AS and A2 Film Studies

Joseph Macbride's: academic on film and an authority on several key film directors

2011-12-21T17:46:00.000-08:00

Joseph Macbride's work is certainly worth looking into. His updated autobiography on Steven Spielberg, released earlier this year, is possibly the key text for understanding the contexts against which Spielberg created his films.

http://www.josephmcbridefilm.com/

The Wicked Flee - The Score from the new version of "True Grit'

2011-02-16T06:56:00.000-08:00

I have not posted here for some time as I am not teaching Film Studies at present. However, I intend to do so in future and produce teaching and student resources next year. My intention is to produce a wide ranging website for English Media and Film and place decent resources on it for several exam boards.

In the meantime, here's Carter Burwell's memorable score from "True Grit", something all teachers need these days. The tune is a rendition of the old gospel hymn, "Leaning On The Everlasting Arms." The following video is also an interesting example of exchange, what ordinary folks do with films using WEB 2.0 once they have been released.

The Score from True Grit
Iris DeMent sings "Leaning On The Everlasting Arms". The Song is played at the end of the film.

Carter Burwell writes on his own website about why his music was not eligible for the Oscars because of his inclusion of adapted gospel hymns from the nineteenth century.
http://www.carterburwell.com/projects/True_Grit.html

Here is Carter Burwell discussing his use of music in the new film in both an interview and in the film below.
http://www.npr.org/2011/02/19/133877190/true-grit-a-new-score-from-old-familiar-tunes

Practice questions for "Spectatorship: Popular Film and Emotional Response

2010-05-29T04:17:00.000-07:00

Robert , Shaun and Doug and anyone else who might find this post helpful.
These are questions are from Dave's Paper. It is worth 35 marks. ( The Single Film: Close Critical Study ( Fight Club ) is worth 30 marks. )

In the old exam this paper was known as "Shocking Cinema". But YOU need to be aware that THE RANGE of spectator's emotional responses will be WIDER than that.

1. Explore possible reasons to explain why a second or third viewing of a film can actually increase the emotional response rather than lessen it.

2. How far is the emotional response to mainstream films triggered by specific techniques used by filmmakers?

To answer either of these questions you will need to have:

an understanding of how cinema produces a range of emotional responses in the spectator, using both macro and micro features.
an appreciation (knowledge) of how spectators seek a range of different experiences when watching films, including experiences that may challenge and disturb.
an appreciation ( knowledge) of cinematic contexts - including the significance of audience viewing situations, fandom and 'cultism' - in contributing to spectator response.

Remember to analyse each questions' key words and phrases first and make a brief plan.
(As we did in class, perhaps even using a dividing line with several arguments on each side.)

Use words and phrases from the question in your essay's introduction to show how you intend to shape your argument.

Write clear, introductory sentences for each point or argument in your essay. (Topic Sentences).
The rest of your paragraph(s) should then fill out your point with examples and argumentative comment on your examples.

Refer to those words regularly in your essay to show the relevance of your points and argument(s).

Come into College if you need to discuss your practice essays or need to marked.

Good luck for each of the three Papers: Patty's Dave's and mine.

"Fight Club' and the Ikea information consumerism scene

2010-04-02T04:55:00.000-07:00

The scene is self-referential as well as critical of consumerism. David Fincher draws attention to the fake reality of the film as well as the Ikea catalogue that seems to fill Jack's room, and rooms in ours lives, too.
Fight Club's Ikea Catalogue scene

An interview with David Fincher from Slant Magazine

2010-04-01T10:56:00.000-07:00

Scroll down to find his comments on "Fight Club". They are well worth reading.
http://www.slantmagazine.com/house/2009/01/the-conversations-david-fincher/

David Fincher as an auteur

2010-03-24T04:25:00.000-07:00

Director as auteur
Watch David Fincher’s earlier, more mainstream film, "The Game" (1997); you can begin by reading about it on Wikipedia or fan-sites devoted to David Fincher.

David Fincher's "The Game" (1997) on Wikipedia
What similarities in themes and style can you identify with Fight Club?

Here's a trailer from the film
The trailer for "The Game"
What similarities in themes and style can you identify with "Fight Club"?

Producer as auteur
Art linson was the producer of Fight Club; look up his filmography on IMDB.

To get a clearer sense of the work of a Hollywood producer read Linson’s book “What Just Happened?” which includes material on Fight Club.

Here are a few interesting reviews from Amazon USA

Amazon US Reviews of Linson's book

"Flashes of Tyler Durden - a YouTube video on "Fight Club"

2010-03-24T03:57:00.000-07:00

This useful You Tube video was found by, Sean, one of my students studying "Fight Club" as a single focus study film. It's a useful video for studying David Fincher's experimental visual and narrative style in "Fight Club" and for the split identity of the film's main character and narrator Jack.
Flashes of Tyler Durden in "Fightclub"

Specialist Study: Empowering Women questions - FM4

2010-03-03T03:53:00.000-08:00

These questions have been drawn from the WJEC Exam Board.

1. How far do the films you have studied depend on dramatic moments of confrontation within the narrative and how far on tracing a more subtle change over time?

2. Compare and contrast the ways in which the audience is encouraged to identify with particular characters in the films you have studied.

Single Film: Close Critical Study Film Questions on "Fight Club"

2010-03-03T03:42:00.000-08:00

In the exam you will need to answer ONE question and it will be worth 30 marks. The following questions have been drawn from the WJEC Exam Board and they can be used for Fight Club.

General questions which could apply to any Single Film: Close Critical Study:

1. What does your chosen film reveal about the usefulness of one or more critical approaches you have applied?

2. Consider debates that have arisen in the critical reception of your chosen film, either at the time of its initial release or now or both.

A specific question on Fight Club:

3. 'Despite the gesture of destroying symbols of corporate power at the end, Fight Club is a film about power and control, not liberation.' How far do you agree?

Fight Club Essays and reviews

2010-02-10T11:43:00.000-08:00

A great review with thought-provoking points on how the film did at the box office and film executives' attitudes towards the film. See the link after this video. "Everything's a copy of a copy, of a copy".

Condensed Fight Club from Jim Emerson on Vimeo.

Fight Club at ten - a love story Once you've read the review read several of the excellent comments this review drew from viewers.

Essays on Fight Club from DVD Talk

Fight Club essay part 1

Fight Club essay part two

A review with links to reviews by major critics

Click here for the review and links

A PDF file with an exam question, mark scheme and points which an an examiner would look for in your answer to the exam question.
http://www.wjec.co.uk/uploads/publications/5797.pdf

"Fight Club": the single study case study film for FM4

2010-02-03T11:02:00.000-08:00

Choose three-four scenes for micro and macro analysis. Scenes should be no less than five minutes and no more than 10 minutes long.

Good choices would be:

the last six minutes of the film
a scene from the fight scenes in the middle of the film
the film's opening

As a class we can look at the critical reception of the film and discuss your engagement with it in the light possible critical approaches to the film. For instance, consider your preferred way of reading and interpreting the film:

Through David Fincher as an auteur - his visual style
Through its star performers and the meaning that they bring to the scenes and film
Through its genre(s) and how it conforms or subverts expected conventions.

Of course, the social context and reception of the film is important, too. The film was made in the 90s, a period which threw up a myriad of texts in which men's masculinity and their roles in a consumer and materialistic society was considered to be going through a crises. Another issue which is a key issue for postmodern films was identity, particularly fractured identity.

We will post some of our notes and discussions on this blog next week for further discussion and written analysis next week.

Fight Club - The Single Focus Study Film

2009-10-24T06:06:00.000-07:00

Posts will follow as we study this in class.

Robert De Niro in performance by Quinton Tarantino Parts 1 - 3

2009-07-25T04:15:00.000-07:00

In "Cinefile", a program made in 1994 for Channel 4, Quinton Tarantino profiles Robert De Niro's performances and star persona in "Meanstreets" and "The Godfather Part II". It's an important resource for anyone working on De Niro for a small scale research project.

In Part 2 Tarantino focuses on De Niro in "Taxi Driver", "The Deer Hunter" and "Raging Bull".

In Part 3 Tarantino analyses De Niro's performance in "Once Upon A Time In America" and discusses what a film co-starring De Niro and Al Pacino would be like. A year later, in 1995, they co-starred in the cop and gangster film , "Heat"

Film Genres - detailed examples

2009-07-15T01:21:00.000-07:00

This slide presentation has several examples for each film genre and sub genres.

Film Genres

View more presentations from newestprod.

Film Classification in the UK

2009-07-15T01:17:00.000-07:00

This is helpful also for understanding the history of censorship in film in the UK. Film and video classification in the UK

View more presentations from Jim Barratt.

Movie Diva - an interesting cross between academic and popular film reviews

2009-07-14T12:51:00.000-07:00

This is a great site for reading reviews on older films. Movie Diva's breadth of academic research informs each review and makes what might have been complex accessible and easy to understand.

http://www.moviediva.com/MD_root/webpages/MDIndex.htm

Various documentaries on film genres

2009-07-13T00:36:00.000-07:00

http://www.learner.org/resources/series67.html

FM3: Harrison Ford and Wife Force 1!

2009-07-03T03:43:00.000-07:00

FM3 Small Scale Research Project ideas
Harrison Ford
As amusing as this selection of clips may be they are still useful for examining star/performance issues on Harrison Ford - the repetition associated with his screen persona in similar film genres and and the meanings that he brings to the roles. Just as John Wayne used to furrow his forehead before expressing his anger in his films, there is also the trade-mark look of angry surprise on Harrison's face across a range of films. It is shots like these that audiences "expect" and "want" , whether they are always conscious of them or not, because they often derive pleasure from them. And, yes, Ford seems to be forever saving his wife! (Not withstanding Indiana Jones films in which he saves women who, had he married, could have been his wife).

An important aspect of Harrison Ford's persona and one worth exploring, is Ford's representation of masculinity - in this instance, the protective husband. Some modern US critics and writers bemoan younger American heroes who lack the assured masculinity that the now ageing Ford and Clint Eastwood, exude with ease.

For performance consider Harrison Ford's

Voice, intonation, accent, pitch
Facial gestures and movement
body movement and the idiosyncrasies he displays as a performer
use of space and his phsyical presence and room he takes up in frames
how all of the above represent his masculinity and the persona he projects on screen.

Any aspect of the above can create meaning from performance as they can show his character's feelings about other characters. These elements can affect how audiences react to Ford at various points in a film's narrative.

Film Research and Creative Projects - FM3

2009-06-22T18:26:00.000-07:00

The German film director, Fritz Lang, would make a great subject for an auteur study. His film, "Metropolis" (1927), was a big- budget, futuristic movie, that was then the most expensive in Germany. With the rise of Hitler Lang fled to the USA where he used his experience and knowledge of expressionism to make several films in several genres, particularly, westerns and film noir.

