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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Co-Optation of the American Dream: a History of the Failed Independent Experiment
Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences. -
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1). -
The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934. -
Effects of Accounting Regulations on Economic Decision-Making: a Case
University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-6-2012 Effects of Accounting Regulations on Economic Decision-Making: A Case Study in the Film Industry Christopher Rizzio University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the Accounting Commons, and the Business Administration, Management, and Operations Commons Recommended Citation Rizzio, Christopher, "Effects of Accounting Regulations on Economic Decision-Making: A Case Study in the Film Industry" (2012). Honors Scholar Theses. 229. https://opencommons.uconn.edu/srhonors_theses/229 Rizzio 1 Abstract Big actors, big effects, and big budgets all characterize today’s movies. Companies that produce these films have continued to increase spending to create better pictures and attract more people to the theatre. As part of the media and entertainment industry, film companies are subject to several specific accounting rules that govern the reporting of revenues and the classification of film expenses. However, many of these rules issued by the Financial Accounting Standards Board (FASB) are subject to a good deal of interpretation. These ambiguities can make it difficult to correctly report earnings in an industry that spends billions of dollars per year, which may also be affecting how firms make strategic decisions. This paper examines how the accounting for revenues and expenses for firms in the film industry affects aspects of their economic decision-making. The actual accounting principles are examined first, followed by a discussion of the changes that have affected studios in the industry. Finally, Time Warner and Walt Disney are analyzed as two of the major film studios in the business. -
Research on Audience Engagement in Film Marketing
Department of Informatics and Media Master’s Program in Social Sciences, Digital Media and Society Specialization Two-year Master’s Thesis Research on Audience Engagement in Film Marketing -- Taking the film <Us and Them> as the Case Student: Ruiyan Huang Supervisor: Cecilia Strand Spring 2019 Abstract The film marketing is becoming increasingly important due to the fierce competition of film industry in China. With the drive of technology innovations, the creation of interaction among audiences has gradually become the spotlight of film marketing and many social media platforms are employed as marketing tools to encourage or foster audience engagement. Through the case study of Us and Them, the thesis studies how audience engagement is realized through film marketing strategies made by marketers, so as to identify the specific marketing strategies or techniques used for enhancing the audience engagement and promoting the film. As different marketing techniques will lead to different level of audience engagement, that are normally reflected by the preferences of audiences, their behaviors on social media and the way of involving into film contents, it is necessary to explore and understand the effectiveness and efficiency of these techniques, so that the film marketing can be improved while practical marketing progressing. Keywords Audience engagement, film marketing, social media, marketing content 2 Acknowledgements First of all, I would like to thank Swedish Institute, offering me the platform so I could have chance to get the master’s degree in Uppsala University in Sweden. Most importantly, I would like to thank Cecilia Strand, my thesis supervisor, who guided me and gave me suggestions to finish the thesis. -
The Political Economy of Independent Film: a Case Study of Kevin Smith Films
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Political Economy of Independent Films: A Case Study of Kevin Smith Films Grace Kathleen Keenan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE POLITICAL ECONOMY OF INDEPENDENT FILMS: A CASE STUDY OF KEVIN SMITH FILMS By GRACE KATHLEEN KEENAN A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Arts in Media Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Grace Kathleen Keenan defended on April 9, 2009. ____________________________________ Jennifer M. Proffitt Professor Directing Thesis ____________________________________ Stephen D. McDowell Committee Member ____________________________________ Andrew Opel Committee Member __________________________________________________ Stephen D. McDowell, Chair, Department of Communication __________________________________________________ Gary R. Heald, Interim Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For my parents, who have always seen me as their shining star iii ACKNOWLEGEMENTS Dr. Proffitt: Without your dedication to learning and students, this thesis would have been impossible. You truly have the patience of an angel. Much love. Dad: How do you put up with me? Thank you for all your emotional and financial support. Mom: You are always striving to understand. I think I get that from you. Newton Hazelbaker: Again, how do you put up with me? Thank you for your absolute and unconditional love. Laura Clements: Perhaps the most fun person I’ve ever met. -
