Strategies for Growing the Pittsburgh Media Cluster
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Premiere Props • Hollyw Ood a Uction Extra Vaganza VII • Sep Tember 1 5
Premiere Props • Hollywood Auction Extravaganza VII • September 15-16, 2012 • Hollywood Live Auctions Welcome to the Hollywood Live Auction Extravaganza weekend. We have assembled a vast collection of incredible movie props and costumes from Hollywood classics to contemporary favorites. From an exclusive Elvis Presley museum collection featured at the Mississippi Music Hall Of Fame, an amazing Harry Potter prop collection featuring Harry Potter’s training broom and Golden Snitch, to a entire Michael Jackson collection featuring his stage worn black shoes, fedoras and personally signed items. Plus costumes and props from Back To The Future, a life size custom Robby The Robot, Jim Carrey’s iconic mask from The Mask, plus hundreds of the most detailed props and costumes from the Underworld franchise! We are very excited to bring you over 1,000 items of some of the most rare and valuable memorabilia to add to your collection. Be sure to see the original WOPR computer from MGM’s War Games, a collection of Star Wars life size figures from Lucas Film and Master Replicas and custom designed costumes from Bette Midler, Kate Winslet, Lily Tomlin, and Billy Joel. If you are new to our live auction events and would like to participate, please register online at HollywoodLiveAuctions.com to watch and bid live. If you would prefer to be a phone bidder and be assisted by one of our staff members, please call us to register at (866) 761-7767. We hope you enjoy the Hollywood Live Auction Extravaganza V II live event and we look forward to seeing you on October 13-14 for Fangoria’s Annual Horror Movie Prop Live Auction. -
Université De Montréal Un Regard Hors De Soi : Étude Des Rapports Entre
Université de Montréal Un regard hors de soi : Étude des rapports entre corps, caméra et espace dans l’histoire des techniques de prise de vues au cinéma par Philippe Bédard Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Thèse présentée en vue de l’obtention du grade de Philosophiæ Doctor (Ph. D.) en Études cinématographiques Septembre 2020 © Philippe Bédard, 2020 Université de Montréal Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences Cette thèse intitulée Un regard hors de soi : Étude des rapports entre corps, caméra et espace dans l’histoire des techniques de prise de vues au cinéma Présentée par Philippe Bédard A été évaluée par Carl Therrien Président-rapporteur Richard Bégin Directeur de thèse Carl Therrien Membre du jury Antoine Gaudin Évaluateur externe I RÉSUMÉ En tant que phénomène divisé entre technique et esthétique, le mouvement de caméra s’avère parfois difficile à analyser. Comme le remarque Vivian Sobchack (1982, 317), le vocabulaire typiquement utilisé pour aborder les mouvements de caméra nous renvoie à leur processus de création et n’est pas suffisant pour rendre compte de l’expérience que nous en avons lors du visionnement d’un film. Le projet de cette thèse est d’aborder les mouvements de caméra du point de vue des rapports qui se tissent entre la caméra, le corps et l’espace, et ce, à la fois au moment de la production d’un film et dans le cadre de l’expérience spectatorielle. Un phénomène particulier guide notre étude, soit ce que nous appelons l’ « image exo- centrique ». -
Paramount Consent Decree Review Public Comments 2018
COMMENTS OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS U.S. DEPARTMENT OF JUSTICE, ANTITRUST DIVISION REVIEW OF PARAMOUNT CONSENT DECREES October 1, 2018 National Association of Theatre Owners 1705 N Street, N.W. Washington, D.C. 20036 (202) 962-0054 I. INTRODUCTION The National Association of Theatre Owners (“NATO”) respectfully submits the following comments in response to the U.S. Department of Justice Antitrust Division’s (the “Department”) announced intentions to review the Paramount Consent Decrees (the “Decrees”). Individual motion picture theater companies may comment on the five various provisions of the Decrees but NATO’s comment will focus on one seminal provision of the Decrees. Specifically, NATO urges the Department to maintain the prohibition on block booking, as that prohibition undoubtedly continues to support pro-competitive practices. NATO is the largest motion picture exhibition trade organization in the world, representing more than 33,000 movie screens in all 50 states, and additional cinemas in 96 countries worldwide. Our membership includes the largest cinema chains in the world and hundreds of independent theater owners. NATO and its members have a significant interest in preserving an open marketplace in the North American film industry. North America remains the biggest film-going market in the world: It accounts for roughly 30% of global revenue from only 5% of the global population. The strength of the American movie industry depends on the availability of a wide assortment of films catering to the varied tastes of moviegoers. Indeed, both global blockbusters and low- budget independent fare are necessary to the financial vitality and reputation of the American film industry. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
