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Netflix and Changes in the Hollywood Film Industry 넷플릭스와 할리우드
ISSN 2635-8875 / e-ISSN 2672-0124 산업융합연구 제18권 제5호 pp. 36-41, 2020 DOI : https://doi.org/10.22678/JIC.2020.18.5.036 Netflix and Changes in the Hollywood Film Industry Jeong-Suk Joo Associate Professor, Dept. of International Trade, Jungwon University 넷플릭스와 할리우드 영화산업의 변화 주정숙 중원대학교 국제통상학과 부교수 Abstract This paper aims to explore and shed light on how the rise of streaming services has been affecting the media landscape in the recent years by looking at the conflicts between the Hollywood film industry and Netflix. It especially examines Netflix’s disregard for the theatrical release, as it is the most portentous issue that could reshape the film industry, and Hollywood’s opposition to it as revealed through the 2019 Academy Awards where the issue was brought into sharp relief. At the same time, this paper also questions whether theatrical distribution makes a film any more cinematic by examining how Hollywood film production has been largely concentrated on tentpoles and franchises, while Netflix has been producing diverse films often shunned by the studios. In this light, it concludes the changes wrought by Netflix, including its bypassing of the theatrical release, are not likely to be reversed. Key Words : Netflix, Streaming service, Hollywood, Film industry, Netflix films 요 약 본 논문은 할리우드 영화산업과 넷플릭스 간 갈등의 고찰을 통해 스트리밍 서비스의 부상이 미디어 지형에 어떠한 영향을 미쳐왔는지 밝히고자 한다. 특히 영화산업의 재편을 가져올 수 있는 가장 중요한 문제로써 극장을 거치지 않고 자사 플랫폼에 영화를 공개하는 넷플릭스의 개봉방식을 살펴보고 이에 대한 반발이 크게 불거진 2019 년 아카데미 영화제를 중심으로 할리우드의 반대를 살펴본다. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Colonial Concert Series Featuring Broadway Favorites
Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
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). -
Netflix Is the Future of Film the Film Industry Could Learn a Thing Or Two from the Streaming Service
FUTURE SOCIETY Hollywood is Wrong: Netflix is the Future of Film The film industry could learn a thing or two from the streaming service. Kristin HouserApril 20th 2018 https://futurism.com/epidiolex-fda-committee-marijuana-drug The film industry has sent a clear message to Netflix: You can’t sit with us. Industry insiders clearly think Netflix’s films are somehow “less than” those released in theaters. Steven Spielberg told ITV News the streaming service’s releases shouldn’t be eligible for Oscars. Christopher Nolan told IndieWire he would never work with the company. Cannes banned Netflix’s films from competition, prompting Netflix’s chief content officer Ted Sarandos to pull allof the service’s films from the festival, even the ones that weren’t eligible to win anything. “We want our films to be on fair ground with every other filmmaker,” Sarandos told Variety. And why shouldn’t they be? They star A-list actors (Will Smith, Adam Sandler). They’re helmed by respected directors (Martin Scorsese, Noah Baumbach). And they truly do compete with movie-theater films, scoring Oscar nominations and winning other prestigious awards. Film industry haters should really reconsider. Even the snobbiest film buffs can’t deny that Netflix is bringing something positive to the world of cinema. Instead of lashing out against Netflix, the industry could benefit by embracing some of what Netflix is doing right. First, the film industry might want to take more risks. “Studios are lagging behind for the very simple reason that they are relying on retreads and reboots, and most of those aren’t being well received,” Jeff Bock, an expert on film industry trends at Exhibitor Relations, told Business Insider. -
2020 Primetime Emmy® Awards Nomination Press Release
2020 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance Big Mouth • How To Have An Orgasm • Netflix • Netflix Maya Rudolph as Connie the Hormone Monstress Central Park • Episode One • Apple TV+ • 20th Century Fox Television Leslie Odom Jr. as Owen Crank Yankers • Bobby Brown, Wanda Sykes & Kathy Griffin • Comedy Central • Kimmelot, ITV, Central Productions, LLC Wanda Sykes as Gladys The Mandalorian • Chapter 8: Redemption • Disney+ • Lucasfilm Ltd. Taika Waititi as IG-11 The Simpsons • Better Off Ned • FOX • Gracie Films in association with 20th Century Fox Television Nancy Cartwright as Bart Simpson, Nelson, Ralph, Todd The Simpsons • Frinkcoin • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Professor Frink, Moe, Chief Wiggum, Carl, Cletus, Kirk, Sea Captain Outstanding Animated Program Big Mouth • Disclosure The Movie: The Musical! • Netflix • Netflix Bob's Burgers • Pig Trouble In Little Tina • FOX • 20th Century Fox Television BoJack Horseman • The View From Halfway Down • Netflix • Tornante Productions, LLC Rick And