Star Wars Prequel References
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Investigating Box Office Revenues of Motion Picture Sequels ⁎ Suman Basuroy A,1, Subimal Chatterjee B
Available online at www.sciencedirect.com Journal of Business Research 61 (2008) 798–803 Fast and frequent: Investigating box office revenues of motion picture sequels ⁎ Suman Basuroy a,1, Subimal Chatterjee b, a College of Business, Florida Atlantic University, Jupiter, Florida 33458, United States b School of Management, Binghamton University, Binghamton, New York 13902, United States Received 26 October 2006; accepted 21 July 2007 Abstract This paper conceptualizes film sequels as brand extensions of a hedonic product and tests (1) how their box office revenues compare to that of their parent films, and (2) if the time interval between the sequel and the parent, and the number of intervening sequels, affect the revenues earned by the sequels at the box office. Using a random sample of 167 films released between 1991 and 1993, we find that sequels do not match the box office revenues of the parent films. However, they do better than their contemporaneous non-sequels, more so when they are released sooner (rather than later) after their parents, and when more (rather than fewer) intervening sequels come before them. Like other extensions of hedonic products, sequels exhibit satiation to the extent that their weekly box office collections fall faster over time relative to contemporaneous non- sequels. Managerial implications of the results are discussed. © 2007 Elsevier Inc. All rights reserved. Keywords: Sequels; Brand extensions; Box office revenues; Satiation 1. Introduction Spider-Man and Shrek, as well as Ocean's Thirteen, The Bourne Ultimatum, Rush Hour 3, the fourth edition of Die The study of motion picture sequels is important, both from a Hard and the fifth edition of Harry Potter. -
View That Includes Their Perceptions of Time, in Which Their Own Future Is Naturally Hidden from Them
Reading In and Out of Order: Living In and Around an Extended Fiction DOI https://doi.org/10.32393/jlmms/2020.0001 Published on Fri, 01/24/2020 - 00:00 Many series books recount the life of a character growing up over a sequence of titles, offering a strong sense of clear progression. Readers, however, may encounter this series out of order, or they may encounter numerous adapted versions of a story. Either way, they have to decide their own interpretative priorities. Back to top Introduction The concept of a sequence implies an orderly progression. A series of books conveys the sense of a logical advancement through a character’s life or a succession of events, intelligibly assembled into a system that is sometimes even numbered for maximum clarity. Such a sequence of novels frequently uses time as an organizer—either moving through part of a character’s lifespan or manipulating the calendar to run on a repeat cycle through (for example) Nancy Drew’s eighteenth summer. We know that life is not as tidy as the stories conveyed in books. But, in the case of series, even the material presentation of the books is misleading; despite the neat row of ascending numbers on the books’ spines, readers encounter a series of titles in partial, messy, sometimes consuming, and sometimes unsatisfying ways. Furthermore, in the clutter and circularity of contemporary culture, book series in their pristine order on the shelf frequently do not represent the only versions of characters and events. Media adaptations, publishers’ reworkings, fan variations, and a plethora of consumables all offer forms of what we might call “re- presentation,” and there is no telling what route through this busy landscape of reiteration any particular reader may take, or what version of the story they may encounter before reaching the original version. -
Cataloging Standards for Fiction Series Young People Are Very Interested in Series, and They Have Become Nearly Ubiquitous in Children’S and YA Literature
Granite School District Library Media Cataloging Cataloging Standards for Fiction Series Young people are very interested in series, and they have become nearly ubiquitous in Children’s and YA Literature. To aid our students in finding and reading series, correct series information should be easily found in Destiny search results. Below is an example of how a series should appear in Destiny search results when it is cataloged according to our new district standards. When cataloged properly, series will show up grouped together and in proper order in search results, with the series title serving as the primary title (245 a) for each volume of the series. GSD Standards for Noting Series in MARC Records The MARC records provided by Alliance Plus or other vendors do not note series information in the way that we desire for proper rendering in Destiny. We want more details that will group series together as shown above. To obtain the desired views and search results in Destiny, several tags and subfields must be added or modified in the pre-made records. These changes are made in the “MARC Edit” mode when editing a title. Tag and Subfield Contents Example 245 a Series title The twilight saga 245 b Series subtitle [if applicable] Statement of responsibility [i.e. author, 245 c Stephenie Meyer illustrator, &c.] 245 n Book or Volume number in series Book 2, 245 p Title of this volume of series New moon 246 a Title of this volume of series New moon 490 a Series title Twilight saga 490 v Book or Volume number in series 2 Note: For searching and display to work properly, the series title and volume number must be entered in exactly the same way on every single title in the series. -