"Metropolis" was reputedly Hitler's favourite film. Hitler's minister for propaganda, Joseph Geobbels thought the film encapsulated nazi ideals. Fritz Lang himself became uncomfortable with the film and disliked it possibly for the same reason, even though "Metropolis" that he made his name. His wife and co-creator of the film, Thea Gabriele von Harbou, remained in Germany as a faithful supporter of the nazi regime.

These clips are from the Giorgio Moroder version which he coloured and set to mostly synthesiser music in 1984. This version is both loved for its music and despised by some purists of the film.

The film would also make an interesting genre or gender study.

The mad scientist, C. A. Rotwang, has made a female robot for the master of Metropolis, Fredersen. But scientist has ulterior motives!

Rotwang throws a party for Fredersen and his friends to prove how human his devilishly tempting creation can be! By this time the female robot has been given the appearance of Maria.

The real Maria meet Fredersen's rich son by mistake as she goes through a door on the wrong floor. Two worlds collide in fully-blown German expressionism.

Rotwang chases after Maria so he can carry out his experiment to gain her appearance for his robot.

Rotwang's transformation of the Robot after he captures Maria.

A longer sequence from the film after which the Robot, as the false Maria, has done its worst by getting the workers to flood their factory underworld. (This clip's quality is poorer than those above. These clips are the work of Metropolis-Redux, an American who has gone to great pains to produce a DVD quality print of the film.)

Genre as a critical framework to question and assess film - "Stagecoach" from 1939

2009-06-18T08:23:00.000-07:00

If you prefer assessing John Ford's "Stagecoach" using a genre approach you could focus on some of these points and view several scenes to decide whether Ford consciously focuses on, say, various forms of social prejudice, or whether these issues simply emerge out of the time in which the film was made. Perhaps there is something to be said for each approach. Clint Eastwood said that in "Josey Wales" (1975-6)he was not particularly conscious of his theme of social unity which could be seen as the need for Americans to unite after the Vietnam War. (See earlier posts). Yet in retrospect that is what he seems to have reflected in his film - Josey Wales is supported by the different types who, through his help, have banded together into a social group, suggesting that there is strength through social unity. Ford's film also mirrors an American society that was divided by the Depression and, perhaps, still feeling the after-effects of the Civil War from 65 years earlier.

Click on this image to enlarge.

OCR videos on Basic camera shots and camera movement

2009-06-15T07:38:00.000-07:00

OCR Media Studies - Basic Camera Shots

OCR Media Studies - Camera Movements

John Ford in Wikepedia

2009-05-28T05:00:00.000-07:00

For interesting points on John Ford as an auteur skim for Ford's cinematic style and for references to Monument Valley, etc. It's a good read and helpful for FS6'Auteur and Genre unit.
http://en.wikipedia.org/wiki/John_Ford

"All I want is to enter my house justified" a review of "Ride The High Country" from 1962

2009-05-09T10:01:00.000-07:00

My review from Amazon

5.0 out of 5 stars "All I want is to enter my house justified," 19 April 2009

Sam Peckinpah's elegaic western, also known as "Guns In The Afternoon", is surely one of the finest in its genre. The director explores the themes of friendship, honour and loyalty in pressing circumstances and changing times. Joel McCrea and Randolph Scotts' time-served experience of starring in B westerns is as present as the ageing and time-worn "lawmen" they portray. The banker's son (Byron Foulger), who laughably looks as old as his father (Percy Helton), shakes Steve Judd's (McCrea's) hand to seal the deal for McCrea fetching the gold from the miner's camp only to turn it over to inspect Judd's fraying cuff. A life of integrity, honesty and disappointed hopes has led the now desperate Judd to this new venture.

The film is about transformation and ultimately, redemption. Ron Star's Heck Longtree is a young man whose moral compass is finally influenced by Judd as it had been earlier by Westrum. The young man always had courage but he learns about the importance of honour and integrity from Judd as he changes from a selfish, womaniser and potential murderer to a young man capable of sacrifice and the faithful love of Elsa Knudsen (Mariette Hartley).

However, Scott's Gil Westrum is not the only character capable of transformation. In what must be one of the most moving scenes in cinema, let alone westerns, the audience knows that Westrum will carry out Judd's last wishes to the letter - and in doing so will be worthy of joining Judd "later" in "The High Country".

"Gil Westrum: Don't worry about? About anything. I'll take care of it, just like you would have.
Steve Judd: Hell, I know that. I always did... You just forgot it for a while, that's all."

The film's intelligent script is worth pausing over for its ironic quips and its amusing repartee. Peckinpah's approach to right and wrong is more tonal in this part revisionist western than, for instance, John Ford's black hat - white hat, clear cut vision of good and evil. There again, Peckinpah's film was made during a more cynical, post-war period in the early Sixties, which Gil Westrum embodies for most of the film. Ford's "The Man Who Shot Liberty Valence", another excellent film in its own right, differs from Peckinpah's in almost every way and yet it was released in the same year, 1962. Its treatment of honour, age, integrity, friendship and love are also very different.

The next time you you watch "Ride The High Country" pause over the sign as Joshua Knudsen prays over his wife's grave. The message on it is intriguing, particularly for the representation of women in this and other Peckinpath films.

The formerly blacklisted, George Bassman's elegaic score amplifies the ambiguity of of the film's title, "Ride The High Country". With its journeys, to and from the gold camp, the moral high ground and, perhaps, the journey to heaven implied for Judd. Lucien Ballard's cinematography and Peckinpah's shot-making in several sequences, particularly the final shootout, elevates the film far above most classical westerns.

In an age when integrity, honesty, loyalty and honour are more absent in public life than ever, Peckinpah's western is a moral lesson on the lasting importance of these virtues.

"Do Easy" by Gus Van Sant

2009-05-04T04:59:00.000-07:00

Gus Van Sant's early short is a mini masterpiece based on William Burroughs' short story "The Discipline of DE". It's a marvelous little film on doing the little things in life in the easiest and most efficient way possible. Van Sant ("Milk" 2008) also dedicated his film, "Good Will Hunting (1997 and ) to two writers who influenced him but has passed on: William Burroughs and the poet, Allen Ginsberg.

Henry Sheehan's interview with and essay on Clint Eastwood

2009-04-26T11:26:00.000-07:00

An interview and an essay can be found her on Clint Eastwood as a director

http://www.henrysheehan.com/interviews.html

"Genre or Auteur Theory?"

2009-04-22T10:23:00.000-07:00

This is a MUST READ for students to understand the topic and therefore be able to list arguments for the benefits and limitations of each theory. Of course, you can make great points if you tie your arguments to specific directors and genres like John Ford and Clint Eastwood westerns.

http://sismedia.wetpaint.com/page/Genre+and+Auteur+Theory?t=anon

"Rethinking Authorship, Theories of Authorship"

2009-04-22T10:13:00.000-07:00

by Barry Grant. A useful read for understanding auteurs as an issue in film world.

http://www.ejumpcut.org/archive/onlinessays/JC31folder/TheoAutCaughie.html#n

Charlie Rose's TV interview with Clint Eastwood

2009-04-11T09:51:00.000-07:00

"An hour with Academy Award-winning filmmaker Clint Eastwood"

Clint Eastwood
in Movies, TV & Theater
on Tuesday, December 19, 2006

Another interview worth watching to get the bigger picture on Eastwood as a director. Rose mostly focuses on "Flags of Our Fathers" and "Letters From Iwo Jima" (2006)

http://www.charlierose.com/view/interview/82

Philip French's Interview with Clint Eastwood published February 27th 2007

2009-04-11T09:37:00.000-07:00

"An Audience with Clint Eastwood" by Philip French, published on 27th of February 2007.

The discussion touches on "The Outlaw Josey Wales" and a number of Eastood's other film. French is an incisive critic and he gets Clint to reveal which directors and films he most admires and which also influenced him.

"Our conversation ranged widely, taking in the director's Iwo Jima companion pieces, his collaborations with Leone and Siegel and his masterpiece, The Outlaw Josey Wales. It even included a duet."

http://download.guardian.co.uk/sys-audio/Film/Film/2007/02/23/ClintEastwood.mp3

The Seven Basic Plots of Westerns

2009-04-08T16:20:00.000-07:00

Frank Gruber, a veteran writer of pulp Westerns, argued that there are seven basic plots in Westerns:

Some of these plots are derived from time and place

1. Cavalry and indians

2. The Union Pacific or Pony Express story

3. The homesteaders or squatters theme

4. The cattle empire story

5. The lawman story

6. The revenge story

7. The outlaw story.

Other plots can be distinguished outside the genre, so the genre's durability can sometimes be explained by its ability to digest and shape any source material.

The frontier experience, civilisation/wilderness and east/west themes are omnipresent in most of the themes above.

FM2 Example Exam Essay Question and Plan - Concept Map

2009-04-03T09:08:00.000-07:00

Click on the images to enlarge. The case study film is "Juno" from 2007.

See also the film poster of There Will Be Blood ( 2008 ).

Both the exam question and poster were drawn from WJEC exemplar exam material.

The Musical Scores from "The Outlaw Josey Wales"

2009-03-29T15:07:00.000-07:00

"The Outlaw Josey Wales" form Shooting Down Pictures

2009-03-28T12:54:00.000-07:00

This is an excellent website for detailed information on this key film.

http://alsolikelife.com/shooting/2008/05/914-55-the-outlaw-josey-wales-1976-clint-eastwood/

Here is brief commentary on Eastwood, his star image and his work as a director. There is also a list of interviews, articles and books for detailed research on the man and his work.

http://www.filmreference.com/Actors-and-Actresses-Da-Ea/Eastwood-Clint.html

A Video Essay on "The Outlaw Josey Wales" and Clint Eastwood by Matt Zoller Seitz

2009-03-28T07:47:00.000-07:00

Matt Zoller Seitz makes several interesting points and reveals valuable insights in his video essay on Clint Eastwood's 1976 western, "The Outlaw Josey Wales".

"Stagecoach" and approaching the western either through genre or through Ford as an Auteur (Concept Map)

2009-03-24T16:56:00.000-07:00

Click on the image to enlarge.
What's missing from this graphic is the big macro features on narrative. When analysing Western for its genre we will need to consider narrative structure and plots, etc. Studies would also benefit from nexamination of key scenes which will allow a fruitful discussion of Macro features of the genre as well as the auteurs' treatment of them and their view of America at a given point in time.

A brief essay on John Ford's "Stagecoach" from "30 Great Westerns" by Images Journal

2009-03-22T16:56:00.000-07:00

A publicity photo from "Stagecoach" with George Bancroft, John Wayne and Claire Trevor.

Here's an insightful analysis of John Ford's "Stagecoach" from Images journal's "30 Great Westerns".