Morty • The Vat Of Acid Episode • Adult Swim • Rick and Morty, LLC The Simpsons • Thanksgiving Of Horror • FOX • Gracie Films in association with 20th Century Fox Television Outstanding Short Form Animated Program Forky Asks A Question: What Is Love? • Disney+ • Pixar Animation Studios Robot Chicken • Santa's Dead (Spoiler Alert) Holiday Murder Thing Special • Adult Swim • Stoopid Buddy Stoodios Steven Universe Future • Fragments • Cartoon Network • Cartoon Network Studios Page 1 Outstanding Production Design For A Narrative Contemporary Program (One Hour Or More) Big Little Lies • What Have They Done? • The Bad Mother • I Want To Know • HBO • HBO Entertainment in association with Blossom Films, Hello Sunshine, David E. -
Critical Issues in Writing About Bio-Terrorism
Critical Issues in Writing about Bio-Terrorism A Hollywood, Health & Society Writers Briefing in Partnership with the Writers Guild of America, west April 2, 2002 Writers Guild of America, west 2 Critical Issues in Writing about Bio-terrorism Critical Issues in Writing about Bio-Terrorism This writers briefing, convened by the Writers Guild of America, west and the USC Annenberg Norman Lear Center’s Hollywood, Health & Society project, brought together scientists from the Centers for Disease Control and Prevention and leading film and television writers to discuss how Hollywood handles a harrowing topic—bio-terrorism. Writers Guild of America, west Hollywood, Health & Society The Norman Lear Center The Norman Lear Center is a The WGAw, led by Victoria Hollywood, Health & Society is multidisciplinary research center Riskin, represents writers in the a project at the Norman Lear that explores the implications of motion picture, broadcast, Center that provides the convergence of cable and new technologies entertainment industry entertainment, commerce and industries. The Writers Guild of professionals with accurate society. From its base in the USC America is the sole collective and timely information for Annenberg School for bargaining representative for health storylines. Funded by Communication, the Lear Center writers in the motion picture, the Centers for Disease Control builds bridges between faculty broadcast, cable, interactive and Prevention (CDC), the who study aspects of and new media industries. It project recognizes the entertainment, media and has numerous affiliation profound impact that culture. Beyond campus, it agreements with other U.S. entertainment media have on bridges the gap between the and international writing individual behavior. -
(Beyond) the Pleasures of the Hollywood Musical Film: a Re Viewing of Martin Scorsese's New York, New York G. Thomas
Spring 1990 31 (Beyond) The Pleasures of the Hollywood Musical Film: A Re Viewing of Martin Scorsese's New York, New York G. Thomas Poe The simulacrum is never that which conceals the truth-it is the truth which conceals that there is none.1 —Jean Baudrillard Pastiche is . speech in a dead language.2 —Fredric Jameson [Valéry] is not, he writes, overly fond of museums. Dead visions are entombed there.3 --Theodor Adorno I. On the Reviewing of New York, New York In 1977, there were great expectations for Martin Scorsese's new fdm, New York, New York. It was, after all, Liza Minnelli's first musical role since her diamond hard performance in Cabaret (1972). Minnelli, taking on the mantle of both her father and mother, seemed destined to be the keeper of the flame of the classic Hollywood musical.4 Moreover, Scorsese, trading on the success of Cabaret, hired its composers, John Kander and Fred Ebb, to add new songs to a score of period classics. Adding to the prospects, Minnelli was G. Thomas Poe is an Assistant Professor in the Department of Communication Studies at the University of Missouri-Kansas City, where he teaches film and media studies, specializing in critical theory and cultural rhetoric. 32 Journal of Dramatic Theory and Criticism paired with America's most electrifying new actor, Robert De Niro, fresh from his success in Scorsese's Taxi Driver (1976). High expectations seemed justified. Using the finest of ingredients, Martin Scorsese, having revived the film noir in Mean Streets (1973) and Taxi Driver (1976), seemed about to resurrect the classic American musical film. -
How to Pitch TV Series in Hollywood
