIS PUBLICATION WAS MADE POSSIBLE THROUGH THE SUPPORT OF: 1 Contents Introduction 3 Elizabeth Radshaw, Hot Docs Forum and Market Director The Marketplace 4 Elizabeth Radshaw, Hot Docs Forum and Market Director The Rights 6 Greg Rubidge, Syndicado The Players 7 Greg Rubidge, Syndicado The Deals 8 Greg Rubidge, Syndicado The Strategy 9 • Greg Rubdige, Syndicado 9 • Jon Reiss, JonReiss.com 12 • Melanie Miller, Gravitas Ventures 19 • Robin Smith, KinoSmith 14 • Andrew Mer, Snag Films 18 The Example 21 Felice Gorica, Gorica Productions The Wisdom 23 Janet Brown, Cinetic The Resources 24 2 Introduction Distribution Forward: a guide to strategic self-initiated digital and DVD documentary film distribution. Distribution Forward illustrates the current climate of digital and DVD distribution of documentary films through examples, case studies and direct market intelligence from players in the field. This guide will provide tools, information and support to help filmmakers determine their own strategies for their films’ market trajectory. Additionally, Distribution Forward intends to dispel the myths Twitter length conversation bubbles @DistributionFwd tiny bits of and better inform filmmakers about the realities of the market distribution wisdom. place, helping them to achieve positive results and meet their financial, professional and artistic goals. The dialogue around digital documentary distribution has run the gamut of DIY, DIWO, hybrid, and self-distribution, which can confuse filmmakers and muddle their expectations. This guide intends to shed some light on the current climate. It is by no means exhaustive and there are a many avenues worthy of exploration.
    [Show full text]
  • Introduction
    INTRODUCTION This study guide attempts to trace the production process o1 the forthcoming film War of the Buttons' from its Conception to its release in the cinema. In tracing this route students are asked to carry out a number of tasks, many of which relate directly to decisions which have to be made during film production. Following the development of this one film we have tried to draw conclusions about the mainstream film making process. However, it is important to bear one thing in mind. As the production accountant for 'War of the Buttons', John Trehy points out: "Each and every feature film I've worked on is completely different from every other, and can only be looked on a as prototype. The production process is always difficult when you're dealing with prototypes and this often explains why so many films exceed their original budgets. 'How can you be a million or two dollars over?' - is a question that is often asked. The reason is that certain kinds of films are unique and the production team must do things that have never been done before." Thus, whilst many of the processes which are dealt with in this guide could well hold good for other films, there are certain aspects which are unique. The guide examines both areas and encourages students to use their own experience of film viewing and cinema-going to explore both the generalities and the uniqueness. There is no attempt to show 'the wonderful world of filmmaking'; rather the guide reveals an industrial process, one in which the time spent on preparing for the film to be shot far outweighs the amount of time actually spent shooting.
    [Show full text]
  • The Field Guide to Sponsored Films
    THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House.
    [Show full text]
  • Federal Register/Vol. 68, No. 49/Thursday, March 13
    11974 Federal Register / Vol. 68, No. 49 / Thursday, March 13, 2003 / Rules and Regulations a designee, and is a thorough review of DEPARTMENT OF TRANSPORTATION LIBRARY OF CONGRESS the case. The formal review determination shall be based on the Saint Lawrence Seaway Development 36 CFR Part 704 information, upon which the initial Corporation determination and/or reconsideration National Film Preservation Board; determination was based, and any 33 CFR Part 401 1994–2002 Films Selected for Inclusion additional information the appealing in the National Film Registry party may submit or OCHAMPUS may [Docket No. SLSDC 2002–13698] AGENCY: National Film Preservation obtain. Board, Library of Congress. (3) Timeliness of formal review RIN 2135–AA15 ACTION: Final rule. determination. The Chief, Office of SUMMARY: The Librarian of Congress is Appeals and Hearings, OCHAMPUS, or Seaway Regulations and Rules: publishing the following list of films a designee normally shall issue the Automatic Identification System formal review determination no later selected from 1994–2002 for inclusion in the National Film Registry in the than 90 days from the date of receipt of AGENCY: Saint Lawrence Seaway Library of Congress pursuant to section the request for formal review by the Development Corporation, DOT. OCHAMPUS. 103 of the National Film Preservation (4) Notice of formal review ACTION: Final rule; correction. Act of 1996. The films are published to determination. The Chief, Office of notify the public of the Librarian’s Appeals and Hearings, OCHAMPUS, or SUMMARY: In the Saint Lawrence Seaway selection of twenty-five films selected in a designee shall issue a written notice Development Corporation (SLSDC) final each of these years deemed to be of the formal review determination to rule amending the Seaway regulations ‘‘culturally, historically or aesthetically the appealing party at his or her last and rules (33 CFR part 401) published significant’’ in accordance with known address.
    [Show full text]
  • National Film Registry
    National Film Registry Title Year EIDR ID Newark Athlete 1891 10.5240/FEE2-E691-79FD-3A8F-1535-F Blacksmith Scene 1893 10.5240/2AB8-4AFC-2553-80C1-9064-6 Dickson Experimental Sound Film 1894 10.5240/4EB8-26E6-47B7-0C2C-7D53-D Edison Kinetoscopic Record of a Sneeze 1894 10.5240/B1CF-7D4D-6EE3-9883-F9A7-E Rip Van Winkle 1896 10.5240/0DA5-5701-4379-AC3B-1CC2-D The Kiss 1896 10.5240/BA2A-9E43-B6B1-A6AC-4974-8 Corbett-Fitzsimmons Title Fight 1897 10.5240/CE60-6F70-BD9E-5000-20AF-U Demolishing and Building Up the Star Theatre 1901 10.5240/65B2-B45C-F31B-8BB6-7AF3-S President McKinley Inauguration Footage 1901 10.5240/C276-6C50-F95E-F5D5-8DCB-L The Great Train Robbery 1903 10.5240/7791-8534-2C23-9030-8610-5 Westinghouse Works 1904 1904 10.5240/F72F-DF8B-F0E4-C293-54EF-U A Trip Down Market Street 1906 10.5240/A2E6-ED22-1293-D668-F4AB-I Dream of a Rarebit Fiend 1906 10.5240/4D64-D9DD-7AA2-5554-1413-S San Francisco Earthquake and Fire, April 18, 1906 1906 10.5240/69AE-11AD-4663-C176-E22B-I A Corner in Wheat 1909 10.5240/5E95-74AC-CF2C-3B9C-30BC-7 Lady Helen’s Escapade 1909 10.5240/0807-6B6B-F7BA-1702-BAFC-J Princess Nicotine; or, The Smoke Fairy 1909 10.5240/C704-BD6D-0E12-719D-E093-E Jeffries-Johnson World’s Championship Boxing Contest 1910 10.5240/A8C0-4272-5D72-5611-D55A-S White Fawn’s Devotion 1910 10.5240/0132-74F5-FC39-1213-6D0D-Z Little Nemo 1911 10.5240/5A62-BCF8-51D5-64DB-1A86-H A Cure for Pokeritis 1912 10.5240/7E6A-CB37-B67E-A743-7341-L From the Manger to the Cross 1912 10.5240/5EBB-EE8A-91C0-8E48-DDA8-Q The Cry of the Children 1912 10.5240/C173-A4A7-2A2B-E702-33E8-N
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • 10903395.Pdf
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive This is the author’s version of a work that was submitted/accepted for pub- lication in the following source: Silver, Jon & Alpert, Frank (2003) Digital dawn : a revolution in movie distribution? Business Horizons, 46(5), pp. 57-66. This file was downloaded from: http://eprints.qut.edu.au/41190/ c Copyright 2003 Elsevier. Notice: Changes introduced as a result of publishing processes such as copy-editing and formatting may not be reflected in this document. For a definitive version of this work, please refer to the published source: http://dx.doi.org/10.1016/S0007-6813(03)00072-7 “Digital Dawn: A Revolution in Movie Distribution?” Business Horizons Vol. 46, Issue 5. Sept-Oct. 2003 pp. 57-66 Jon Silver Lecturer, School of Marketing Queensland University of Technology, Brisbane QLD 4111 Australia [email protected] Frank Alpert Associate Professor, School of Business University of Queensland, Brisbane QLD 4111 Australia [email protected] “Digital Dawn: A Revolution in Movie Distribution?” Abstract How will the digital technology revolution impact the movie business? Hollywood developed a highly successful industrial system that has functioned well for almost a century in the sense that it enabled the Major film studios to largely control and dominate the industry. However, the new digital technology may now be propelling Hollywood toward the biggest technological transition since the creation of the studio system almost a century ago. For example, Major Hollywood studios are already beginning to provide video-on-demand (VOD) digital distribution of movies over the Internet.
    [Show full text]
  • The Economics of Film Distribution
    The Economics of Film Distribution by William Jennings Byrd A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn, Alabama December 13, 2010 Keywords: Movies, Optimal Timing, Release, Correlated Equilibria Copyright 2010 by William Jennings Byrd Approved by Diane Hite, Chair, Professor of Agricultural Economics John Jackson, Professor of Economics T. Randolph Beard, Professor of Economics Michael L. Stern, Associate Professor of Economics Abstract The film industry, namely Hollywood, is characterized by a pattern of large budget releases during what may be termed peak seasons. The peak seasons are centered on holidays, when demand is high, which in turn leads to greater box office revenue. This environment creates competition for release during these days and as such, distributors must compete in releases. This dissertation analyzes this behavior by incorporating game theoretic models to determine optimal release patterns. An economic history of the film industry and film distributors provides the foundation to current film practices. The economic history entails distributor practices through the various eras of Hollywood. A brief analysis of the major film distributors is also given. Chapter three introduces two-player noncooperative games. The first group of games centers on two players engaging in simultaneous play. From these games, a coordination failure arises and the second group games are specified under a correlated equilibrium. With correlated equilibria, it is possible to increase expected payoffs to distributors and increase social welfare. The game theory models are then tested with a series of regressions with data from 1998 – 2008.
    [Show full text]