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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. -
Donahue V. Artisan Entertainment 2002 U.S
Donahue v. Artisan Entertainment 2002 U.S. Dist. LEXIS 5930 United States District Court for the Southern District of New York April 5, 2002 HEATHER DONAHUE, MICHAEL C. WILLIAMS, JOSHUA G. LEONARD, Plaintiffs, against ARTISAN ENTERTAINMENT, INC., ARTISAN PICTURES INC, Defendants. 00 Civ. 8326 (JGK). 2002 U.S. Dist. LEXIS 5930. April 3, 2002, Decided. April 5, 2002, Filed. Counsel: For plaintiffs: Philip R. Hoffman, Pryor, Cashman, Sherman & Flynn, New York, New York. For defendants: Andrew J. Frack-man, O’Melveny & Myers, New York, New York. Before John G. Koeltl, United States District Judge. JOHN G. KOELTL, District Judge. Plaintiffs Heather Donahue, Michael C. Williams, and Joshua G. Leonard bring this action against defendants Artisan Entertainment, Inc., and Artisan Pictures Inc. (collectively, “Artisan”) for breach of contract and violations of New York Civil Rights Law § 51, § 43(a) of the Lanham Act, 15 U.S.C. § 1125(a), and New York common law regarding unfair competition. The plaintiffs, who played the three central characters in the film “The Blair Witch Project” (“Blair Witch 1”), complain that their names and likenesses from that film, or other images of them, have been used without their approval in a sequel called “Blair Witch 2: Book of Shadows” (“Blair Witch 2”), as well as in promotions for that sequel and in other unauthorized ways. The defendants claim that each of the plaintiffs authorized these uses in their original acting contracts. The defendants now move for summary judgment on all claims. I The standard for granting summary judgment is well established. Summary judgment may not be granted unless “the pleadings, depositions, answers to interrogatories, and admissions on file, together with the affidavits, if any, show that there is no genuine issue as to any material fact and that the moving party is entitled to a judgment as a matter of law.”~ II There is no dispute as to the following facts except where specifically noted. -
Consuming-Kids-Transcript.Pdf
1 MEDIA EDUCATION F O U N D A T I O N 60 Masonic St. Northampton, MA 01060 | TEL 800.897.0089 | [email protected] | www.mediaed.org Consuming Kids The Commercialization of Childhood Transcript INTRODUCTION The consumer embryo begins to develop during the first year of existence. Children begin their consumer journey in infancy. And they certainly deserve consideration as consumers at that time. – James U. McNeal | Pioneering Youth Marketer [TITLE SCREEN] Consuming Kids: The Commercialization of Childhood NARRATOR: Not since the end of World War II, at the height of the baby boom, have there been so many kids in our midst. There are now more than 52 million kids under 12 in all in the United States – the biggest burst in the U.S. youth population in half a century. And for American business, these kids have come to represent the ultimate prize: an unprecedented, powerful and elusive new demographic to be cut up and captured at all costs. There is no doubt that marketers have their sights on kids because of their increasing buying power – the amount of money they now spend on everything from clothes to music to electronics, totaling some 40 billion dollars every year. But perhaps the bigger reason for marketers’ interest in kids may be the amount of adult spending that American kids under 12 now directly influence – an astronomical 700 billion dollars a year, roughly the equivalent of the combined economies of the world’s 115 poorest countries. DAVID WALSH: One economic impact of children is the money that they themselves spend – the money that they get from their parents or grandparents, the money that they get as allowance; when they get older, the money that they earn themselves. -
ELIZABETH MARTUCCI Costume Designer
! ELIZABETH MARTUCCI Costume Designer www.ElizabethMartucci.com Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. SIDE HUSTLE Various Nickelodeon seasons 1-2 Prod: David Malkoff, Chris Phillips, John Beck, Ron Hart DAD, STOP EMBARRASSING ME Various Netflix season 1 Prod: Jamie Foxx, Jaime Rucker King, Chris Arrington PRIDE OF TEXAS Andy Fickman Disney Channel pilot Prod: Betsy Sullenger, Greg Hampson THE RANCH Various Netflix seasons 1-4 Prod: Melanie Patterson, Don Reo, Jim Patterson LIV & MADDIE Various Disney Channel seasons 2-4 Prod: Andy Fickman, Betsy Sullenger Emmy Nomination: Outstanding Costume Design in a Daytime Series GLEE Various Fox seasons 3-4 Prod: Ryan Murphy, Dante Di Loreto, Ian Brennan season 2 (Assistant Designer) SLAMBALL J.D. Hansen Spike TV seasons 3-4 Prod: Michael Tollin, Pat Croce TRUE BLOOD Various HBO season 5 (Costumer) Prod: Alan Ball, Gregg Fienberg SUBURGATORY Various ABC season 1 (Costumer) Prod: Emily Kapnek WORKAHOLICS Various Comedy Central season 1 (Costumer) Prod: Kevin Etten, Kyle Newacheck THE PINK HOUSE Michael Lembeck Universal Media Studios / NBC tv movie (Costumer) Prod: Kenny Schwartz NIP TUCK Various FX seasons 3-5 (Costumer) Prod: Ryan Murphy, Michael Robin CRIMINAL MINDS Various Touchstone season 4 (Costumer) Prod: Edward Bernero VALENTINE Various Media Rights Capital season 1 (Costumer) Prod: Kevin Murphy IN JUSTICE Various Touchstone season 1 (Costumer) Prod: Richard Heus, Terri Kopp SAMANTHA WHO? Various ABC season 1 (Costumer) Prod: Donald Todd, Peter Traugott Film PROJECT DIRECTOR -
Fact Book 2010
Fact Book 2010 Fact Book 2010 MANAGEMENT TEAM Board of Directors 3 Senior Corporate Officers 4 Principal Businesses 5 OPERATIONS DATA Studio Entertainment 6 Parks and Resorts 8 Consumer Products 11 Media Networks 12 Interactive Media 15 COMPANY HISTORY 2010 17 2009 - 1999 18 - 21 1998 - 1923 22 - 25 Table of Contents 2 BOARD OF DIRECTORS Susan E. Arnold John E. Bryson John S. Chen Judith L. Estrin Robert A. Iger Director since 2007 Director since 2000 Director since 2004 Director since 1998 Director since 2000 Steve Jobs Fred H. Langhammer Aylwin B. Lewis Monica C. Lozano Robert W. Matschullat Director since 2006 Director since 2005 Director since 2004 Director since 2000 Director since 2002 John E. Pepper, Jr. Sheryl Sandberg Orin C. Smith Chairman of the Board Director since 2010 Director since 2006 since 2007 Management Team 3 SENIOR CORPORATE OFFICERS Robert A. Iger President and Chief Executive Officer Jay Rasulo Senior Executive Vice President and Chief Financial Officer Alan N. Braverman Senior Executive Vice President, General Counsel and Secretary Jayne Parker Executive Vice President and Chief Human Resources Officer Christine M. McCarthy Executive Vice President, Corporate Real Estate, Sourcing, Alliances, and Treasurer Kevin A. Mayer Executive Vice President, Corporate Strategy and Business Development Zenia B. Mucha Executive Vice President, Corporate Communications Ronald L. Iden Senior Vice President, Global Security Brent A. Woodford Senior Vice President, Planning and Control Management Team 4 PRINCIPAL BUSINESSES STUDIO ENTERTAINMENT Rich Ross Chairman, The Walt Disney Studios PARKS AND RESORTS Thomas O. Staggs Chairman, Walt Disney Parks and Resorts Worldwide MEDIA NETWORKS George W. -
Tom Nazziola (Composer) Website: Phone: 917-280-5011 E-Mail: [email protected]
Tom Nazziola (Composer) Website: www.tomnazziola.com Phone: 917-280-5011 E-mail: [email protected] Grants / Commissions / Awards: • Commissioned by Rutgers University Percussion Department to create three new works for percussion ensemble (2015 - 2018). • Minnesota Orchestra Composer Institute Honorable Mention status: Night Unfolding (2017). • Winner of the 2016 Percussive Arts Society Composition Contest for Large Percussion Ensemble (2016). • Commissioned by Cantori New York (under the direction of Mark Shapiro) to create a choral work for upcoming tour in Europe as well as a New York City premier in the fall of (2013). • Commissioned by the Brooklyn Center for the Performing Arts to create a new score for the 1920 film “The Golem.” (2007). • Received a commission from the New Jersey Youth Symphony to create a new orchestral work - Beneath the Sea (2006). • Received a commission from VocalEssence and the American Composer’s Forum to create a new choral work for the 2004-2005 concert season. • Recipient of the Cerf Award in Music at Brooklyn College for outstanding achievements in music (2004 and 2005). • Recipient of the Julia Schwabe Award at Brooklyn College for outstanding achievements in music (2004). • Co-Recipient of the Oppenheim Toy Portfolio Gold Seal Award 2002 for performing on both Disney’s Baby Vivaldi and Baby Beethoven CD (2002). • Received a commission from the Museum of the Moving Image (NYC) to score Charlie Chaplin’s silent film “The Gold Rush” which premiered May 6th, 1999 at the Director's Guild of America in Manhattan (1998). Live Performances of Original Work: • World premiere of “Spiral Dance” (sextet) by Rutgers Saxophone Ensemble (2018). -
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. -
LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Sunset Boulevard Hollywood Boulevard Echo Lake Streets Of
L Guest Amenities Restrooms Hollywood Boulevard Streets of Americacontinued Pixar Pals For Character Greeting, First Aid Presented by Dining, Show and Attraction Times, Florida Hospital ATTRACTION 8 Lights, Motors, Action!® Extreme Stunt Show® Countdown To Fun! See how big-time vehicle stunts are done for blockbuster pick up a TIMES GUIDE. Guest Relations 1 The Great Movie Ride® Travel through Parade classic film scenes and Hollywood moments. Hollywood action films. 38-minute shows with limited ATMs ® E Presented by CHASE Continuous 22-minute tours. capacity. Presented by Brawny . Dance along and join the AED AEDAutomated External 9 Studio Backlot Tour party in this countdown to fun! Defibrillators DINING A walking/tram tour of moviemaking magic. Continuous 8 AED Inspired by some of your Audition for The Designated smoking area A The Hollywood Brown Derby R L D $$ Steak, seafood, 35-minute tours. chicken, the famous Brown Derby Cobb salad, desserts. AED favorite Disney•Pixar films. American Idol Experience! Baby Care Center‘ DINING See TIMES GUIDE We’re looking for Park Guests Locker rentals for times. Echo Lake H Pizza Planet Arcade L D $ Pizza, salads, meatball subs 9 (anyone 14+) to experience the thrill of being a Kodak® “PictureSpot” and beer. rock star. Audition today in a private area Disney's PhotoPass® ATTRACTIONS 10 Service I Mama Melrose’s Ristorante Italiano R L D $$ K The American Idol Experience with a friendly Casting Director who can help Disney Vacation Club® 2 Brick-oven pizza, pasta, chicken, seafood and steak. J AED Watch your fellow Guests take the stage and compete I make your performance dreams G Information Center J Studio Catering Co. -
Marktanteile Der Größten Filmstudios 2018 (Box Office in Den USA Und Kanada) Und Senderbeteiligungen in Deutschland
Marktanteile der größten Filmstudios 2018 (Box Office in den USA und Kanada) und Senderbeteiligungen in Deutschland Rang Unternehmensgruppe Produktionsstudios Anzahl erfolgreichste Titel Marktanteil zur Unternehmens- Kinofilme in Prozent gruppe gehörige bundesweite Fernsehveranstalter oder Beteiligungen1) 1 Walt Disney - Walt Disney Pictures 13 1 Black Panther 26,0 Disney Channel 2 Avengers: Infinity Disney Cinemagic2) Touchstone - War Disney Cinemagic HD2) - Pixar 3 Incredibles 2 Disney XD - Marvel Disney Junior Super RTL - Lucasfilm TOGGO plus RTL II 2 WarnerMedia (AT&T) - Warner Bros. 49 1 A Star is Born 16,3 Boomerang 2 Aquaman Cartoon Network - New Line 3 Crazy Rich Asians TNT Film TNT Serie TNT Comedy 3 Comcast/NBC - Universal Pictures 36 1 Jurassic World: Fallen 16,3 13th Street Universal Kingdom Syfy Dreamworks Animation - 2 Dr. Seuss' The Grinch Studio Universal - Focus Features 3 Halloween ab 10/2018 Sky - Illumination (diverse Filmkanäle) Entertainment - Carnival Films 2) 4 Sony - Sony Pictures 47 1 Jumanji: Welcome to 11,3 AXN the Jungle Sony Entertainment - Columbia Tristar Motion 2 Venom Television2) Pictures 3 Hotel Transylvania 3: - Sony Pictures Classics Summer Vacation - 5 Twenty-First Century - Twentieth Century Fox 23 1 Deadpool 2 10,3 bis 10/2018 Sky Fox (künftig Disney) Film 2 Bohemian Rhapsody (diverse Filmkanäle) 3 The Greatest Fox Channel - Fox 2000 Showman BabyTV2) - Fox Searchlight Pictures - Fox Animation/Blue Sky Studios 6 Viacom - Paramount Pictures 12 1 Mission: Impossible - 6,4 Nickelodeon/Comedy Fallout -
2012-Factbook.Pdf
TABLE OF CONTENTS MANAGEMENT TEAM Board of Directors 3 Senior Corporate Officers 4 Principal Businesses 5 OPERATIONS DATA Studio Entertainment 6 Parks and Resorts 8 Consumer Products 11 Media Networks 12 Interactive 14 COMPANY HISTORY 2012 16 2011 - 1923 17 - 30 2 MANAGEMENT TEAM BOARD OF DIRECTORS SUSAN E. ARNOLD JOHN S. CHEN JUDITH L. ESTIN ROBERT A. IGER Director since 2007 Director since 2004 Director since 1998 Chairman and Chief Executive Ocer FRED H. LANGHAMMER AYLWIN B. LEWIS MONICA C. LOZANO ROBERT W. MATSCHULLAT Director since 2005 Director since 2004 Director since 2000 Director since 2002 SHERYL SANDBERG ORIN C. SMITH* Director since 2010 Director since 2006 *Elected Independent Lead Director March 13, 2012 3 MANAGEMENT TEAM SENIOR CORPORATE OFFICERS Robert A. Iger Andy Bird Chairman, Walt Disney International Alan Braverman Senior Executive Vice President, General Counsel and Secretary Ronald L. Iden Senior Vice President, Global Security Kevin Mayer Executive Vice President, Corporate Strategy and Business Development Christine M. McCarthy Executive Vice President, Corporate Real Estate, Sourcing, Alliances, and Treasurer Zenia Mucha Executive Vice President, Jayne Parker Executive Vice President and Jay Rasulo Senior Executive Vice President and Brent Woodford Senior Vice President, Planning and Control 4 MANAGEMENT TEAM BUSINESS UNIT George Bodenheimer Executive Chairman, ESPN, Inc. Bob Chapek President, Disney Consumer Products Alan F. Horn Chairman, The Walt Disney Studios James Pitaro Co-President, Disney Interactive -
Bierhaus Owner Sees Trouble Brewing HIGH RENTS, REDEVELOPMENT PLANS COULD SINK POPULAR PUB
INSIDE THIS ISSUE Home + Garden Design JANUARY 5, 2018 VOLUME 25, NO. 50 www.MountainViewOnline.com 650.964.6300 MOVIES | 18 Bierhaus owner sees trouble brewing HIGH RENTS, REDEVELOPMENT PLANS COULD SINK POPULAR PUB By Mark Noack not optimistic about his future prospects. In less than a year, n a weekday night on Bierhaus could be the latest small Castro Street, it’s hard to business in Mountain View to Ofind a more popular spot shut its doors for good, Finley than Bierhaus. After 4:30 p.m. or said. so, the downtown beer garden’s The Bierhaus lease expires in patio is packed with patrons, and late 2018. In anticipation, the you can hear the sounds of clink- property owner has recently filed ing mugs and chatter echoing plans with the city to rebuild down the block. the corner site into a four-story It’s surprising, given that Bier- office building. The plans call haus’ corner location at 383 for a dense development built Castro St. for years had the out to the edge of the sidewalk, reputation of being the spot with three stories of offices and a where restaurants go to die. ground-floor restaurant space. Once a Wienerschnitzel fast-food Sitting with his dog at one of stand, the series of eateries that pub’s patio tables, Finley said ANA SOFIA AMIEVA-WANG followed closed in the redevelopment quick succession, would basically A LOOK BACK AT 2017 including a sports ‘This is what torpedo Bierhaus, There’s no need to squint — 2017 is behind us, but there’s still time for a visual stroll down memory bar, a seafood diner, ruining the spa- lane.