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												  The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63
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												  Stephen Andriano-MooreThe Rise of the Sound Designer: Northern California Film Sound in the 1960s and 1970s Stephen Andriano-Moore School of International Communications, University of Nottingham Ningbo China, Ningbo, China School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, University Park, Ningbo, 315100, Zhejiang Province, China. Email: [email protected] Telephone: +86 (0) 574 8818 0271 ORCID ID: 0000-0001-9686-6578 Notes on contributor Stephen Andriano-Moore teaches media and cultural studies in the School of International Communications at the University of Nottingham Ningbo China. His research explores production cultures of the film and television industries with particular focus in the area of Hollywood film sound. Correspondence to: Stephen Andriano-Moore, School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, Ningbo, China, 315100. Email: [email protected] 1 THE RISE OF THE SOUND DESIGNER: Northern California Film Sound In The 1960s And 1970s Northern California based filmmakers in the late 1960s and 1970s pushed the traditional boundaries of filmmaking practices in ways that have been adopted and reworked into contemporary Hollywood filmmaking practices. The article examines labour issues and conditions and politics of film sound work during this era, some of which continue to be applicable today. The development of new production practices pushed filmmakers including George Lucas, Francis Ford Coppola, and Walter Murch to produce films outside the traditional Hollywood studio production paradigm. This new generation of filmmakers held sound with a higher status and popularized non- traditional ways of working with sound. They created the new job title of sound designer to signify a person who supervises and collaborates with the director, department heads, and screenwriter on the use and function of sound through all of the filmmaking phases from the writing stage through the final mix.
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												  The Migration of U.S. Film and Television ProductionPREFACE 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,
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												  The Hollywood Cinema Industry's Coming of Digital Age: TheThe Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
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												  The Development of Loop-Based Cinematic Techniques in Twentieth Century Motion Pictures and Their Application in Early Digital CUniversity of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C David Scoma University of Central Florida Part of the Film Production Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Scoma, David, "The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C" (2008). Electronic Theses and Dissertations, 2004-2019. 3803. https://stars.library.ucf.edu/etd/3803 THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL CINEMA DAVID SCOMA B.S. Loyola University New Orleans 1990 M.A. State University of New York at Buffalo 1994 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 Major Professor: Blake Scott Copyright 2008 David Scoma ii ABSTRACT For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats.
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												  Neoliberalism and Monopoly in the Motion Picture IndustryFlorida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-19-2020 Neoliberalism and Monopoly in the Motion Picture Industry Michael S. Wartenbe Florida International University, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the American Politics Commons, International Economics Commons, International Relations Commons, and the Political Economy Commons Recommended Citation Wartenbe, Michael S., "Neoliberalism and Monopoly in the Motion Picture Industry" (2020). FIU Electronic Theses and Dissertations. 4417. https://digitalcommons.fiu.edu/etd/4417 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida NEOLIBERALISM AND MONOPOLY IN THE MOTION PICTURE INDUSTRY A d issertati on s ubm. itt ed in par tia l fulf illm en t of the requireme nt s for the deg ree of DOCTOR OF PHILOSOPHY in INTERNATIONAL RELATIONS by Michael Wartenbe 2020 To: Dean John F. Stack, Jr. Steven J. Green School of International & Public Affairs This dissertation, written by Michael Wartenbe, and entitled Neoliberalism and Monopoly in the Motion Picture Industry, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. ________________________________________ Gail Hollander ________________________________________ Jin Zeng ________________________________________ Clement Fatovic ________________________________________ Ronald Cox, Major Professor Date of Defense: March 19, 2020 This dissertation of Michael Wartenbe is approved.
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												  Dossiê: Patrimônio E Relações InternacionaisDossiê: Patrimônio e Relações Internacionais https://doi.org/10.34019/2594-8296.2020.v26.31327 Regional Assets, Industrial Growth, Global Reach: the case study of the Film Industry in the San Francisco Bay area Ativos Regionais, Crescimento Industrial, Alcance Global: o estudo de caso da indústria cinematográfica na área da Baía de São Francisco Activos Regionales, Crecimiento Industrial, Alcance Global: el estudio de caso de la Industria Cinematográfica en el área de la Bahía de San Francisco Frédéric Leriche https://orcid.org/0000-0003-1865-2077 ABSTRACT: Within the US motion picture industry, Hollywood is a (big) tree that hides the forest. Indeed, in this industry, besides this powerful and dominating industrial cluster, there are other— though minor—clusters, particularly in New York and San Francisco. The paper focuses on the latter and argues that the development of the film industry in the San Francisco Bay Area relies on specific regional assets: (1) a unique urban context and experience, (2) a unique alternative culture, and (3) a world-class technological cluster. The paper starts by briefly describing the path dependency of the film industry in the Bay Area, and how the city of San Francisco has started (in the 1980s) to implement a dedicated policy aimed at promoting the development of this industry. In this context, the paper explores the way that the San Francisco Bay Area became an attractive place for filmmakers and the fact that the 1970s marked the beginning of a new regime of film Thanks to Leonor Botelho, Modesta Suárez, and Cécile Michoudet for their support.
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												  Florida and the Film Industry: an Epic Tale of Talent, Landscape, and the LawNova Law Review Volume 38, Issue 1 2013 Article 3 Florida and the Film Industry: An Epic Tale of Talent, Landscape, and the Law Mary Pergola Parent∗ Kevin Hugh Governy ∗ y Copyright c 2013 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Parent and Govern: Florida and the Film Industry: An Epic Tale of Talent, Landscape, FLORIDA AND THE FILM INDUSTRY: AN EPIC TALE OF TALENT, LANDSCAPE, AND THE LAW MARY PERGOLA PARENT* AND KEVIN HUGH GOVERN** ABSTRACT ..................................................................................................... 43 I. FLORIDA AND THE FILM INDUSTRY: THE LOVERS MEET ............... 45 II. FLORIDA FLAUNTS AND FLIRTS ....................................................... 47 III. FLORIDA CHARMS A CAPTIVATING CAST OF CHARACTERS ............ 50 IV. FLORIDA’S ALLURING CALL REACHES NEW YORK CITY................ 52 V. MESMERIZING MIAMI ...................................................................... 54 VI. THE GIANT AWAKENS TO CONCEIVE A NEW FILM LAW AND COUNCIL .......................................................................................... 59 VII. FLORIDA PROPOSES WITH TAX INCENTIVES AND THE FILM INDUSTRY SAYS, “I DO!” ................................................................. 60 VIII. FLORIDA’S FILM INDUSTRY PRODUCES PROGENY .......................... 64 IX. FLORIDA AND THE FILM INDUSTRY IN THE 21ST CENTURY ............. 67 X. FLORIDA’S FUTURE: FAITHFULNESS AND FIDELITY TO THE FILM INDUSTRY ........................................................................................
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												  Latinos in U.S. Film IndustryJournal of Alternative Perspectiv es in the Social Sciences ( 2010 ) Vol 2, No 1 , 399 -414 Latinos in U.S. Film Industry Beatriz Peña Acuña , Ph.D., San Antonio University, Spain Abstract: This text is a reflection of the realization of the dreams of those more than eight million Americans of Hispanic origin, which include all the legal Mexican immigrant population, and displayed less real situation of many men and women of Hispanic origin in illegal or integration process in the U.S. Thus, we will focus on Chicano cinema, social cinema and Hollywood cinema, and finally deal with the presence of Hispanic culture in some mythical movies in cinema history. We study how specific social and cultural problems posed by Mexican immigration in the United States is addressed in the film written, directed and produced by Hispanics and other filmmakers of the Hollywood industry. Moreover we revise how Hispanics get involved in the industry: especially to three groups: first, the actors because they often play the role of Hispanic, or to see what role is given both social and starring (if it is considered a hero or a villain, and see what social level holds), second, the directors and third, the producers. 1. Introduction There seems to be an evolution in the participation and the degree of importance (or social role) of Hispanic- American population, a phenomenon that is found in relative social mobility and a gradual integration, which is to be equated to other waves of immigration that have occurred previously in the U.S. (Swedish, German, Irish, Italian, etc).
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												  Preliminary Program for the 15Th Triennial Symposium on African ArtPRELIMINARY PROGRAM FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART To panel chairs and presenters, for any time conflicts, corrections, omissions, and withdrawals, please contact program chair Doran H. Ross at [email protected]. Panel and paper abstracts will be posted on the ACASA website around February 21, 2011, so please send any changes to abstracts and the order of papers before February 17, 2011. Room as - signments will follow after revisions. WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM PANEL I (8:30-10:30) Contemporary Art Sans Frontières . Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Critical Objects: Museum Habitus and the Problem of Category , Allyson Purpura, University of Illinois at Urbana- Champaign Africa, Meet Contemporary—Contemporary, Meet Africa; or, Integrating Regional and Contemporary without Sac - rifice . Kinsey Katchka, North Carolina Museum of Art Unbounded: Contemporary Arts of Africa in Global Dialogue , Christa Clarke, Newark Museum Curating in the Twenty-First Century , Tumelo Mosaka, University of Illinois Dismantling the House , Allan deSouza, San Francisco Art Institute PANEL II (10:45-12:45) To Collect or Not to Collect, to Exhibit or Not to Exhibit: Issues of Provenance and Patri - mony . Chair: Kristina Van Dyke, The Menil Collection To See or Not to See , John Picton, School of Oriental and African Studies, University of London Arts of the Benue River Valley : A Case for Inclusion and Transparency , Marla C. Berns, Fowler Museum at UCLA The Case of Malian Terra-Cottas , Kristina Van Dyke, The Menil Collection Museums, Provenance, and African Cultural Patrimony: A Proposal for Equal Access , Sylvester Ogbechie, Univer - sity of California, Santa Barbara PANEL III (2:15-4:15) Mapping New Curatorial Futures for Tradition-Based African Art .
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												  Understanding the Role of the Hawaii Film/TV/Digital Production Tax Credit in Diversifying the Hawaii Economy MARCH 15, 2021Understanding the Role of the Hawaii Film/TV/Digital Production Tax Credit In Diversifying the Hawaii Economy MARCH 15, 2021 UHERO BRIEFS ARE CIRCULATED TO STIMULATE DISCUSSION AND CRITICAL COMMENT. THE VIEWS EXPRESSED ARE THOSE OF THE INDIVIDUAL AUTHORS. WHILE BRIEFS BENEFIT FROM ACTIVE UHERO DISCUSSION, THEY HAVE NOT UNDERGONE FORMAL ACADEMIC PEER REVIEW. By Sumner La Croix and James Mak I. INTRODUCTION Hawaii is one of 32 states in 2020 to offer a tax credit to film, TV, and digital productions through the Hawaii Motion Picture, Digital Media and Film Production Tax Credit (hereafter “film credit”). In 2006, when the Hawaii State Legislature enacted the first substantial film credit, the preamble to the bill stated that its purpose is to “encourage growth of the film industry by (1) Providing enhanced incentives that attract more film and television productions to Hawaii, thereby generating tax revenues; (2) Providing jobs and income for residents; (3) Supporting tourism and the natural beauty of Hawaii; and (4) Enabling the state to compete effectively for productions against other jurisdictions that offer similar incentives.”1 Whether or not the Hawaii film credit accomplishes the first three objectives depends on how many more film and TV productions are attracted to film in Hawaii rather than in other states or countries due to the presence of the credit. There has been extensive debate over whether the film credit yields a favorable return to Hawaii’s residents.2 Chris Lee, founder and director of the Academy for Creative Media System at the University of Hawaii, explains why supporting the “content production industry” can advance economic diversification.3 He argues that the film industry is environmentally friendly, provides a living wage to Hawaii’s graduates to keep them at home, and complements tourism by publicizing the destination of Hawaii.
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												  Meeting MinutesCity of Miami City Hall 3500 Pan American Drive Miami, FL 33133 www.miamigov.com Meeting Minutes Thursday, July 28, 2011 12:00 PM or thereafter CITY HALL 3500 PAN AMERICAN DRIVE MIAMI, FL. OMNI Community Redevelopment Agency Marc David Sarnoff, Chairman Francis Suarez, Vice-Chairman Wifredo (Willy) Gort, Commissioner Frank Carollo, Commissioner Richard P. Dunn II, Commissioner ************************** CRA OFFICE ADDRESS: 49 NW 5th ST, SUITE 100, Miami, FL 33128 Phone: (305) 679-6800, Fax: (305) 679-6835 OMNI Community Redevelopment Agency Meeting Minutes July 28, 2011 Present: Commissioner Gort, Commissioner Dunn II, Chair Sarnoff, Vice Chair Suarez and Commissioner Carollo On the 28th day of July 2011, the Board of Commissioners of the Omni Community Redevelopment Agency of the City of Miami met in regular session at Historic Miami City Hall, 3500 Pan American Drive, Miami, Florida. The meeting was called to order by Chair Sarnoff at 12:29 p.m., recessed at 1:41 p.m., reconvened at 11:15 p.m., and was adjourned at 11:20 p.m. ALSO PRESENT: Pieter Bockweg, Executive Director, CRA H. Bert Gonzalez, Assistant Executive Director, CRA Veronica Xiques, Assistant General Counsel, CRA Todd Hannon, Assistant Clerk of the Board FINANCIALS 1. CRA REPORT 11-00673 FINANCIAL SUMMARY FOR PERIOD ENDING JUNE 30, 2011. File # 11-00673 07-28-2011 Financial Summary.pdf NO ACTION TAKEN RESOLUTIONS 2. CRA RESOLUTION 11-00674 A RESOLUTION OF THE BOARD OF COMMISSIONERS OF THE OMNI REDEVELOPMENT DISTRICT COMMUNITY REDEVELOPMENT AGENCY ("CRA") AUTHORIZING THE EXECUTIVE DIRECTOR TO ALLOCATE FUNDS IN THE AMOUNT OF $1,087,268.00 FROM THE SALE TO FLORIDA DEPARTMENT OF TRANSPORTATION OF A PORTION OF THE CRA OWNED MIAMI ENTERTAINMENT COMPLEX ("MEC") PROPERTY, LOCATED AT 29 NORTHWEST 13TH STREET, MIAMI, FLORIDA, FOR THE PLANNING, DESIGN, CONSTRUCTION, AND DEVELOPMENT OF THE MEC STUDIO.