2019-MESA-Update-Of-Services.Pdf
1 Our Mission • Connect our members with their most important customers • Promote thought leadership, industry initiatives and accomplishments of our members • Support service providers in advancing efficiencies in the creation, production and distribution of media and entertainment • Provide measurable sales & marketing value and ROI to its members. 2 Who We Are • MESA is dedicated to advancing the digital transformation of media & entertainment, with strategic focus on: • Content Protection & Cybersecurity • Information Technology • Data, AI, Workflow & Devices • Since 2008 the Media & Entertainment Services Alliance (MESA) has served senior studio/network executives along with their trusted service providers with information services, collaborative meetings, industry events and initiatives. 3 Our Communities & Initiatives MESA represents four, strategic communities through 12 annual face-to-face meetings, 40,000 daily newsletter and journal readers, and 15,000 social media market influencers. The cornerstone of MESA’s value proposition is the strength of increased industry collaboration through our communities and initiative based associations, coalitions and workgroups. MESA activities and services are available to qualified content owners/distributors and service provider members only. Content IT, Enterprise, Metadata, AI, Protection & Data, Analytics Workflow Cybersecurity & Software & Devices 4 Who We Serve MESA represents companies that provide technology solutions and services to media & entertainment leaders, including: • Content -
Kong: Skull Island Announced
News release February 2017 MADAME TUSSAUDS LONDON GOES APE OVER KONG: SKULL ISLAND DELIVERY Iconic attractions in London and New York get set to welcome Kong: Skull Island experience 21st February 2017. Today, Madame Tussauds London signed for a monstrous delivery that is set to be a roaring success at the iconic attraction, with the arrival of a larger than life Kong: Skull Island experience. In partnership with Legendary Pictures and Warner Bros. Pictures, Madame Tussauds London and Madame Tussauds New York will bring the experience to life with an eight-foot, multi-sensory animatronic head of the gigantic ape that will wow and terrify visitors in equal measure. Guests can expect to embark on an adventure deep into the tropical environment of the infamous Skull Island, where they will be challenged to evade the traps of colossal petrifying spiders and uncover artifacts from the film. As they journey through the secluded bamboo jungle, they will be joined by a new wax figure of Captain James Conrad, played by British actor Tom Hiddleston in the upcoming film, before coming face to face with the enormous breathing, blinking, snarling and roaring mystical monster himself. The enormous animatronic Kong head, made from 64 square metres of specialist faux hair, took 72 days to build and create by 33 team members. Each movement of the head uses state of the art pneumatic controls which was designed specifically for Kong. The system precisely controls the pressure and flow of air to recreate life like facial movements, grunts, snorts and roars made by the ferocious beast. -
The Next Growth Strategy for Hallyu 79
Lee & Kim / The Next Growth Strategy for Hallyu 79 THE NEXT GROWTH STRATEGY FOR HALLYU A Comparative Analysis of Global Entertainment Firms Yeon W. Lee Seoul School of Integrated Science and Technology [email protected] Kyuchan Kim Korea Culture and Tourism Institute [email protected] Abstract Previous policy approaches on Hallyu have been focused on the role of government engagement, particularly in fostering diversity and equal business opportunities for small-and-medium enterprises (SMEs). However, a more strategic approach to the cultural industries should be implemented by carefully examining the role of the private sector, particularly the role of large enterprises (LEs). his is important because LEs have an overarching and fundamentally diferentiated role in increasing the size of industry