The Study of Novelisation: a Typology and Secondary Bibliography
Belphégor Thomas Van Parys K.U. Leuven The study of novelisation: A typology and secondary bibliography The phenomenon of novelisation is remarkably widely underresearched, even within adaptation studies, which has generally limited itself – until quite recently – to the one-sided direction of literature to film. Considering that the field of ‘film and literature’, which has vigorously started emancipating itself over the past decade, has traditionally been regarded as only a subfield of film studies, it is obvious that the study of novelisation is rather marginal in the grand scholarly universe, in the film department as well as the literature department. While film adaptation studies focus on the adaptation from novel to film, literary science is primarily occupied with the study of highbrow literature. Needless to say, novelisations are widely derided and discarded as low forms of paraliterature. But the genre is peripheral in content as well, since the novelisation is a ‘hybrid’ form, often mixing film, literature, screenplay, and even film photography into one package. It is in other words ‘the odd novel out’ in the disciplinary academic world. Here I make a plea for more attention to novelisations, not to demand respectability for these novels per se (for bad writing is unfortunately the rule rather than the exception), but to show its significance and ubiquity as a cultural and literary practice. The novelisation is ideally suited to refine, modify, and perhaps subvert the typical pet peeves in film adaptation studies, such as the assumption of linearity or the notion of fidelity. In this essay, though, I will not concern myself much with the theoretical implications or the historical roots of novelisation. -
UC Riverside UCR Honors Capstones 2019-2020
UC Riverside UCR Honors Capstones 2019-2020 Title "When We're Human": An Intersectional Look at Speciesism and Racism in the Disney Animation Studios Film "The Princess and the Frog" Permalink https://escholarship.org/uc/item/0jk6h12b Author Vargas, Grisel Publication Date 2019-10-01 Data Availability The data associated with this publication are within the manuscript. eScholarship.org Powered by the California Digital Library University of California "WHEN WE'RE HUMAN" AN INTERSECTIONAL LOOK AT SPECIESISM AND RACISM IN THE DISNEY ANIMATION STUDIOS FILM "THE PRINCESS AND THE FROG" By Grisel Vargas A capstone project submitted for Graduation with University Honors December 4, 2019 University Honors University of California, Riverside APPROVED Dr. Vorris Nunley Department of English Dr. Richard Cardullo, Howard H Hays Jr. Chair, University Honors Abstract The research paper examines the Walt Disney Company’s use of speciesism by analyzing Ray the firefly, a character from their 2009 film “The Princess and the Frog”. When looking at Ray’s story alongside the story of Tiana as a princess in the franchise itself, I clarify parallels between Disney’s treatment of the insect and Disney’s first black princess. In discovering cases of speciesism specific to the Disney Princess franchise, I make the connection between Disney’s use of speciesism and racism. This conclusion is reached via analysis of the film in question, other films in the Disney oeuvre, articles written about “ The Princess and the Frog’, and papers that define animal studies, speciesism, and anthropocentrism. Understanding that there is animal in the human is significant towards understanding the needs of both humans and animals. -
Second Takes in Recognition of the Ways in Which the Sequel Recapitulates Features of an “Original,” but Additionally Offers Something New to Its Source
Introduction CAROLYN JESS-COOKE AND CONSTANTINE VEREVIS TONIGHT’S SCHEDULE FOR A LOCAL cinema reads as follows: Die Hard 4.0 (15) Hostel Part II (18) Directed by: Len Wiseman Directed by: Eli Roth Starring: Bruce Willis, Timothy Starring: Bijou Phillips, Lauren Olyphant, Maggie Q German, Roger Bart 11:00 13:50 17:10 20:10 21:20 21:30 Fantastic Four: Rise of the Silver Ocean’s Thirteen (PG) Surfer (PG) Directed by: Steven Soderbergh Directed by: Tim Story Starring: George Clooney, Brad Pitt, Starring: Ioan Gruffudd, Jessica Alba, Matt Damon Chris Evans 20:50 11:00 13:20 15:30 Pirates of the Caribbean: At Harry Potter and the Order of the World’s End (12A) Phoenix (12A) Directed by: Gore Verbinski Directed by: David Yates Starring: Johnny Depp, Orlando Starring: Daniel Radcliffe, Emma Bloom, Keira Knightley Watson, Rupert Grint 17:50 10:30 11:00 11:30 12:00 13:00 13:30 14:00 14:30 15:00 16:00 16:30 17:00 Shrek the Third (U) 17:30 18:00 19:00 19:30 20:00 20:30 Directed by: Chris Miller 21:00 Starring: Mike Myers, Eddie Murphy, Cameron Diaz 11:10 11:40 12:20 12:50 13:40 14:40 15:10 15:40 16:10 16:50 17:20 18:10 18:40 19:10 19:50 20:201 1 © 2010 State University of New York Press, Albany 2 Carolyn Jess-Cooke and Constantine Verevis TRIKINGLY, EVERY FILM LISTED here is a sequel. This being summer of 2007, it is not unusual for sequels to hold a strong cinematic Spresence—but every screening? And, looking at fi lm releases sched- duled for the coming months, the horizon is fi lled with sequels. -