How to Pitch TV Series in Hollywood Partner, Citizen Media Bob Levy 目 次 1. American TV Pitch Format ....................................................................................... 2 1-1. Section 1: Personal Way into Series ................................................................... 4 1-2. Section 2: Concept of Series ............................................................................... 6 1-3. Section 3: World of Series ................................................................................ 10 1-4. Section 4: Characters ........................................................................................ 13 1-5. Section 5: Pilot Story ........................................................................................ 18 1-6. Section 6: Arc of First Season/Arc of Series .................................................... 24 1-7. Section 7: Tone ................................................................................................. 26 1-8. Section 8: Sample Episodes .............................................................................. 28 1-9. Q&A Conversation ........................................................................................... 30 2. TV Pitch Strategy .................................................................................................... 31 ‐1‐ 1. American TV Pitch Format Introduction While American TV has changed significantly in the past 15-20 years, the way new ideas for TV series in the U.S. are bought and sold has not. Since the beginning -
Lights, Camera, Representation and Direction: How Hollywood, Netflix
Lights, Camera, Representation and Direction: How Hollywood, Netflix and other Media Empires Represent Race and Disability Author’s Name: AMRIT SANDHU Supervisor’s Name: Dr. Rachel da Silveira Gorman Advisor’s Name: Dr. Geoffrey Reaume Supervisor’s Signature: Date Approved: Advisor’s Signature: Date Approved: Masters of Arts Graduate Program in Critical Disability Studies York University Toronto, Ontario M3J 1P3 April 3 2020 Table of Contents Section Subject Pages i. Table of Contents Pg. 1 ii. Abstract Pg. 2 iii. Introduction Pg. 3 iv. Intersectionality with Racialized Thought: Taking an Anti- Pg. 4-5 Racist and Feminist Approach v. Looking Back, To Look Forward Pg. 5-7 Disabled Musicians of Colour & Racial Justice Pg. 7-9 The Spectacle of Disability Pg. 9-11 vi. “Superabilities” and the “SuperCrip” Pg. 11-12 vii. Anti-Blackness, Race, Disability and Media Representation Pg. 13-17 viii. Disability Representation and the Disease Model in Film Pg. 17-18 ix. Gender, Race and Disability Representation in Today’s Pg. 18-29 Media x. Disability Representation in Bollywood Pg. 29-32 xi. Disability and Athletes in the Media Pg. 32-34 xii. Disability in Print Media Pg. 34-35 xiii. Disability in Visual Media Pg. 35-38 xiv. Disability in Disney and Netflix Pg. 38-53 xv. Future Pg. 53-57 xvi. Concl usion Pg. 57-58 xvii. References Pg. 59-70 1 Abstract Throughout history, racialized people, and people with disabilities have been harmed by negative stereotypes, especially through the intersection of ableism and racism, which is still going on today. This Major Research Paper is about the lack of representation and the misrepresentation of People of Colour and people with disabilities. -
Title # of Eps. # Episodes Male Caucasian % Episodes Male
2020 DGA Episodic TV Director Inclusion Report (BY SHOW TITLE) # Episodes % Episodes # Episodes % Episodes # Episodes # Episodes # Episodes # Episodes # of % Episodes % Episodes % Episodes % Episodes Male Male Female Female Title Male Males of Female Females of Network Studio / Production Co. Eps. Male Caucasian Males of Color Female Caucasian Females of Color Unknown/ Unknown/ Unknown/ Unknown/ Caucasian Color Caucasian Color Unreported Unreported Unreported Unreported 100, The 12 6.0 50.0% 2.0 16.7% 3.0 25.0% 1.0 8.3% 0.0 0.0% 0.0 0.0% CW Warner Bros Companies Paramount Pictures 13 Reasons Why 10 6.0 60.0% 2.0 20.0% 2.0 20.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% Netflix Corporation Paramount 68 Whiskey 10 7.0 70.0% 0.0 0.0% 3.0 30.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% Network CBS Companies 9-1-1 18 4.0 22.2% 6.0 33.3% 5.0 27.8% 3.0 16.7% 0.0 0.0% 0.0 0.0% FOX Disney/ABC Companies 9-1-1: Lone Star 10 5.0 50.0% 2.0 20.0% 3.0 30.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% FOX Disney/ABC Companies Absentia 6 0.0 0.0% 0.0 0.0% 6.0 100.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% Amazon Sony Companies Alexa & Katie 16 3.0 18.8% 3.0 18.8% 5.0 31.3% 5.0 31.3% 0.0 0.0% 0.0 0.0% Netflix Netflix Alienist: Angel of Darkness, Paramount Pictures The 8 5.0 62.5% 0.0 0.0% 3.0 37.5% 0.0 0.0% 0.0 0.0% 0.0 0.0% TNT Corporation All American 16 4.0 25.0% 8.0 50.0% 2.0 12.5% 2.0 12.5% 0.0 0.0% 0.0 0.0% CW Warner Bros Companies All Rise 20 10.0 50.0% 2.0 10.0% 5.0 25.0% 3.0 15.0% 0.0 0.0% 0.0 0.0% CBS Warner Bros Companies Almost Family 12 6.0 50.0% 0.0 0.0% 3.0 25.0% 3.0 25.0% 0.0 0.0% 0.0 0.0% FOX NBC Universal Electric Global Almost Paradise 3 3.0 100.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% 0.0 0.0% WGN America Holdings, Inc.