Once there click on the film's title near the top of the left column.

http://www.imagesjournal.com/issue10/infocus/default.htm

Filmmaking from the initial idea to exhibition

2009-03-20T05:53:00.000-07:00

This site offers the perfect revision tool for understanding each stage of the filmmaking process and applying these stages with their key terms to your exam case studies.

When you get there click through images to get to new sets of images with key terms and explanations.
The Business - Understanding Filmmaking

Westerns - narratives and themes

2009-03-18T13:13:00.000-07:00

//history.sandiego.edu/GEN/filmnotes/western-narrative.html

A detailed review of the DVD of "The Outlaw Josey Wales"

2009-03-17T17:37:00.000-07:00

Click on the image to enlarge

This essay with helpful images should prove useful for a deeper understanding of this ground-breaking western from 1976; in particular how Eastwood created new conventions that were afterwards imitated by later westerns. The themes of revenge, masculinity and violence are also worth focussing on in this post. Clint Eastwood as an auteur is also present in the technical aspects of the film as well as in its vignettes, female and native indian characters. As with John Ford humor is also an important feature in Eastwood's films.

http://alsolikelife.com/shooting/2008/05/914-55-the-outlaw-josey-wales-1976-clint-eastwood/

The Revisionist Western

2009-03-17T09:04:00.001-07:00

Explanations
http://en.wikipedia.org/wiki/Anti-Western

http://www.suite101.com/article.cfm/westerns/51004

http://dic.academic.ru/dic.nsf/enwiki/581608

A leading example
http://en.wikipedia.org/wiki/The_Outlaw_Josey_Wales

The Western - three articles on theories on this genre

2009-03-16T16:44:00.000-07:00

from generos cinematográficos ::del musical a la era espacial

"The Western Myth - Approaching genre theory from the western."

http://www.icesi.edu.co/blogs/generoscine/2009/02/18/the-western-myth-approaching-genre-theory-from-the-western/

"The Western & the Westerner"
http://www.icesi.edu.co/blogs/generoscine/2009/03/06/the-western-the-westerner/

"A Semantic/syntactic approach to film genre"

http://www.icesi.edu.co/blogs/generoscine/2009/03/05/a-semanticsyntactic-approach-to-film-genre/

Propaganda and American Values in "She Wore A Yellow Ribbon" ( 1949 ) by John Ford

2009-03-15T10:49:00.000-07:00

"Propaganda and American Values in She Wore a Yellow Ribbon"
by Laurel Westbrook

Westbrook's insightful essay examines the message of "unity" in the film at the time the film was made (1949), when American leaders feared the further encroachments of communism around the world. China had its communist revolution and Russia had developed its own atomic bomb. Westbrook also examines why the American values of "independence", "manliness" and "intelligence" are present in Ford's film and why these attributes still persist in Hollywood films several decades afterwards.

http://www.lib.berkeley.edu/MRC/duke1.html

Perhaps someone may write about the representation of women in this and other westerns by Ford at a later date?

"How did auteurs develop after the studio system? And how have they contributed to the cinema of today?"

2009-03-12T14:23:00.000-07:00

An academic article on how a director might be known as "an auteur", focusing on Stanley Kubrick as its main example.

http://www.bris.ac.uk/Depts/History/Sixties/Film/auteur.htm

The Construction and Meaning of Stardom

2009-03-12T13:53:00.000-07:00

The construction of stardom

Find several images of a film star to help with some of the questions below. This link should prove useful.

http://www.allstarpics.net/pic-gallery/johnny-depp-pics.htm

Consider the various ways in which stars are represented in different media settings for age, class, sex and gender. Consider the messages and meanings that audiences would be expected to get from these images.

Key questions to think about and brainstorm

What does it mean to be a film star?

How do star images create meaning in films for film audiences? (In the US and UK?)

Can we distinguish between different types of stardom?

How does film stardom relate to a more general celebrity culture?

How is stardom in its various guises connected socially to the world of economics, politics, technology or culture?

Anyone interested in developing their understanding of this topic should read Sofia Johansson's editorial from Westminster University. She gives an overview of the work of academics going back four decades and their varying perspective on stardom and celebrity culture.

http://www.wmin.ac.uk/mad/pdf/Sofia.pdf

How to study film trailers

2009-03-10T17:15:00.000-07:00

The main questions to ask of any trailer should be as follows:

What type of trailer is it?
1. A teaser?
2. Theatrical trailer?
3. A TV spot advertising the film on release?

What is the film's USP? ( Its unique selling point?) In other words how are the distributors positioning the film in the marketplace? Which elements in the film's genre is the distributor highlighting which sets the film aside from other films in its genre.

What are the messages in the film's trailer and what do they say about the film?

Remember that the type of release ( wide, limited, universal ) and the date of release will have been carefully planned to maximise potential audiences.

In the media studies and film studies exams all you need to do is be able to write a paragraph or two on the posters and trailers of your case study production company's film so you can argue how the distributors tried to market the film.

Here's a good link to practice with film trailers for films currently on release.
http://uk.filmtrailer.com/cinema/AllCinemaMovies/

The link to Frank Baker probably has more than most students would need.
http://www.frankwbaker.com/movie_trailers_as_persuasion.htm

Are we entering another golden age of British cinema?

2009-03-09T17:30:00.000-07:00

Unfortunately, British success at the Oscars and a competitive exchange rate are not the only criteria that will determine whether the British film industry will see another golden age. The deepest recession since the Second World War and the huge difficulties British film-makers face financing and distributing films in their own country means it is still very much an uphill struggle.

Read the article below as it may prove useful when comparing the British film industry with Hollywood in the exam.

http://www.guardian.co.uk/film/2009/mar/01/british-cinema-slumdog-millionaire

Now watch this. The second part is particularly relevant for understanding the ups and downs of the British film industry.

Is there a future for British Film?

2009-03-09T17:10:00.000-07:00

Two important articles that should be read by AS Film students for the FM2 Exam. Both are useful because they examine the current state of the British film industry. The first article considers whether British film has "a future" and the second includes helpful statistics on on British cinema-going, including which films were most popular with UK audiences.

Is there a future for British Film?

http://www.guardian.co.uk/media/2009/feb/23/british-film-industry-funding-slumdog-millionaire

Cinema audiences soar with 164 million admissions in Britain

http://www.guardian.co.uk/business/2009/mar/08/cinema-takings-at-record-level

An overview of The Western genre

2009-03-03T15:52:00.000-08:00

Read Gary Johnson's excellent seven page overview of The Western from the online magazine, Imagesjournal. As you read jot down some of the article's key points so you can use them later when examining how John Ford's "Stagecoach" fits within conventions of the Western genre. It's important that you make your reading active by noting down important ideas and concepts from key paragraphs and also writing down questions of your own that you might wish to clarify by investigating further.

http://www.imagesjournal.com/issue06/infocus/western.htm

Don't rely on Internet research only. Remember hard copy magazines and books. An old tutor of mine, Brian Spittles, wrote a book on John Ford. It's called "John Ford (On Directors)". It would pay to see if your local library could find and lend this to you. Then focus on genre and John Ford as an auteur in "Stagecoach".

"Stylistically Ford was instrumental in developing new camera techniques, atmospheric lighting and diverse narrative devices. Thematically, long before it became conventional wisdom, Ford was exploring issues that concern us today, such as gender, race, the treatment of ethnic minorities and social outcasts, the nature of history and the relationship of myth and reality. For all these reasons, John Ford the man and his films reward thought and study, both for the general reader and the academic student. Ford's pictures express the world in which they were made, and have contributed to making what Hollywood is today. "

http://www.amazon.co.uk/John-Ford-Directors-Brian-Spittles/dp/0582424046/ref=sr_1_1?ie=UTF8&s=books&qid=1236162467&sr=1-1

FS6, Section C - Notes, articles and essays on John Ford's "Stagecoach"

2009-03-03T07:41:00.000-08:00

"My name is John Ford. I am a director of westerns."

This was Ford's much misquoted self-introduction to a meeting of the Director's Guild in October 1950. Ford has his reasons for stating this. He said it in the eye of the political storm provoked by Senator McCarthy and his HUAC hearings against suspected communists and their liberal sympathisers. As a "director of westerns" he was probably placing himself beyond reproach by identifying himself with such a deeply patriotic American genre; a genre which focused on frontier and foundation myths embedded in what it then meant to be an American. The truth is around 60% of Ford's films were made in other genres. He simply made more westerns than films in other genres.

Use your knowledge of the other films that you have studied by Ford to consider John Ford as an the auteur of "Stagecoach".

Focus on Ford as "a maker of the western": his themes, motifs and stylistic traits that places Ford's stamp on this film. His fondness for using particular actors including John Wayne. His film as a representation of America and its ideological discourses on American life. His auteurial signatures of humour and the repeated backdrop of Monument Valley.

There are several valuable essays on Ford's film on the PDF file from the link below. They should prove useful for studying the western as a genre and for Ford as an auteur.

http://assets.cambridge.org/97805217/93315/sample/9780521793315ws.pdf

A summary of the film and its characters.
http://www.filmsite.org/stagec.html

An earlier post of mine on the characters and their "types" in "Stagecoach"

http://asanda2filmstudies.blogspot.com/2007/11/this-page-taken-and-thus-acknowledged.html

An Auteur project with notes and links

http://littlelina-jf.blogspot.com/

An in-depth overview which touches on Ford's style from Senses of Cinema.

http://archive.sensesofcinema.com/contents/directors/02/ford.html

"John Ford Made Westerns:
Filming the Legend in the Sound Era" from Senses of Cinema

http://archive.sensesofcinema.com/contents/books/01/18/john_ford.html

An analysis of "Stagecoach"
http://www.helium.com/items/870379-movie-analysis-the-filming-of-stagecoach

Another fascinating analysis of the film which focuses on its music. Remember to click to page two at the bottom of its page one.
http://www.helium.com/items/873921-leitmotiv-and-its-use-in-the-music-for-stagecoach

Stars and their image - Clint Eastwood

2009-02-13T18:50:00.000-08:00

http://www.filmreference.com/encyclopedia/Romantic-Comedy-Yugoslavia/Stars-STAR-STUDIES.html

Stars and Studios - Metro Goldwyn Mayer

2009-02-13T18:39:00.000-08:00

Helpful for understanding the history of this studio and its stars. Find also the timeline for MGN as this is useful for finding out about the development of this studio and how it has evolved over the last few decades.

http://mgm.mediaroom.com/index.php?s=40&cat=6

http://mgm.mediaroom.com/index.php?s=54

A Review that blows "Juno's" indie credentials out of the water!

2009-01-31T07:47:00.000-08:00

Here's an interesting take on "Juno" that questions just how uncoventional and "indie-minded" the film actually is. Do you agree or disagree with any part of the review?

http://www.wsws.org/articles/2008/feb2008/juno-f04.shtml

FilmMaker's interview with Jason Reitman, the director of "Juno"

2009-01-29T11:45:00.000-08:00

FilmMaker's interview with the Jason Reitman, the director of "Juno". It's really useful for understanding the film as an "indie" film from the other side of the big pond!

http://www.filmmakermagazine.com/webexclusives/2008/11/my-super-sweet-16-by-lisa-y-garibay.php

FM2 - British Film - an interview with Paul Andrew Williams, the director of "London to Brighton" 2006

2009-01-29T11:26:00.000-08:00

Filmmaker's interview with the Paul Andrew Williams, the director of "London to Brighton", is well worth reading to establish how Williams's film can be defined as British. It would also repay study by students researching independent films.

http://filmakermagazine.com/directorinterviews/2008/02/paul-andrew-williams-london-to-brighton.php

FM2 British Film - "London to Brighton"

2009-01-29T07:52:00.001-08:00

This blog has helful information and links for "London to Brighton". The information here should be sifted for understanding what makes the film British as well as deepening your understanding of the state of the British film industry.

http://tccbritishcinema.blogspot.com/2008/03/london-to-brighton.html

An Art-House Film - "American Beauty" Concept Map on Production Issues

2009-01-28T09:14:00.000-08:00

Click on the image to enlarge.
Web links in the image that cannot be clicked from the JPEG.

Useful for comparing art-house "indie" films with films like "Once" made on shoe-string budgets.

Production Notes

Dreamworks's Production Noteshttp://thora.org/magazines/drmwrksinfo.html

An Art -House Film - "American Beauty" Concept Map on Distribution

2009-01-28T09:10:00.001-08:00

Click on the image to enlargeWeblinks that cannot be clicked from the JPEG.

Useful for a studio-based comparison with "indie" films made on shoe-string budgets, such as "ONCE".
The Trailer
http://www.allsubs.org/search-trailer/American%20Beauty/
The film's official website
http://www.dreamworks.com/ab/
Reviews ( mainly an exhibition issue but they also generated "buzz" and "word of mouth")
The British broadsheet press (who focus on art-house films)
http://www.guardian.co.uk/film/2000/jan/28/4
The public had its say, too in the same newspaper:
http://www.guardian.co.uk/film/movie/81856/american.beauty/review

An Art-House Film - "American Beauty" Concept Map on Exhibition

2009-01-28T09:03:00.000-08:00

Useful for studio art-house films to compare with a shoe-string "indie" films in FS6, Section B .

Click on the concept map to enlarge.

The following are weblinks that will not click in the JPEG.

http://www.imdb.com/title/tt0169547/movieconnectionsPublic reviews from Amazon UKhttp://www.amazon.co.uk/American-Beauty-Kevin-Spacey/dp/B0000558PIUK Press reviewhttp://www.guardian.co.uk/film/2000/jan/28/4Amazon UK reviews of the music CDhttp://www.amazon.co.uk/review/product/B00003XACV/ref=dp_top_cm_cr_acr_txt/276-8899745-1583721?%5Fencoding=UTF8&showViewpoints=1Thomas Newman's distinctive score ( some examples)http://www.last.fm/music/Thomas+Newman/_/Dead+Already

Concept Map for film, Juno

2009-01-27T08:49:00.000-08:00

Click on this concept map to make it bigger.

The links that cannot be clicked from the JPEG for further research, etc.
Production
http://madeinatlantis.com/movies_central/2007/juno_production_details.htm

Distribution and marketing
website
http://www.foxsearchlight.com/juno/ (Also has the updated poster)
Trailer
http://www.mtv.co.uk/overdrive/id/99644
Poster
http://www.impawards.com/2007/juno_ver2_xlg.html

Exhibition
Reviews
The US critic Roger Ebert thought the film was the best of its year!
British critics
http://www.guardian.co.uk/film/2008/feb/08/comedy.drama
From the public
http://www.amazon.co.uk/Juno-Ellen-Page/dp/B0015VI334/ref=sr_1_1?ie=UTF8&s=dvd&qid=1232617714&sr=1-1

Opening Credits
http://www.shadowplaystudio.com/juno/

The British Box office and opening number of screens from IMBD.

£213,504 (UK) (16 March 2008) (188 Screens)
£445,999 (UK) (9 March 2008) (340 Screens)
£690,686 (UK) (2 March 2008) (373 Screens)
£1,073,852 (UK) (24 February 2008) (368 Screens)
£1,344,284 (UK) (17 February 2008) (366 Screens)
£2,002,120 (UK) (10 February 2008) (363 Screens)

Juno - Full Production Notes

2009-01-27T08:40:00.000-08:00

Vital for understanding the production issues for this "Indie" film.
http://madeinatlantis.com/movies_central/2007/juno_production_details.htm

"Juno - the 'Indy' film that defeated Hollywood"

2009-01-24T09:08:00.000-08:00

A interesting post from a great-looking blogsite with lots of relevant material for AS and A2 students of film. Looks as if they agree with many of my own ideas on "Juno" as good choice for examining the "demarcation lines" between Hollywood studio films and non Hollywood independent films.

http://itpworld.wordpress.com/2008/09/23/juno---the-indy-that-defeated-hollywood/htt

Juno - FS6 case study information for a studio "indie" film

2009-01-24T07:50:00.000-08:00

The studio film, "Juno" produced by Mr Mudd Pictures is a great choice for comparing studio indie films with independent films with micro budgets like "ONCE". FOX Searchlight distributed both films but finance for "Juno" was much more assured compared with "ONCE". The importance of each film's soundtrack is another very useful point for comparison. Both films also won acclaim a film festivals: "ONCE" found its main distributors at "Sundance" and "Juno" won its early acclaim at the Toronto Film Festival. Aim firstly at art-house audiences, "Juno" crossed over to the mainstream without losing its "indie" cache.

When you write your essays comparing "genuinely independent films" with "indies" produced and distributed by the "boutique arms" of major studios you could do worse than comparing "ONCE" with "Juno".

The link below contains useful analysis on the marketing campaign with discussion on the teaser and theatrical poster as well as the trailers. I also like the analysis of how the campaign trod a fine line between art-house and mainstream audiences. FOX Searchlight were literally having their cake and eating it!

http://www.moviemarketingmadness.com/blog/2007/12/05/movie-marketing-madness-juno/

Production issues - Ellen Page's choice of music determined many songs on film's soundtrack.

http://www.slashfilm.com/2007/09/11/juno-movie-sountrack/

Indies and Film Ratings

2009-01-19T03:23:00.001-08:00

More useful info. from The Cybercollege. Great graphics.

http://www.cybercollege.com/frtv/frtv006.htm

The End of the Studio System

2009-01-19T03:19:00.000-08:00

A useful article by the Cyber College on the reasons for the decline and end of the Hollywood studio system
http://www.cybercollege.com/frtv/frtv005.htm

Hello Mummy Moore!

2009-01-18T09:13:00.000-08:00

You have three nice looking blogs on film and media! I make it a point of visiting them and I'll add your most appropriate blog to this page. I know that Welling has special media status. All my best to you and your students.

Case Study Concept Maps for an art-house film

2009-01-18T08:57:00.000-08:00

In the next few days I'll post my completed concept maps for "American Beauty". As the maps will be JPEGS I'll have to add the live links to the posts. Each map will feature issues on production, distribution and exhibition. There's also a generic map for any film. Of course, not everything will be covered but enough will be there for a meaningful Hollywood studio comparison with "ONCE" for FS6. I produced the maps as exemplars for my AS Media Studies class as they are creating case studies for OCR on film production and distribution companies. These concept maps will be followed up by another concept map which deals with the main issues for Section B of FS6: Film and its audience.

Recent small group research by my students on the problems they faced on how to produce, find and buy cameras, get permits for locations, finance and distribute their own films will be incorporated into the final concept map as this will be a good aid memoir for their essays. ( I'll hear the students' pitches this coming week.)

Work and posts on Section C of FS6 will also follow.

A Scottish TV interview with Glen Hansard and Marketa Irglova on "ONCE"

2008-12-04T16:14:00.000-08:00

This 14 minute interview with Glen Hansard and Marketa Irglova was made during the pairs promotion of the film as they helped ICON Films market "ONCE" when it was released in mid October, 2007. It's useful for understanding the origins of the film and for Glen's comments on how "ONCE" compares with mainstream Hollywood films released during the same period.

An interview by FILMdetail's Ambrose Heron with John Carney, director of "ONCE"

2008-11-22T10:21:00.000-08:00

Film students studying "ONCE" as an independent film for FS6 would do well to well to listen to this audio interview of Ambrose Heron with ONCE director John Carney.
Interesting topics are:

Carney's ideas on how music can be used in films
acting and naturalism
the story on how the film found its main distributor, FOX Searchlight.

Bear with the brief advert halfway through this interview. Scroll down on the web page for the audio link.

http://www.filmdetail.com/archives/2007/10/21/john-carney-on-once/

Early UK Box Office Statistics for "The Lives of Others"

2008-11-22T09:16:00.000-08:00

For students researching "The Lives of Other" as an "indie" these are helpful stats for studying the theatrical release of the film in the UK. Notice how many cinema (sites) it opened in and how this changed in subsequent weeks. Of course, these "sites" would have an art-house following. There is a running figure for the rise and fall of "the weekly gross" on the left with a running total for "the box offfice to date" on the right of the chart.
http://www.ukfilmcouncil.org.uk/12435

Track the film into the following month(s) to see its fortunes and where the box office trail peters out.

Why and how the line between Hollywood and Independent films is becoming blurred

2008-11-20T13:33:00.000-08:00

http://voice.paly.net/view_story.php?id=4502

Here's another link to a really useful Wikipedia article on this issue. Scroll down for the relevant parts, particularly the discussion on Dennis Hopper's "Easy Rider", the first film recognised as and "independent" film.
http://en.wikipedia.org/wiki/Independent_films

Scroll down to read the second article by John Lewis on Independent Films and how major Hollywood studios muscled in on "Indies" by trying to "corner the market in "independent films. It's well worth reading to get an overview of how Hollywood has tried to blur the differences in audiences' minds between themselves and real indepent films.

http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Independent-Film-INDEPENDENCE-IN-CONTEMPORARY-HOLLYWOOD.html

How much do YOU KNOW about typefaces in film posters?

2008-11-15T06:51:00.000-08:00

This series of film posters on the BBC website with comments by Sebastian Lester is well worth trawling through for understanding the messages behind their typefaces and the distributors' reasons for selecting them.
http://news.bbc.co.uk/1/shared/spl/hi/pop_ups/08/entertainment_knowledge_of_all_fonts/html/1.stm

What is indie cinema?

2008-11-11T15:56:00.000-08:00

This is an important article to read for understanding the current meaning of what is meant by the term "independent films", or "indie films". After reading it scroll down and read some of the messages as some of those are very informative, tool
http://www.guardian.co.uk/film/filmblog/2008/nov/04/what-is-indie-cinema

Film Director, Robert Davi's definition of Independent Films

2008-11-11T15:48:00.000-08:00

indieWIRE INTERVIEW "The Dukes" Director Robert Davi
"What is your definition of "independent film," and has that changed at all since you first started working?
For me, an independent film is under five million dollars. It is independently funded from outside sources. There are no "wink-wink" side deals made with an existing studio. There is no negative pick up deal made with a producer who comes on board and has an output deal with the studio. The idea of independent film is absolutely no ties to agencies, studios - a film made truly outside the system. I have seen what is considered an independent film change over the years, from films that were made outside the studio system that were considered independent to what we have today - which to a large degree are films being called independent, but are really in fact not. This is not to say there are not those young Cassavetes out there who are still maintaining the purity and spirit of maverick filmmakers."

For the rest of the interview see:
http://www.indiewire.com/people/2008/11/indiewire_inter_197.html

The Credit Crunch Has Made Life Tough For Independent Film-makers

2008-11-11T15:45:00.000-08:00

Independent Filmmakers Hock Houses, Face Longer Odds Amid Cuts
http://www.bloomberg.com/apps/news?pid=20601103&sid=a8OIgw2aEC2A&refer=us

Why FOX Searchlight acquired the rights to "ONCE"

2008-11-06T01:39:00.000-08:00

This is an important article for anyone doing a case study on ONCE for FS6: Independent Films and their Audience. This link refers to a press release by FOX Searchlight. It is worth noting that major distributors like FOX have specialised subsidiary arms, in this instance FOX Searchlight, that acquire the rights to independent (specialist films) and then distribute them in that manner, obviously in art house cinemas or in limited regional or selected cinemas releases.
http://www.comingsoon.net/blog/2007/02/fox_searchlight_picks_up_once.php This brief post in Cinematical also has useful info. on the deal with FOX Searchlight.
http://www.cinematical.com/2007/02/04/fox-searchlight-buys-american-rights-to-once/

A film review on "ONCE"
http://jacksonfilmreviews.blogspot.com/2007/07/once-fox-searchlight-2006.html
Amazon would be another good site for critical reception. Of course, read Roger Ebert, too, along with other reviewers. Their links are on the right hand side of this blog.

Film terms explained by a movie critic

2008-11-05T02:18:00.000-08:00

Kevin Maynard, a US movie critic explains in a number of short videos useful terms for various aspects of films.
http://www.videojug.com/tag/careers-film-critic

A discussion on distribution - "the holy grail" of independent film making

2008-11-02T15:59:00.001-08:00

Another good article for understanding the importance of distribution for independent film makers. The example used is The Sundance Film Festival. Note the three main criteria that distributors are looking for before they will attempt to distribute a film:

"STAR POWER … participation by recognized industry creatives
FESTIVAL FEVER … selection in a key festival
GREAT REVIEWS … recognition by film critics"

http://www.cinemaminima.com/index.php/2008/02/16/4/discussing-distribution/

The increasingly heated row between cinemas and distributors/studios

2008-11-02T15:36:00.000-08:00

This fascinating debate hinges on what distributors and studios regard as "as changing marketplace". For exhibitors (cinema chains) who are independent from major film distributors and studios the argument is to retain a six month release pattern for films in their cinemas. The distributors and studios are agitating for quicker release dates for DVDs. (shorter windows). Of course, there's money at stake and the publicity that sold the films could be used to help sell the DVDs. What's interesting is that distributors and studios are citing video piracy as the cause for wanting to shorten the theatrical release "window". While film piracy is an issue for each institution the cinema chains increasingly think that distributors and studios are using this issue to bounce them into shorter release patterns.
http://www.cinematical.com/2007/03/12/the-theater-dvd-release-window-debate-heats-up/
and,
http://www.cinematical.com/2007/02/01/fox-continues-battling-europe-on-release-window-issue/

German exhibitors won out over the release date issue with FOX. The writer suggests that US theaters could learn a lesson from German defiance; however the writer also argues that US exhibitors are more at the mercy of giant Hollywood distributors and studios because of the importance of home produced content.
http://www.cinematical.com/2007/01/30/germany-wins-in-release-window-battle/

An example of a cinema release pattern for Cormac McCarthy's "The Road"

2008-11-02T15:14:00.001-08:00

The site has an up-coming release pattern for "The Road", based on Cormac McCarthy's novel of the same title. It is a good example of how distributors release current films. The author's novel, "No Country For Old Men" won the Oscar for best film for 2008.
http://www.cinematical.com/2008/06/13/weinsteins-set-a-release-pattern-for-the-road/

Here's some information on release patterns for other new films
http://www.cinematical.com/search/?q=release+patterns&searchsubmit=%3CIMG+alt%3DSearch+src%3D%22www.blogsmithmedia.com%2Fframework.weblogsinc.com%2Fmedia%2Fbtn-search.gif%22+minmax_bound%3D%22true%22%3E

Several types of film release patterns

2008-11-02T15:08:00.000-08:00

Again, this article is old and it does not take account of new release patterns such as the one devised by Warner Bros for "Jesse James". Yet it is helpful for definitions, etc.

Types of Release Patterns
Industry Analysis by Anthony Leong, Lara Kalins, Oren Levy, Marion De Marcillac, and Annekatrin Scholze
© Copyright 1996

Wide Release
The most common release pattern, in which the film is released nationally in all markets. This is the pattern used by the majors, since this type of release pattern requires a heavy investment in prints and national advertising, which while having reach into all markets, is expensive. With a wide release, the producers and distributors can realize revenues to recoup their investment in a shorter time period (provided that the film is successful). Finally, revenues from videocassette sales can also be realized faster from a quickly-executed theatrical release (the shorter the time period between the theatrical release and the videocassette release, the greater the potential for videocassette income).

The Modified Wide Release
The film will open in a few major markets and expand week by week to build awareness and allow positive word-of-mouth reputation to develop. This type of release would initially be supported spot advertising (advertising in a specific geographical area, such as a city) and may move to national advertising once it expands to other markets.

Exclusive and Limited Runs
Exclusive and limited runs begin with engagements at a limited number of screens, traditionally in large urban areas, such as Toronto. Based on favourable reviews and positive word-of-mouth, the film may move slowly to additional theatres. This release pattern is almost always used for upscale 'arthouse' or foreign films and may be part of a platforming strategy, where critical acclaim in an important market will assist in providing momentum for a wide release.

Territorial Saturation
Territorial saturation involves saturating a territory with bookings, heavy advertising and promotion, before moving on to another territory. This method would be used for films tailored to specific markets. In Canada, this would be seen with French-language films, which primarily would be well-received only in Quebec. It is also used by independent distributors for exploitation or family movies.

Film release patterns from theatrical release to free to air TV

2008-11-02T15:05:00.000-08:00

This report is quite old but much of its information still holds. Its useful for understanding the release patterns for films and how they work their way towards free to air tv.
http://www.bsac.uk.com/reports/briefingnoteforwindows.pdf

Movie release patterns and the "select" release of "Jesse James"

2008-11-02T14:37:00.000-08:00

This is an interesting article which examines "the select" movie release of "Jesse James". The distributors wanted a rolling release to build "the accolades" and the film's audience for a "wider release". In the event this led to frustation among prospective audiences.
http://blogs.orlandosentinel.com/entertainment_movies_blog/2007/09/movie-release-p.html

The Distribution and Marketing of Films

2008-11-02T06:47:00.000-08:00

This article and the related articles on the right of this link's page are crucial for understanding how distribution and marketing is carried out in UK cinema. For those of you studying independent films this and the related articles offer valuable insight into how independent films are released and marketed as opposed to Hollywood films that have the advantage of film companies that are 'vertically integrated' as they have control over every aspect of a film's production, distribution, marketing and exhibition. Read the related articles in order as the case study article on "Bullet Boy" refers back to points made in the previous articles.
http://www.screenonline.org.uk/film/distribution/distribution1.html

Hollywood Stars Payback (the returns for every $ they earn)

2008-11-01T06:19:00.000-07:00

This is a useful link for fairly recent figures on Hollywood stars and how much their films earn for every dollar spent on them. This could be helpful for star case studies, etc.
http://www.forbes.com/media/2008/07/22/star-salary-roi-biz-media-cz_dp_ph_0722payback.html

Hollywood's most expensive stars- they returned poor box office per dollar earned by them.
http://www.iht.com/articles/2008/09/12/business/12Forbes-actors.php

In pictures, with relevant information
http://www.iht.com/articles/2008/09/12/business/12Forbes-actors.php

Bond Films- a multi-media site

2008-10-21T11:03:00.000-07:00

Everything that you ever wanted to know about Bond Films. A great multi-media site for case studies, etc.
http://www.jamesbondmm.co.uk/

Financial Crisis Puts Squeeze on Hollywood

2008-10-18T09:28:00.000-07:00

An article which cuts to the current financial state of the film industry.
http://www.time.com/time/business/article/0,8599,1842122,00.html

Film distribution - an important read to understand current developments

2008-10-18T09:00:00.000-07:00

The information that YOU NEED to understand current developments in film distribution for major studio films and for independents! Very useful for stats and for getting detailed ideas for case studies.
http://wingatefilms.wordpress.com/2008/05/18/film-synergy-development-distribution-workshop-part-one/

http://wingatefilms.wordpress.com/2008/05/22/film-synergy-magic-distribution-and-marketing-workshop-part-two/

http://wingatefilms.wordpress.com/2008/05/23/allen-choujosh-levin-film-distribution-marketing-workshop-part-three/

Hi Doug's Film Studies

2008-10-17T10:54:00.000-07:00

Welcome aboard, Doug! Your site is now linked to this one. I'm looking forward to you building a really good blog!

FM2 Case Study Prompts for A Film's Production Cycle

2008-10-13T03:24:00.003-07:00

FILM STUDIES - The Production Cycle (FM2)

Draw up concept maps of the production studio and the main distributors for your case study films. These will give you a head start when it comes to finding out about marketing later on.

What happened during pre-production of your film?

Whose idea was the film? Did the idea start with the writer, or were writers brought in to develop a preconceived idea?
Where did the idea come from? Was it an original idea, or perhaps a book first, or TV series, or comic strip, or from some other source?
Who wrote the original script? Did other people become involved in the writing as the project progressed?
How easy was it to arrange the financial backing to make the film? Who were the financial backers?
Casting – who were cast in the main roles and why? How important were stars? How did the film-makers think the chosen stars would appeal to audiences?
Who was the produce and how did he or she become involved?
Who was the director and did he or she become involved? Why were they asked to do it?
What had they made before? (Credentials)
Who composed the film music and why was he or she chosen?

What happened during the production phase?

Was it an easy ‘shoot’? If there were difficulties what were they? Were there tensions between any of the creative personnel, often known as ‘the talent’?
Was any part of the film shot on location? If so, where? Why were some locations chosen over others? Were costs a factor?
Where there any difficulties with casting or with acquiring the stars/actors the producer wanted?
What did the film cost to make? How much did the stars get? Where did the budget go? Was the film shot within budget? Was it ever in any danger of going over budget? Can you find a breakdown for the budget?
Were there any changes to the script during production? How many changes or re-writes?
Did the same scriptwriter(s) stay ‘on board’ all the time, or were some replaced?
List some of the key people who made contributions to the production and highlight some of their individual contributions

What happened during the marketing and distribution phase of your case study film?

Who were the distributors? How well known was the company? What is their track record as distributors? (Other films/genres)
Who was the target audience? How do you know?
How did the film-makers decide where to release the film and when? What was the eventual release pattern?
What deals were made for distribution abroad? How easily were these deals secured?
Why did they at any stage change their plans for the release pattern, and if so, why?
What was the national and local release pattern? Why?
What was the marketing and advertising strategy for the film? Was there a premiere, and if so, where?
Find film posters and analyse them for how they reach their audience(s) (Find former posts on posters on this site to help you.)
Analyse a trailer/teaser trailer and consider how the trailer persuaded and positioned British audiences to see the film.
What outlets were used for advertising? Was TV used, for example?
Were there any merchandising tie-ins?
Was any additional publicity gained, and if so, how?

What happened during the exhibition (audience) phase?

When was the film released; also where and on how many screens?
Was there a particular strategy attached to increasing the number of prints available?
Were there any difficulties with the censors? How did the censors classify the film?
Were there any other special restrictions placed on the exhibition of the film?
What were the reactions of the critics to the film? Was it considered a critical success? Has it been re-assessed since then?
Did the film create a particular media debate, or create news headlines?
How much money did the film take in its first year? Was it considered a commercial/financial success?
Did it have ‘legs’, that is did it continue to run in the cinema for some time?

Remember there are questions that you will not be able to answer; however there may be topics that you would like to include that are not covered in the questions set out. All the questions are only offered as guidelines; it is for you to work on the development of your own chosen product from concept to screen.

Independent Film and its Audiences - Florian Von Donnersmarck's advice for indie film makers

2008-10-11T03:21:00.000-07:00

FS6 Independent Film and its Audience - "The Lives Of Others" - resources

2008-10-11T02:15:00.001-07:00

Watch the interview with the director of "The Lives of Others", Florian Henckel Von Donnersmarck.

For Independent Film and its Audience make notes on on Von Donnersmarck's ideas about:

- the film's look and style
- realism and attention to detail
- casting
- the importance and significance of the film's music ( in what ways is music signficant in independent film, compare with John Carney's "Once")
- how other films enabled the audience's reception (in Germany and elsewhere) of this film
- anything else that you you consider to be an issue for Indendent Film and its Audience (Section B of FS6)
http://www.amazon.com/gp/mpd/permalink/m39BJ7HIN7DAGI

Contemporary British Cinema - An Overview

2008-10-06T03:35:00.001-07:00

Contemporary British Cinema - The Industry

View SlideShare presentation or Upload your own. (tags: longroadmedia contemporary)

The Hollywood Studio System in the 1930s

2008-10-03T02:25:00.000-07:00

This is a very helpful article with picture support.
http://www.moviemail-online.co.uk/scripts/article.pl?articleID=352;tag=12%7C23

The Virgin Guide to the Sundance Independent Film Festival

2008-09-20T11:23:00.000-07:00

The Sundance Festival held each year in Utah. Useful info.
http://www.sundanceguide.net/basics/

For another festival held in Utah at the same time each year see

http://www.slamdance.com/

This festival hosts independent film made on even slimmer shoe-string budgets!

Independent Films - a wider definition?

2008-09-20T07:59:00.000-07:00

Can we count corporate, Government information films, and short documentary/information films as "independent films"? It's worth thinking about. Students will need carve out a definition of what an independent film is so that they can make boundries and show that such definitions are problematic for their essays. They will also need to establish the degree of independence that exists from mainstream film-makers. That, too, is very problematic.
http://www.screenonline.org.uk/film/id/964488/

Of course, strong reference to case study films will enable students to make detailed points on independent films and their audiences.

Independent Films - a definition?

2008-09-20T07:20:00.000-07:00

Independent Films - a definition with some statistics? (From Wikipedia)

A definition

An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Often, films that receive less than 50% of their budget from major studio are also considered "independent". According to MPAA data, January through March 2005 showed approximately 15% of US domestic box office revenue was from independent or indie studios. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

History

The roots of independent film can be traced back to when the early pioneer filmmakers at the turn of the century resisted the control of the Motion Pictures Patents Company, when filmmakers built their own cameras to escape the Edison trusts in order to relocate to Southern California where they laid the foundations of the American film industry as well as the Hollywood studio system.The studio system took on a life of its own, and became too powerful. Filmmakers once again sought independence as a result. Throughout the decades, independent filmmakers around the world have created a diverse range of filmmaking styles that symbolize their own unique cultures such as experimental film and underground film.Some independent filmmakers have even broken through technological barriers with the use of digital cinema.The American film industry is located principally in Los Angeles, while one-third of all independent films in the United States are produced in New York.

Technology

Until the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. The cost of 35mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety. Film requires expensive lighting and post-production facilities.But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like the open source Cinelerra or the commercial Adobe Premiere Pro and Final Cut Pro and consumer level software such as the open source Kino, or the commercial Final Cut Express and iMovie make movie-making relatively inexpensive.Popular digital camcorders, mostly semi-professional equipment with 3-CCD technology, include:
Canon , GL2, XL1(S), XL2
Panasonic AG-DVX100/AG-DVX100A
Sony VX-1000/2000/2100
Sony PD-150/170 Most of these cost between US$2,000 - $5,000 in 2003, with costs continuing to decline as features are added, and models depreciate.

Indie versus major

Creatively, it was becoming increasingly difficult to get studio backing for experimental films. Experimental elements in theme and style are inhibitors for the Big Six studios.On the business side, the cost of big-budget studio films also leads to conservative choices in cast and crew. The problem is exacerbated by the trend towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987). An unproven director is almost never given the opportunity to get his or her big break with the studios unless he or she has significant industry experience in film or television. Films with unknowns, particularly in lead roles, are also rarely produced.Another key expense for independent movie makers is the music for the film. The licensing fees for popular songs can range between US$10,000 - $20,000.Anecdotal evidence for the difference between indie films and studio films abounds. The following example was taken from Alec Baldwin , commenting on his independent film The Cooler as a guest on David Letterman's talk show in November 2003::The scene "Amy opens the window" takes half a day and perhaps ten shots in a big studio production: ::Amy walks to the window, ::Window itself, ::Amy touching the handle, ::shot from outside the window, etc. :For independent film makers, that scene is one shot, and done before 9 a.m.

Independent movie-making has resulted in the proliferation of short films and short film festivals. Full-length films are often showcased at film festivals such as Robert Redford 's Sundance Film Festival, the Slamdance Film Festival or the Cannes Film Festival . Award winners from these exhibitions often get picked up for distribution by major film studios, and go on to worldwide releases.

[ Visit the complete Wikipedia entry for Independent film ]

The Independent Film Industry: its history and its current state

2008-09-20T06:56:00.000-07:00

These are key articles for not only understanding the current state of the independent film industry and for being able to destinguish it from the mainstream film industry.

Independent Film

http://en.wikipedia.org/wiki/Independent_film

Is the sky falling on the indie film business?

Read also the discussion beneath the article.

http://popwatch.ew.com/popwatch/2008/06/independent-fil.html

Movie Stars explained

2008-09-18T15:20:00.000-07:00

Movie star
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, including various songs titled "Movie Star", see Movie star (disambiguation).

Movie star Tobey Maguire greets fans at the Spider-Man 3 premiere in Queens
A movie star (cinema star or film star) is a celebrity who is well-known, or famous, for his or her starring, or leading, roles in motion pictures. The term may also apply to an actor or actress who is recognized as a marketable commodity and whose name is used to promote a film in trailers and posters. The most widely-known, prominent or successful actors are sometimes called "superstars" by writers and journalists.
Contents[hide]
1 Origin
2 Advantages and drawbacks
3 Decline
4 Treatment outside the West
4.1 India
4.2 China
5 See also
6 References
//

[edit] Origin

Lillian Gish was one of the first female movie stars, working from 1912 to 1987
In the early days of silent movies the names of the actors and actresses appearing in movies were not publicized or credited as they are now. Some of these performers had to help build the sets, clean up and other chores around the film studio. As the movie-going public became more interested in the performers who attracted their attention, however, the curiosity to know more about them made the movie studios and producers rethink their policy. As the demand increased, they began publicizing the names of their leading women and men, and bill them in the credits of their movies, such as Florence Lawrence, referred to as "the first movie star," who was previously known only as the "Biograph Girl" because she worked for Biograph Studios, and Mary Pickford, who was previously known as "Little Mary." By 1909, the silent film companies began promoting "picture personalities" by releasing stories about these actors to fan magazines and newspapers, as part of a strategy to build “brand loyalty” for their company’s actors and films. By the 1920s, Hollywood film company promoters had developed a “massive industrial enterprise” that “... peddled a new intangible—fame.”[1]
Hollywood “image makers” and promotional agents planted rumours, selectively released real or fictitious biographical information to the press, and used other "gimmicks" to create personas for actors. Then they “...worked [to] reinforce that persona [and] manage the publicity.” Publicists thus "created" the "enduring images" and public perceptions of screen legends such as Rock Hudson,Marilyn Monroe,and Grace Kelley. The development of this “star system” made “fame... something that could be fabricated purposely, by the masters of the new ‘machinery of glory.’”[1] However, regardless of how “... strenuously the star and their media handlers and press agents may ... try to "monitor" and "shape" it, the media and the public always play a substantial part in the image-making process.”[1]According to Madow, “fame is a "relational" phenomenon, something that is conferred by others. A person can, within the limits of his natural talents, make himself strong or swift or learned. But he cannot, in this same sense, make himself famous, any more than he can make himself loved.”
Madow goes on to point out that “fame is often conferred or withheld, just as love is, for reasons and on grounds other than "merit." According to Sofia Johansson the "canonical texts on stardom" include articles by Boorstin (1971), Alberoni (1972) and Dyer (1979) that examined the "representations of stars and on aspects of the Hollywood star system." Johansson notes that "more recent analyses within media and cultural studies (e.g. Gamson 1994; Marshall 1997; Giles 2000; Turner, Marshall and Bonner 2000; Rojek 2001; Turner 2004) have instead dealt with the idea of a pervasive, contemporary, ‘celebrity culture’." In the analysis of the 'celebrity culture,' "fame and its constituencies are conceived of as a broader social process, connected to widespread economic, political, technological and cultural developments."[2]
In the 1980s and 90s, entertainment companies began using stars for a range of publicity tactics including press releases, movie "junkets, and community activities. These promotional efforts are targeted and designed using market research, "to increase the predictability of success of their media ventures.” In some cases, publicity agents may create “provocative advertisements” or make an outrageous public statement to “trigger public controversy and thereby generate "free" news coverage.”[1] Movie studios employed performers under long-term contracts. They developed a star system as a means of promoting and selling their movies. "Star vehicles" were filmed to display the particular talents and appeal of the most popular movie stars of the studio.

[edit] Advantages and drawbacks
Traditionally, those who achieve "star" status in the movie industry are given special treatment, perks, and high salaries. Other than those movie stars who began forming their own production companies to make more money and those who received a percentage of the profits to star in a movie, such as Lana Turner for Imitation of Life (1959), reaping millions of dollars,[citation needed] the first movie star to be paid a fee of $1,000,000 to star in a movie was Elizabeth Taylor for Cleopatra (1963). For his appearance in the 1978 movie Superman, movie star Marlon Brando received almost $4,000,000 for eight minutes of screen time as Superman's father, Jor-El. The highest paid Hollywood actress is Cameron Diaz, who received $50,000,000 for her role in What Happens in Vegas. The highest flat fee paid to any actor was $30,000,000 to Mel Gibson for reprising his role in Lethal Weapon 4.
Usually, a star receives the most earnings when they agree to forgo part of their usual payment in exchange for a certain percentage of the gross takings of a particularly successful film), because in this fashion they are sharing the potential risks and rewards with the production company and other financial backers.[citation needed] An example of this concession is the $185 million paycheck Keanu Reeves received for his participation in the Matrix sequels (The Matrix Reloaded and The Matrix Revolutions). Reeves accepted an upfront salary of $20 million for the project, plus an additional 15% of the movies' gross revenue. Furthermore, a movie star's popularity can allow for more artistic accommodation such as personal projects or supporting collaborators or friends that otherwise would not have support from the studios.
Movie stars also receive what is known as "celebrity swag" when attending award ceremonies, winning an award and presenting awards. This "swag" comes in the form of gift bags or baskets containing items worth thousands of dollars, ranging from designer sunglasses and expensive perfume to high-end electronics. Companies provide the movie stars with these gifts in the hopes they will receive free publicity for their products, either from the actor wearing or using the gift in public, or thanking the company in an interview.[citation needed]
However, a movie star's personal privacy is often substantially reduced. Stars can rarely appear in public for long without being surrounded and often harassed by strangers and aggressive tabloid photographers that are nicknamed paparazzi. While some film stars only experience this type of harassment during film awards, the most popular actors, such as Brad Pitt are photographed every week as they go about their private lives, in order to feed the huge public demand for tabloid coverage of the star's private lives. Movie stars often are required by movie producers to appear on TV, in newspapers, in magazines, to publicize their movies. Some stars stipulate they will not talk about their private lives (e.g., their relationships or family), but only about acting and movies, particularly the projects they are working on.[citation needed]

[edit] Decline
Some critics argue that few Hollywood movie stars of the 2000s have been able to match the universal appeal of "classic" movie stars (e.g. Charlie Chaplin, Humphrey Bogart, Audrey Hepburn, Steve McQueen, Jack Nicholson, Claudette Colbert, Cary Grant).[citation needed] To explain this phenomenon, some point to the growing trend of "niche marketing" Hollywood movies, producing stars with strong, but limited appeal to specific demographics.[citation needed] Others point to the unappealing public conduct of modern stars, or to Hollywood's tendency to hire career actors who possess little life experience.[citation needed]

[edit] Treatment outside the West
Movie stars in other regions too have their own star value. For instance, in Asian film industries, many movies often run on the weight of the star's crowd pulling power more than any other intrinsic aspect of film making.

[edit] India
The Indian film industry has its own set of rules in this aspect and there are often superstars in this region, who often command premium pay commensurate with their box office appeal. Among them, Aamir Khan, Shahrukh Khan, Chiranjeevi, Amitabh Bachchan, Rajinikanth, Salman Khan, Kamal Hassan, Mohanlal, Mammootty and Aishwarya Rai, are arguably the most popular movie stars in Southern Asia.

[edit] China
Chinese movie stars well-known in the West include Jackie Chan, Jet Li, Chow Yun-Fat, Gong Li, Zhang Ziyi, and the late Bruce Lee, who are also some of the most popular movie stars in Eastern Asia. A few movie stars from Hong Kong have global audiences, such as Jackie Chan, while others have a limited overseas audience but a more devoted following, such as Stephen Chow,[citation needed] though he has become more known in the West after Shaolin Soccer and Kung Fu Hustle.

[edit] See also
Celebrity
Character actor
Charisma
Hollywood
Leading Man
Leading lady
List of movie actors
List of movie actresses
Matinée idol

Film portal
Sex symbol
Superstar
Typecasting
Voice actor

[edit] References
^ a b c d http://64.233.161.104/search?q=cache:1CP1noeuL2wJ:www.adidem.org/articles/MF1.html+movie+star+salary+economic+rationale&hl=en&gl=ca&ct=clnk&cd=45
^ Editorial by Sofia Johansson from the Communication and Media Research Institute of the University of Westminster. Available at: http://www.wmin.ac.uk/mad/pdf/Sofia.pdf
Retrieved from "http://en.wikipedia.org/wiki/Movie_star"

The Studio System

2008-09-18T15:15:00.000-07:00

This article has been taken from Wikipedia. It serves as a good starting point for studying "The Studio System".

Studio system
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The studio system was a means of film production and distribution dominant in Hollywood from the early 1920s through the early 1950s. The term studio system refers to the practice of large motion picture studios (a) producing movies primarily on their own filmmaking lots with creative personnel under often long-term contract and (b) pursuing vertical integration through ownership or effective control of distributors and movie theaters, guaranteeing additional sales of films through manipulative booking techniques. A 1948 Supreme Court ruling against those distribution and exhibition practices hastened the end of the studio system. In 1954, the last of the operational links between a major production studio and theater chain was broken and the era of the studio system was officially over. The period stretching from the introduction of sound to the court ruling and the beginning of the studio breakups, 1927/29–1948/49, is commonly known as the Golden Age of Hollywood.
During the Golden Age, eight companies comprised the so-called major studios that promulgated the Hollywood studio system. Of these eight, five were fully integrated conglomerates, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Fox (later 20th Century-Fox), Loew’s Incorporated (owner of America's largest theater circuit and parent company to Metro-Goldwyn-Mayer), Paramount Pictures, RKO (Radio-Keith-Orpheum), and Warner Bros. Two majors—Universal Pictures and Columbia Pictures—were similarly organized, though they never owned more than small theater circuits. The eighth of the Golden Age majors, United Artists, owned a few theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, loaning money to independent producers and releasing their films.
Contents[hide]
1 Sound and the Big Five
2 Reign of the majors
3 The end of the system and the death of RKO
4 The studio system in Europe and Asia
5 After the system
6 See also
7 Notes
8 Sources
8.1 Published
8.2 Online
8.2.1 Authored
8.2.2 Archival
//

[edit] Sound and the Big Five
The years 1927 and 1928 are generally seen as the beginning of Hollywood's Golden Age and the final major steps in the establishment of studio system control of the American film business. The success of 1927's The Jazz Singer, the first feature-length "talkie" (in fact, the majority of its scenes did not have live-recorded sound) gave a big boost to the then midsized Warner Bros. studio. The following year saw both the general introduction of sound throughout the industry and two more smashes for Warners: The Singing Fool, The Jazz Singer's even more profitable follow-up, and Hollywood's first "all-talking" feature, Lights of New York. Just as significant were a number of offscreen developments. Warner Bros., now flush with income, acquired the extensive Stanley theater chain in September 1928. One month later, it purchased a controlling interest in the First National production company, more prominent than Warners itself not long before. With the First National acquisition came not only a 135-acre studio and backlot but another large string of movie theaters. Warners had hit the big time.
1928 also saw the emergence of the fifth of what would come to be known as the "Big Five" Hollywood conglomerates of the Golden Age. The Radio Corporation of America (RCA), led by David Sarnoff, was looking for ways to exploit the cinema sound patents, newly trademarked RCA Photophone, owned by its parent company, General Electric. As the leading film production companies were all preparing to sign exclusive agreements with Western Electric for their technology, RCA got into the movie business itself. In January, General Electric acquired a sizable interest in Film Booking Offices of America (FBO), a distributor and small production company owned by Joseph P. Kennedy, father of the future president. In October, through a set of stock transfers, RCA gained control of both FBO and the Keith-Albee-Orpheum theater chain; merging them into a single venture, it created the Radio-Keith-Orpheum Corporation, Sarnoff chairing the board. With RKO and Warner Bros. (soon to become Warner Bros.–First National) joining Fox, Paramount, and Loew's/MGM as major players, the Big Five that would rule Hollywood—and thus much of world cinema—for decades to follow were now complete.

[edit] Reign of the majors
The ranking of the Big Five in terms of profitability (closely related to market share) was largely consistent during the Golden Age: MGM was number one eleven years running, 1931–41. Paramount, the most profitable studio of the early sound era (1928–30), faded for the better part of the subsequent decade, and Fox was number two for most of MGM's reign. Paramount began a steady climb in 1940, finally edging past MGM two years later; from then until its reorganization in 1949 it was again the most financially successful of the Big Five. With the exception of 1932—when all the companies but MGM lost money, and RKO lost somewhat less than its competitors—RKO was next to last or (usually) last every year of the Golden Age, with Warners generally hanging alongside at the back of the pack. Of the smaller majors, the Little Three, United Artists reliably held up the rear, with Columbia strongest in the 1930s and Universal ahead for most of the 1940s.[1]