Lion King Theme – “Remember Who You Are”
Jan 18 – Bible Story – Exodus (2:11, 12, 15; 3:1-10; 4:18, 19)/Moses Movie – Lion King Theme – “Remember who you are” The Lion King earned $422,783,777 in North America and $564,700,000 in other territories for a worldwide total of $987,483,777. It is the 20th highest-grossing film, the third-highest-grossing animated film of all time worldwide and the second highest-grossing film of Walt Disney Animation Studios (behind Frozen). It opened on June 24, 1994. The Lion King garnered two Academy Awards for its achievement in music and the Golden Globe Award for Best Motion Picture – Musical or Comedy. The film has led to many derived works, such as a Broadway adaptation, two direct-to-video follow-ups—the sequel The Lion King II: Simba's Pride (1998) and the prequel/parallel The Lion King 1½ (2004)—and two spin-off series Timon and Pumbaa and The Lion Guard. Who has seen it? For those of you who haven’t seen it… where have you been? Here’s the plot: A young lion prince is born in Africa, thus making his uncle Scar the second in line to the throne. Scar plots with the hyenas to kill King Mufasa and Prince Simba, thus making himself King. The King is killed and Simba is led to believe by Scar that it was his fault, and so flees the kingdom in shame. After years of exile he is persuaded to return home to overthrow the usurper and claim the kingdom as his own thus completing the "Circle of Life". -
JUMP WISH-LIST Rules/Notes: Settings
JUMP WISH-LIST Rules/Notes: ● This list is solely for settings that don’t have jumps made yet. ● No jumps you want to see redone, I’m not going to go down this path. If there is any such setting mentioned on list, then as soon as it is pointed out to me, I’ll remove it. ● Settings already claimed will be either removed from list or have claim noted. I’ll accept info about claims only from the jump-maker who claimed it. ● I hope to maintain this list in such way that /tg/, SB and QQ communities can all check it out. If you don’t like something on it, just ignore it. After all, if jump is being made doesn’t mean you have to use it. Furthermore, we all have different tastes, be mindful of that. ● Fanfics will be listed separately. Some people like the idea of such jumps, some don’t. I might end up removing this section altogether just because it is so difficult to decide if certain fanfic would be acceptable for being turned into jump or not. ● Settings will be listed alphabetically within a genre, by their official name. Any other names will be included after that one. Please include genre and medium with any suggestions (e.g. KultHorror - Tabletop RPG; The Culture - Science Fiction - Novel) ● Rule of thumb – recommend settings that you would want to visit in order to interact with characters and storylines, not in order to get specific perks/powers/items. Settings: 0-9 ● 100, The (SF - TV Series) ● 300 (movies) ● 3x3 Eyes (manga) ● 7th Heaven (TV series) ● 9 (movie) ● 100 Bullets (vertigo) ● 11eyes (VN/anime) ● 2 Broke Girls (TV Series) -
Say Goodbye to Hollywood: the Performance Discrepancy of Franchise Films Between the Domestic and Foreign Box Office
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2014 Say Goodbye to Hollywood: The eP rformance Discrepancy of Franchise Films between the Domestic and Foreign Box Office James H. Havlicek Claremont McKenna College Recommended Citation Havlicek, James H., "Say Goodbye to Hollywood: The eP rformance Discrepancy of Franchise Films between the Domestic and Foreign Box Office" (2014). CMC Senior Theses. Paper 898. http://scholarship.claremont.edu/cmc_theses/898 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT MCKENNA COLLEGE Say Goodbye to Hollywood: The Performance Discrepancy of Franchise Films between the Domestic and Foreign Box Office SUBMITTED TO PROFESSOR DARREN FILSON AND DEAN NICHOLAS WARNER BY JAMES H. HAVLICEK for SENIOR THESIS Spring 2014 April 28th, 2014 1 Table of Contents I. Acknowledgements................... 3 II. Abstract……………….……… 4 III. Introduction.............................. 5 IV. Literature Review……….…… .8 V. Hypothesis Development……..12 VI. Data & Methodology……........15 VII. Results……….......................... 20 VIII. Discussion………………….… 33 IX. Conclusion………………….…35 X. References…………………..... 34 XI. Appendix……………………... 35 2 Acknowledgements I would first like to thank Professor Darren Filson, for agreeing to serve as my reader upon meeting me for the first time. It seems true film buffs can recognize one another. I would not have been able to complete this study without his patience and wide- ranging expertise. I would also like to thank Professor Weidenmier for his guidance. To Dad: I’ve finally made them an offer they can’t refuse. -
Write an Unnecessary Sequel Does Every Story Need a Sequel? Who Cares—You’Re Giving It One Anyway!