through their expansive value-creating activities and diversiied business areas. his study focuses on the complementary roles of SMEs and LEs in facilitating the growth of Hallyu by bringing in the perspective of value chain diversiication and the modiied value chain framework for the ilm industry. By conducting a comparative analysis of the global entertainment irms in the US, China, and Japan, this study reveals how LEs in the global market enter and explore new industries within culture and continue to enhance their competitiveness. By forming a business ecosystem through linking their value-creating activities as the platform of network, this study looks into the synergistic role among enterprises of diferent size and scale and suggests that Korea’s policy for Hallyu should reorient toward a new growth strategy that encourages the integrative network of irms where the value activities of LEs serve as the platform for convergence. -
Robert Blashek of Counsel
Robert Blashek Of Counsel Century City D: +1-310-246-6790 [email protected] Robert Blashek is a skilled and seasoned tax and investment Admissions fund lawyer. His practice covers a broad range of federal and California income tax matters, with particular emphasis on private Bar Admissions equity, mergers and acquisitions, reorganizations, financings, California bankruptcy and workouts, partnerships and strategic joint New York ventures, and general business tax planning. Rob’s clients span a broad array of industries. They include major Education film studios and entertainment companies as well as private Columbia University, J.D., 1979: equity funds that invest across a wide variety of sectors such as Harlan Fiske Stone Scholar; aerospace and consumer products. Columbia Law Review, 1977-1979 In recent years, Rob has managed the tax implications of Brown University, B.A., 1976: magna numerous acquisitions, strategic joint ventures, and financings for cum laude; Phi Beta Kappa clients such as Univision Communications, Oaktree Capital, Legendary Entertainment, Western Digital, WebMD, Houlihan Lokey, Warner Brothers, and Lions Gate Entertainment. In addition, Rob has formed or assisted in the formation of private equity investment funds for clients such as Freeman Spogli & Co., Vance Street Capital, Shamrock Capital, Black Canyon, Clarity Partners, Northstar Capital, Key Principal Partners, and Seidler Equity Partners, among others. Experience • Represented Western Digital (WD) in its acquisition of Hitachi Global Storage Technologies (Hitachi GST), a subsidiary of Hitachi, Ltd., in a cash and stock transaction valued at approximately US$4.3 billion O’Melveny & Myers LLP 1 • Represented Metro-Goldwyn-Mayer Studios (MGM) in its acquisition of a 55 percent interest in Mark Burnett's One Three Media and LightWorkers Media. -
RIDC Westmoreland East Huntingdon Township 1001 Technology Drive • Mt
RIDC Westmoreland East Huntingdon Township 1001 Technology Drive • Mt. Pleasant, PA 15666 Table of Contents 1. Building Specifications 2. Site Layout 3. Rail Oriented Development Areas for New Construction 4. Floor Plans 5. Location Map 6. Map of Corporate Neighbors 7. Mt. Pleasant/Westmoreland County Area Overview RIDC Westmoreland 1001 Technology Drive • Mt. Pleasant, PA 15666 Westmoreland County RIDC Westmoreland 1001 Technology Drive • Mt. Pleasant, PA 15666 Westmoreland County • East Huntingdon Township Building Specifications Land Area: Approximately 330 acres Gross Building Area: Entire Facility:Approximately 2.81 million SF Overview of Significant Rentable Spaces at Facility Main Assembly Building: Approximately 2.27 million SF First Floor: Approximately 1.77 million SF Second Floor: Approximately 504,000 SF West Annex: Approximately 74,000 SF East Annex: Approximately 134,000 SF Administrative Building: Approximately 96,000 SF Overall Contiguous Available: 50,000 SF to 1.0 million SF of flex/manufacturing Zoning: There is no zoning in East Huntingdon Township Current Status: Approximately 20% occupied by five tenants. Balance vacant and available. Proposed Use: RIDC is transitioning the Site into a multiple tenancy environment to serve uses such as manufacturing, natural gas chain supply, industrial, agricultural, educational, research and development, and computer operation centers. Physical Status: Well maintained and in good condition Regional Industrial Development Corporation of Southwestern Pennsylvania 3 RIDC Westmoreland 1001 Technology Drive • Mt. Pleasant, PA 15666 Westmoreland County Building Specifications (continued) Construction Type: Main Building & Physical Plant: Industrial manufacturing building with steel frame construction with concrete panel/siding walls and built up roof. First floor concrete slab design 500psf uniform live loads and second floor design 200psf uniform live load. -