The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed. -
The Long Tail of the Video Store
The Long Tail of the Video Store Frederick Wasser In 2010, it is remarkable that video rental stores still survive. Of course, their collective vibrancy is not much stronger than the art house movie theater that these stores did so much to undermine. In their heyday people speculated that the stores had become the new art houses, but even then, other people speculated that they would not last and today it seems that they will not last much longer. The recent academic writing about the video rental store has the air of a post mortem, with an intuition that there is a legacy, a change for which the video store was responsible. It is now being cast as the forerunner of Netflix and TiVo and other distribution systems that utilize the Internet. It is also valorized as one of the enabling apparatuses for the new model of cultural distribution that Chris Anderson has popularized as the “long tail” of marketing. But younger scholars are wary of this recent media historicizing; we may be falling into a teleological fallacy by praising the video store for subsequent developments for which it is not responsible.1 Historicizing is, however, the motivation of this essay. I am interested in the video store as a chapter in the recent political economy of the filmed entertainment industries. Much of the literature about video and DVD is motivated and informed by studies of fandom and actual practices of viewers. This is somewhat different in emphasis from my industry perspective. Of Media Fields Journal no. 1 (2010) 2 The Long Tail of the Video Store course both media industry and fan/audience scholars are concerned about the possibilities of genuine personal autonomy and democratic participation in societies dominated by mass media. -
The Migration of U.S. Film and Television Production
PREFACE In the early 1990s, important segments of the U.S. film industry became increasingly concerned about the growing loss of film and television production to foreign shores. The phenomenon of “runaway film production” began as a trickle, but has since become a persistent trend that is affecting thousands of jobs in certain segments of the film and television production industry, such as sound engineers, lighting technicians, assistant directors, unit production managers, supporting actors, costume designers, and set designers. In addition, there may be an even greater number of jobs affected that are connected to film and television production, such as caterers, truck drivers, carpenters, electricians, construction workers, hotel employees, and small businesses that provide services or material goods to productions throughout the United States. Some industry observers fear that the exodus of film production could threaten the viability of important segments of the film production industry in the United States, with potentially devastating effects on local communities in many states. Last year, the Department of Commerce was asked to examine the flight of U.S. television and cinematic film production to foreign shores. In September 2000, Commerce received an additional urgent request from a bipartisan group of Members of Congress to ensure that the final report address the following issues: (1) the impact of runaway production on the “below-the-line” employees throughout the United States, including (but not limited to) caterers, -
The Impact of the Film Industry on Tourism
The Impact of the Film Industry on Tourism Bachelor Thesis for Obtaining the Degree Bachelor of Business Administration in Tourism, Hotel Management and Operations Submitted to Eva Aileen Jungwirth-Edelmann, MA Andrea Zurdo Vara 1711019 Vienna, 10 July 2020 Affidavit I hereby affirm that this Bachelor’s Thesis represents my own written work and that I have used no sources and aids other than those indicated. All passages quoted from publications or paraphrased from these sources are properly cited and attributed. The thesis was not submitted in the same or in a substantially similar version, not even partially, to another examination board and was not published elsewhere. 10/07/2020 Date Signature 2 Abstract Topic: The Impact of the Film Industry on Tourism Name of Author: Andrea Zurdo Vara Course/Year: Bachelor of Business Administration in Tourism, Hotel Management and Operations, 2017 Pages: 76 Content: A new emerging trend within modern tourism has been dubbed as film- induced tourism. While this growing phenomenon presents many benefits, it is crucial to address the potential disadvantages such as over-tourism and the lack of research about the topic. Accordingly, this thesis attempts to define film-induced tourism, as well as to explore the relationship between films and tourism. An analysis of the current tourist profile and the level of general knowledge of the term studied is examined. Moreover, imagery, consumer behaviour and motivation play a distinctive role when choosing a travel destination, being these analysed to understand tourists’ motivations. Hence, the main aim is to investigate the influence that the film industry has on a destination and the motivational aspects that drive tourists to choose their next travel destination after consuming said content. -
Attracting Film Production
Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer.