NBER WORKING PAPER SERIES SOCIAL LEARNING and PEER EFFECTS in CONSUMPTION: EVIDENCE from MOVIE SALES Enrico Moretti Working Pape
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John Hughes' Family Films and Seriality
Article Title ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Author Details: Dr Holly Chard [email protected] Biography: Holly Chard is Lecturer in Contemporary Screen Media at the University of Brighton. Her research focuses on the U.S. media industries in the 1980s and 1990s. Her recent and forthcoming publications include: a chapter on Macaulay Culkin’s career as a child star, a monograph focusing on the work of John Hughes and a co- authored journal article on Hulk Hogan’s family films. Acknowledgements: The author would like to thank Frank Krutnik and Kathleen Loock for their invaluable feedback on this article and Daniel Chard for assistance with proofreading. 1 ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Keywords: seriality, Hollywood, comedy, family film Abstract: This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes’ ‘high concept’ family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. First, I consider why Hughes’ production set-up enabled him to standardize his movies and respond quickly to audience demand. My analysis then explores how the Home Alone films (1990-1997), Dennis the Menace (1993) and Baby’s Day Out (1994) balanced demands for textual repetition and novelty. Article: Described by the New York Times as ‘the most prolific independent filmmaker in Hollywood history’, John Hughes created and oversaw a vast number of movies in the 1980s and 1990s.1 In a period of roughly fourteen years, from the release of National Lampoon’s Vacation (Ramis, 1983) to the release of Home Alone 3 (Gosnell, 1997), Hughes received screenwriting credits on twenty-seven screenplays, of which he produced eighteen, directed eight and executive produced two. -
Attachment Anxiety: Parenting Culture, Adolescence and the Family Film in the US
Abstract Attachment anxiety: parenting culture, adolescence and the family film in the US Many authors have noted a connection between notions of childhood and understandings of parenting; however, debates have focused only on adults and their behaviour. This article interrogates the child’s position in contemporary parenting culture using the Hollywood family film to explore how the cultural constructions of childhood and parenting may influence one another. The article analyses the reception of the family film of the 1990s and its representations of families and children to note a cultural response to the previous decade’s “discovery” of the pre-teen demographic. This response highlighted the incompatibility of young adolescence and attachment parenting, constructing a new childhood ideal which returned the child to assumptions of vulnerability. Keywords: Parenting culture, attachment, childhood, adolescence, Hollywood, family film Over the past three decades, a number of authors have examined western parenting culture. Among the most influential is Sharon Hays, who identified a dominant ideology of “intensive mothering” and explained it as the result of a series of social developments beginning with “the earliest discovery of childhood innocence in Western Europe” (1996Hays, S. (1996). The cultural contradictions of motherhood. New Haven, CT: Yale University Press., p. 22). The relationship between changes in notions of childhood and changes in understandings of parenting has been noted by several other authors, who linked contemporary parenting culture with “the way society regards children. Babies and infants are seen as both intensely vulnerable and highly impressionable – above all to parental influence” (Furedi, 2001Furedi, F. (2001). Paranoid parenting: Abandon your Anxieties and be a good parent. -
6769 Shary & Smith.Indd
ReFocus: The Films of John Hughes 66769_Shary769_Shary & SSmith.inddmith.indd i 110/03/210/03/21 111:501:50 AAMM ReFocus: The American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresent ed in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D. -
A New Chapter
FINAL-1 Sat, Nov 30, 2019 4:06:52 PM tvupdateYour Weekly Guide to TV Entertainment For the week of December 8 - 14, 2019 A new chapter Jacqueline Toboni stars in “The L Word: Generation Q” INSIDE •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 Showtime is rebooting one of its most beloved shows with “The L Word: Generation Q,” premiering Sunday, Dec. 8. The series features the return of original “The L Word” stars Jennifer Beals (“Flashdance,” 1983), Leisha Hailey (“Dead Ant,” 2017) and Katherine Moennig (“Ray Donovan”), as well as a few new faces, including Jacqueline Toboni (“Grimm”), Arienne Mandi (“The Vault”) and Leo Sheng (“Adam,” 2019). To advertise here WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS please call ✦ 40 years in business; A+ rating with the BBB. ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 (978) 946-2375 Group Page Shell PARTS & ACCESSORIES We Need: SALESMotorsports & SERVICE 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLEWANTED1 x 3” We are the ORIGINAL and only AUTHENTIC SELLBUYTRADEINSPECTIONS CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 1615 SHAWSHEEN ST., TEWKSBURY, MA Open 7 Days A Week ~ www.cashforgoldinc.com 978-851-3777 WWW.BAY4MS.COM FINAL-1 Sat, Nov 30, 2019 4:06:53 PM COMCAST ADELPHIA 2 Sports Highlights Kingston CHANNEL Atkinson ESPN NESN Sunday 8:00 p.m. TNT Basketball NBA Football NCAA Division I Hockey NCAA Dartmouth at Salem Londonderry 9:00 a.m. -
Title Barcode Call Number 101 Dalmatians 31027150427413 DVD-O 101 Dalmatians II Patch's London Adventure 31027150151013 D 101 Da
Title Barcode Call Number 101 Dalmatians 31027150427413 DVD-O 101 dalmatians II Patch's London adventure 31027150151013 D 101 dalmatians II Patch's London adventure 31027150427421 DVD-O 20 fairy tales 31027150332779 J DVD T A cat in Paris 31027150324552 JDVD-C A Charlie Brown Thanksgiving 31027150308191 C A Charlie Brown valentine 31027150431993 J DVD C A Cinderella story 31027150508006 J DVD-C A dog's way home 31027150336366 J DVD D A very merry Pooh year 31027100103544 W A wrinkle in time 31027150286017 W Abominable 31027150337182 J DVD A Adventure time The suitor 31027150330112 J DVD A Air Bud seventh inning fetch 31027150146823 A Air buddies 31027150385355 A Aladdin 31027100101845 VC FEATURE Alexander and the terrible, horrible, no good, very bad day 31027150331177 J DVD A Alice in Wonderland 31027150429179 DVD-A Alice in Wonderland 31027150431175 DVD-A Aliens in the attic 31027150425854 A Alvin and the chipmunks batmunk 31027150508196 J DVD-A Alvin and the chipmunks Chipwrecked 31027150507065 DVDJ-A Alvin and the chipmunks Christmas with the chipmunks 31027150504039 JDVD-C Alvin and the Chipmunks Road chip 31027150332738 J DVD A Alvin and the Chipmunks the squeakquel 31027150333330 J DVD A Anastasia 31027150508345 DVDJ-A Angelina Ballerina All dancers on deck 31027150288492 J DVD A Angelina Ballerina Mousical medleys 31027150327423 J DVD A Angelina ballerina Ultimate dance collection 31027150507214 DVDJ-A Angry birds toons Season one, volume two 31027150330047 J DVD A Angry birds toons Volume 1 31027150329148 J DVD A Annie 31027150385074 JDVD -A Another Cinderella story 31027150325872 J DVD A Arthur stands up to bullying 31027150327506 J DVD ART Atlantis, the lost empire 31027150290738 J DVD A B.O.B.'s big break 31027150333355 J DVD B Baby Looney Tunes Volume 3 Puddle Olympics 31027150386346 B Balto Wings of change 31027150304364 BALTO Barbie in the Nutcracker 31027150388789 B Barbie The Pearl Princess 31027150330088 J DVD B Barney A very merry Christmas 31027150503726 DVD-J Batman & Mr. -
"It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
"It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s. -
Trzyna Village Restaurant Closes After More Than Two Decades of Service July 19, 1974, a Story Headline in the Em- Ager
Guantanamo Bay A/I ZETTE G Vol. 55 No. 3 Friday, January 23, 1998 Trzyna Village Restaurant closes after more than two decades of service July 19, 1974, a story headline in the Em- ager. I've been able to meet a lot of people Food Service Board was established to study the ployee News, Non-U.S. Citizens newsletter read working there." possibility of providing immediate, short-range "New restaurant for non-U.S citizen employees Make a living Lewis definitely has. After improvements to the non-U.S. citizen employee. to open soon." .Twenty-four years later the story taking exile on the base Feb. 27, 1961, he worked The result of this board was a concession to op- headline for this article reads just the erate as a food service outlet, pro- opposite. viding meals at reasonable prices Trzyna Village Restaurant has to non-U.S. citizen employees also served delicious Jamaican and Cu- known as Trzyna Village Restau- ban style food, for lunch and dinner, rant. to the community since July 24, From the beginning, Trzyna 1974. As of Jan. 15 the doors to the has always been located in Build- restaurant have closed forever and ing 55. When it was opened in will be part of a demolition project 1974, it was said in the Employee very soon. News Letter that the outlet was lo- According to the Morale, Welfare cated in a remodeled premises. Ac- and Recreation Director Berry cording to Lewis, Trzyna was quite Patrick, Trzyna Restaurant and o modest but grew impressively over Snack Shop, Building 55, is being de- the years. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Home Alone Earnings on Opening Weekend $180
Home Alone Name: ________________________________ You are a Movie Producer for the Home Alone franchise. You want to be sure each movie makes a lot of money. To do this, you need to watch the earnings for each movie. Your Challenge: How much money do the Home Alone movies earn in the United States? LEVEL 1 As a movie producer, it is important for you to know how much each movie in the Home Alone franchise earned on its opening weekend. It can be easier to understand this information when you use a graph. Home Alone Earnings on Opening Weekend $180 $160 $140 $120 $100 $80 $60 Earnings (millions) $40 $20 $0 Home Alone Home Alone 2: Lost in Home Alone 3 New York 1 Updated May 2015 © NextLesson 2015 Home Alone 1. Use the information from the graph to complete the table below. Hint: Remember that your units are in millions. Home Alone Movies – Opening Weekend Earnings Movie Earnings on Opening Weekend Home Alone $17 million Home Alone 2: Lost in New York Home Alone 3 2. How much less money did Home Alone earn than Home Alone 2: Lost in New York? 3. How much less money did Home Alone 2: Lost in New York earn than Home Alone 3? 4. How much less money did Home Alone 3 earn than Home Alone 2: Lost in New York? 5. What is the difference between the movie that earned the most money and the movie that earned the least money? 2 Updated May 2015 © NextLesson 2015 Home Alone LEVEL 2 Successful movies earn millions of dollars in U.S. -
Hollywood Extravaganza Auction VI
Welcome to Hollywood Live Auction’s Holiday Extravaganza Live Auction event weekend. We have assembled an incredible collection of rare iconic movie props and costumes featuring items from fi lm, television and music icons including John Wayne, Marilyn Monroe, Christopher Reeve, Michael Jackson, Don HollywoodJohnson and Kirk Douglas. Extravaganza Auction VI From John Wayne’s Pittsburgh costume, Michael Jackson’s deed and signed check to Th e Neverland Ranch, signed Billie Jean lyrics and signed, stage worn Fedora from the HIStory Tour, James Brown’s stage worn jumpsuit, Marilyn Monroe’sDay 2 gold high heels, Christopher Reeve’s Superman costume, Steve McQueen’s Enemy of the People costume, Robert Redford’s Th e Natural costume, Kirk Douglas’ Top Secret Aff air costume, Johnny Depp’s Blow costume, Don Johnson and Philip Michael Th omas’ Miami Vice costumes, and many more! Also from the new Immortals starring Mickey Rourke, bring home some of the most detailed costumes and props from the fi lm! 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 staff members, please call us to register at (866) 761-7767. We hope you enjoy Hollywood Live Auctions’ Holiday Extravaganza event and we look forward to seeing you on March 24th – 25th for Hollywood Live Auctions’ Auction Extravaganza V. Special thanks to everyone at Premiere Props for their continued dedication in producing these great events. Have fun and enjoy the weekend! Sincerely, Dan Levin Executive VP Marketing CALL TO BID @ 1-888-761-PROP (7767) 109 Lot 502. -
“The Creative Producer”: John Hughes, Synergy and Late 1980S Hollywood
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX MAY 2014 2 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Signature:……………………………………… 3 UNIVERSITY OF SUSSEX HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA SUMMARY My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes’ career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes’ career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S. -
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