Entertainment Studios Networks the Goodfriend Group 1925 Century Park East, 10Th Floor 208 I St
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554 In the Matter of Conditions Imposed in the ) WC Docket No.16-197 Charter Communications-Time Warner ) Cable-Bright House Networks Order ) PETITION TO DENY Mark DeVitre David R. Goodfriend Executive Vice President and General Counsel Meagan M. Sunn Entertainment Studios Networks The Goodfriend Group 1925 Century Park East, 10th Floor 208 I St. NE Los Angeles, CA 90067 Washington, D.C. 20002 (310) 277-3500 (202) 549-5612 July 22, 2020 TABLE OF CONTENTS I. INTRODUCTION AND SUMMARY…………………………………………....1 II. CHARTER’S INCENTIVE AND ABILITY TO FAVOR SOME EDGE PROVIDERS OVER OTHERS AND ITS SELF-PROFESSED DESIRE TO DISCRIMINATE BASED ON RACE SHOULD PREVENT THE COMMISSION FROM LIFTING MERGER CONDITIONS…............................3 A. The Commission established the merger conditions to prevent Charter from engaging in anti-competitive economic discrimination…...............3 B. Charter’s statements in federal district and appellate court reveal its desire to discriminate based on race….....................................................4 C. Lifting the merger conditions likely would harm ESN, other minority-owned businesses, and minority consumers…..........................5 III. THE COMMISSION’S UNTIMELY COMMENCEMENT OF THIS PROCEEDING SHOULD RENDER THE OUTCOME MOOT………………..11 A. The Commission lacks authority to commence this proceeding prior to August 18, 2020….....................................................................................11 B. ESN relied on the timeframe -
A SONY PICTURES CLASSICS RELEASE Www
A SONY PICTURES CLASSICS RELEASE www.itmightgetloudmovie.com Running time: 97 minutes *Official Selection: 2008 Toronto International Film Festival *Official Selection: 2009 Sundance Film Festival Publicity Distributor PMK/HBH Sony Pictures Classics Allen Eichhorn Carmelo Pirrone 622 Third Avenue Lindsay Macik 8th Floor 550 Madison Ave New York, NY 10017 New York, NY 10022 212-373-6115 Tel: 212-833-8833 [email protected] Short Synopsis Rarely can a film penetrate the glamorous surface of rock legends. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist. The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play. Long Synopsis Who hasn't wanted to be a rock star, join a band or play electric guitar? Music resonates, moves and inspires us. Strummed through the fingers of The Edge, Jimmy Page and Jack White, somehow it does more. Such is the premise of It Might Get Loud, a new documentary conceived by producer Thomas Tull. It Might Get Loud isn't like any other rock'n roll documentary. -
The US Film Industry
Jono Polansky, Onbeyond LLC August 2020 _____________________________________________________________________________________________ This SFM guide to who owns what in the US screen entertainment industry — movies, broadcast, cable and streaming — has been updated to reflect developments in tobacco content and changes in corporate ownership. We put this map together so public health experts, parents, young people and policy makers can identify who decides if smoking shows up in entertainment accessible to kids. The US film industry MAJOR STUDIOS | The US feature film industry is dominated by five “major studio” distributors. In 2019, their top-grossing films accounted for 81 percent of all youth-rated tobacco impressions delivered to domestic theater audiences. The studios develop, finance, and market film projects domestically and worldwide. Almost all films with production budgets greater than $50 million are major studio films. Studios may not break even on theatrical showings of a film, but a film’s box office, split roughly 50-50 with the theaters, strongly predicts the revenue the studio keeps to itself when the film is later released on DVD and licensed to on-demand, cable, and broadcast services. Most studio revenue comes from those “long tail” after-markets. In addition, 70 percent of US studios’ theatrical revenue now comes from outside the United States, which helps explain why easy-to-sell “franchise” films are prized by major studios. The major studios are represented by a trade group, the Motion Picture Association (MPA), dominate its board of directors. The MPA owns and administers the movie ratings (G/PG/PG-13/R,NC-17), with a nod to the National Association of Theatre Owners (NATO), which plays a role in enforcing age restrictions.