Literature & Language Arts Grades 6–8 Write an Unnecessary Sequel Does every story need a sequel? Who cares—you’re giving it one anyway! Sometimes, it seems like every movie coming out these days is a sequel. If you look at the top 10 movies of 2019, 6 of them are sequels. The others are remakes or include well- known characters. In fact, only 2 of the top 20 films are original stories. And when was the last time you read a book that isn’t part of a series? Some of the best-selling fiction titles of all time are part of a series, including The Lord of the Rings, The Chronicles of Narnia, and Harry Potter—which is the best-selling book series in history! However, not every story needs a sequel, especially if all of the conflicts are resolved. Some stories can be told in a single, self-contained book or movie. Take the blockbuster Titanic, for example, which tells a story based on a real, historic event. The boat sailed. The boat sank. That’s it. There’s no further story to be told . Or is there? Sometimes, even when there’s no compelling need for a sequel, an author will write one or a Hollywood studio will produce one. And now, you get to be part of that process! You’re going to write an unnecessary sequel! First, think of a story that doesn’t really require a sequel. Then write three short paragraphs explaining how you think a follow-up to that story might unfold. -
Regeneration & Rebirth: Anatomy of the Franchise Reboot
Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Regeneration & Rebirth: Anatomy of the Franchise Reboot William Proctor, University of Kingston, United Kingdom In 2005, Christopher Nolan resurrected the Batman brand from the cinematic graveyard and revived the film franchise for the 21st-century consumer. This successful rejuvenation, in both the critical and economic spheres, has resulted in a groundswell of franchise activity that spawned a set of texts increasingly referred to as the “reboot” cycle of films. To some extent, the strategy here is to nullify history and disconnect stagnant or failed product from a new, cinematic experiment. This provides an opportunity for the major Hollywood film studios to resuscitate, recycle, and regenerate “age-old but dilapidated franchise[s]” by returning to a recognizable and iconic product range rather than original, untested material (Day, 2009: 41). From an economic perspective, this “protects […] investment by reducing risks” and maximizes the marketing potential of cinematic texts (Balio, quoted in Neale, 2000: 237). As Lussier claims: [Remakes and reboots] generally come from brand recognition […] Studios have these little gems in their library. They may have fallen out of favour or disappeared to some extent but they‟re still the names the public recognize. So they dust them off and try again. Quite simply they‟re easier to sell because they have name recognition. It‟s like reinvigorating the brand. (Lussier, quoted in Russell, 2009: 89) Arguably, then (and rather cynically, perhaps), the financial and critical triumph of Nolan‟s Batman series ushered in a zeitgeist of franchise regenerations that strive to emulate its accomplishments. -
The Force Awakens Vs. the Prequels, Or: So This Is How Personal Expression Dies, to Thunderous Applause
The Force Awakens vs. The Prequels, or: So this is how personal expression dies, to thunderous applause January 7th, 2016 | by rickworley Posted In: Blogs http://www.rickworley.com/2016/01/07/the-force-awakens-vs-the-prequels-or-so-this-is-how- personal-expression-dies-to-thunderous-applause/ Spoilers for all seven Star Wars films 1- The Auteur Theory “The auteur theory of film actually is very true if you know directors, because they are very much like their movies. And in the case of somebody who writes and directs, you know, it is my life. I mean, everything I write is my life, I’m not writing some sort of hypothetical thesis on something, I’m writing a story that I have to get extremely emotionally involved in because it’s going to take two or three years of my life to do it. So I can’t just sort of say, ‘Oh this will be fun,’ and knock it off in a week. This is like a marriage … you have to be in love with this thing for at least four or five years, and probably for the rest of your life” –George Lucas 1 In the run up to The Force Awakens, I couldn’t even begin to count how many times I’ve seen people saying, Oh thank God that George Lucas won’t be involved. It’s been a popular notion for some time now that Star Wars needed to be saved from George Lucas. It took me a long time to work out how people could seriously think something so nonsensical.