[edit] The end of the system and the death of RKO
One of the techniques used to support the studio system was block booking, a system of selling multiple films to a theater as a unit. Such a unit—five films was the standard practice for most of the 1940s—typically included only one particularly attractive film, the rest a mix of A-budget pictures of dubious quality and B movies.[2] On May 4, 1948, in a federal antitrust suit known as the Paramount case brought against the entire Big Five, the U.S. Supreme Court specifically outlawed block booking. Holding that the conglomerates were indeed in violation of antitrust, the justices refrained from making a final decision as to how that fault should be remedied, but the case was sent back to the lower court from which it had come with language that suggested divorcement—the complete separation of exhibition interests from producer-distributor operations—was the answer. The Big Five, though, seemed united in their determination to fight on and drag out legal proceedings for years as they had already proven adept at—after all, the Paramount suit had originally been filed on July 20, 1938.
However, behind the scenes at RKO, long the financially shakiest of the conglomerates, the court ruling was being looked at as something that could be turned to the studio's advantage. The same month that the decision was handed down, movie-crazy multimillionaire Howard Hughes had acquired a controlling interest in the company. As RKO controlled the fewest theaters of any of the Big Five, Hughes decided that starting a divorcement domino effect could actually help put his studio on a more equal footing with his competitors. Hughes signaled his willingness to the federal government to enter into a consent decree obliging the breakup of his movie business. Under the agreement, Hughes would split his studio into two entities, RKO Pictures Corporation and RKO Theatres Corporation, and commit to selling off his stake in one or the other by a certain date. Hughes's decision to concede to divorcement terminally undermined the argument by lawyers for the rest of the Big Five that such breakups were unfeasible. While many today point to the May court ruling, it is actually Hughes's agreement with the federal government—signed November 8, 1948—that was truly the death knell for the Golden Age of Hollywood. Paramount soon capitulated, entering into a similar consent decree the following February. The studio, which had fought against divorcement for so long, became the first of the majors to break up, ahead of schedule, finalizing divestiture on December 31, 1949. The Golden Age was over. Through Hughes's deal with the feds, and those by the other studios that soon followed, the studio system lingered on for another half-decade. The major studio that adapted to the new circumstances with the most immediate success was the smallest, United Artists; under a new management team that took over in 1951, overhead was cut by terminating its lease arrangement with the Pickford-Fairbanks production facility and new relationships with independent producers, now often involving direct investment, were forged—a business model that Hollywood would increasingly emulate in coming years. The studio system around which the industry had been organized for three decades finally expired in 1954, when Loew's, the last holdout, severed all operational ties with MGM.
Hughes's gambit helped break the studio system, but it did little for RKO. His disruptive leadership—coupled with the draining away of audiences to television that was affecting the entire industry—took a toll on the studio that was evident to Hollywood observers. When Hughes sought to bail out of his RKO interest in 1952, he had to turn to a Chicago-based syndicate led by shady dealers without motion picture experience. The deal fell through, so Hughes was back in charge when the RKO theater chain was finally sold off as mandated in 1953. That year, General Tire and Rubber Company, which was expanding its small, decade-old broadcasting division, approached Hughes concerning the availability of RKO's film library for programming. Hughes acquired near-complete ownership of RKO Pictures in December 1954 and consummated a sale with General Tire for the entire studio the following summer. The new owners quickly made some of their money back by selling the TV rights for the library they treasured to C&C Television Corp., a beverage company subsidiary. (RKO retained the rights for the few TV stations General Tire had brought along.) Under the deal, the films were stripped of their RKO identity before being sent by C&C to local stations; the famous opening logo, with its globe and radio tower, was removed, as were the studio's other trademarks. Back in Hollywood, RKO's new owners were encountering little success in the moviemaking business and by 1957 the gig was up. The tiremen shut down production and unloaded the main RKO facilities, which were purchased by Lucille Ball and Desi Arnaz's company, Desilu. Just like United Artists, the studio now no longer had a studio; unlike UA, it barely owned its old movies and saw no profit in the making of new ones. In 1959 it abandoned the movie business entirely.

[edit] The studio system in Europe and Asia
While the studio system is largely identified as an American phenomenon, film production companies in other countries did at times achieve and maintain full integration in a manner similar to Hollywood's Big Five. As historian James Chapman describes,
In Britain, only two companies ever achieved full vertical integration (the Rank Organization and the Associated British Picture Corporation). Other countries where some level of vertical integration occurred were Germany during the 1920s (Universum Film Aktiengesellschaft, or Ufa), France during the 1930s (Gaumont-Franco-Film-Aubert and Pathé-Natan) and Japan (Nikkatsu, Shochiku and Toho). India, which represents perhaps the only serious rival to the U.S. film industry due to its dominance of both its own and the Asian diasporic markets, has, in contrast, never achieved any degree of vertical integration.[3]
For instance, in 1929 nearly 75 percent of Japanese movie theaters were connected with either Nikkatsu or Shochiku, the two biggest studios at the time.[4]

[edit] After the system
For more details on this topic, see Major film studio.
As of 2007, five of the Golden Age majors continue to exist as major Hollywood studio entities, each as part of a larger media conglomerate: Sony (owner of Columbia), News Corporation (20th Century Fox), Time Warner (Warner Bros.), Viacom (Paramount), and General Electric/NBC Universal (Universal). In addition, The Walt Disney Company's Buena Vista Motion Pictures Group has emerged as a major, resulting in a "Big Six." With the exception of Disney, all of these so-called major studios are essentially based on the model not of the classic Big Five, but of the old United Artists: that is, they are primarily backer-distributors (and physical studio leasers) rather than actual production companies.
Sony, in addition to ownership of Columbia, also has effective control of the relatively small latter-day incarnation of MGM and its subsidiary UA; under the Sony umbrella, MGM/UA operates as a "mini-major," nominally independent of but closely associated with Columbia. In 1996, Time Warner acquired the once-independent New Line Cinema via its purchase of Turner Broadcasting System. In 2008, New Line was merged into Warner Bros., where it continues to exist as a subsidiary. Each of today's Big Six controls quasi-independent "arthouse" divisions, such as Paramount Vantage and Disney's Miramax Films (which originally was an independent studio). Most also have divisions that focus on genre movies, B movies either literally by virtue of their low budgets, or spiritually—for instance, Sony's Screen Gems and Buena Vista's Hollywood Pictures brand. One so-called indie division, Universal's Focus Features, both releases arthouse films under that primary brand and also oversees the conglomerate's genre specialty division, Rogue Pictures. Both Focus and Fox's arthouse division, Fox Searchlight, are large enough to qualify as mini-majors. Two large independent firms also qualify as mini-majors, Lionsgate and The Weinstein Company. They stand somewhere between latter-day versions of the old "major-minor"—like Columbia and Universal in the 1930s and 1940s, except Lionsgate and The W.C. have about half their market share—and leading Golden Age independent production outfits like Samuel Goldwyn Inc. and the companies of David O. Selznick.

[edit] See also
Filmmaking

[edit] Notes
^ Financial anlaysis based on Finler (1988), pp. 286–287.
^ See Schatz (1999), pp. 19–21, 45, 72.
^ Chapman (2003), p. 49.
^ Freiberg (2000), "The Film Industry."

[edit] Sources

[edit] Published
Bergan, Ronald (1986). The United Artists Story (New York: Crown). ISBN 0-517-56100-X
Chapman, James (2003). Cinemas of the World: Film and Society from 1895 to the Present (London: Reaktion Books). ISBN 1-86189-162-8
Finler, Joel W. (1988). The Hollywood Story (New York: Crown). ISBN 0-517-56576-5
Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys (New York: Simon and Schuster). ISBN 0-671-23108-1
Hirschhorn, Clive (1979). The Warner Bros. Story (New York: Crown). ISBN 0-517-53834-2
Jewell, Richard B., with Vernon Harbin (1982). The RKO Story (New York: Arlington House/Crown). ISBN 0-517-54656-6
Orbach, Barak Y. (2004). "Antitrust and Pricing in the Motion Picture Industry," Yale Journal on Regulation vol. 21, no. 2, summer (available online).
Schatz, Thomas (1998 [1988]). The Genius of the System: Hollywood Filmmaking in the Studio Era (London: Faber and Faber). ISBN 0-571-19596-2
Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s (Berkeley, Los Angeles, and London: University of California Press). ISBN 0-520-22130-3
Utterson, Andrew (2005). Technology and Culture—The Film Reader (Oxford and New York: Routledge/Taylor & Francis). ISBN 0-415-31984-6

[edit] Online

[edit] Authored
Brand, Paul (2005). "'Nice Town. I'll Take It': Howard Hughes Revisited", Bright Lights Film Journal 47, February.
Freiberg, Freda (2000). "Comprehensive Connections: The Film Industry, the Theatre and the State in the Early Japanese Cinema", Screening the Past 11, November 1.

[edit] Archival
The Hollywood Antitrust Case, aka The Paramount Antitrust Case detailed history from the Society of Independent Motion Picture Producers research archive.
Retrieved from "http://en.wikipedia.org/wiki/Studio_system"
Categories: History of film

Hollywood's Star System Explained

2008-09-18T14:49:00.000-07:00

Sexy starlet Rita Hayworth posing in the 1940s

Courtesy of Wikipedia the free encyclopedia
The Star system (filmmaking)

The star system was the method of creating, promoting and exploiting film stars in Classical Hollywood cinema. Studios would select promising young actors and create personas for them, often inventing new names and even new backgrounds. Examples of stars who went through the star system include Cary Grant (born Archie Leach), Joan Crawford (born Lucille Fay LeSueur), and Rock Hudson (born Roy Harold Scherer Jr.).
The star system put an emphasis on image rather than on acting, although discreet acting, voice, and dancing lessons were a common part of the regimen. Women were expected to behave like ladies, and were never to leave the house without makeup and stylish clothes. Men were expected to be seen in public as gentlemen. Morality clauses (see Clara Bow) were a common part of actors' studio contracts.
Just as studio executives, public relations staffs, and agents worked together with the actor to create a star persona, so they would work together to cover up incidents or lifestyles that would damage the star's public image. It was common, for example, to arrange sham dates between single (male) stars and starlets to generate publicity, especially if one of them was homosexual (as in the case of Rock Hudson, Tab Hunter, and others). Tabloids and gossip columnists would be tipped off, and photographers would appear to capture the romantic moment. At the same time, a star's drug use (such as Robert Mitchum's arrest for marijuana possession), drinking problem, divorce, or adultery would be covered up with hush money for witnesses or promises of exclusive stories (or the withholding of future stories) to gossip columnists.

Beginnings of the star system
In the early years of the cinema (1890s-1900s), performers were not identified in films. There are two main reasons for this.
Stage performers were embarrassed to be in film. Silent film was only considered pantomime. One of actors' main skills was their voice. They were afraid that appearing in films would ruin their reputation. Early film was also designed for the working class. Film was seen as only a step above carnivals and freak shows.
Producers feared that actors would gain more prestige and power and demand more money.
Thomas Edison and the MPPC forced filmmakers to use their equipment and follow their rules, since they owned the patents of much of the motion picture equipment. The MPPC frowned on star promotion, although, according to research done by Janet Staiger, the MPPC did promote some stars around this time.
The main catalyst for change was the public's desire to know the actors' names. Film audiences repeatedly recognized certain performers in movies that they liked. Since they did not know the performers' names they gave them nicknames (such as "the Biograph Girl," Florence Lawrence, who was featured in Biograph movies).
Producer Carl Laemmle promoted the first film star. He was independent of the MPPC and used star promotion to fight the MPPC's control. Laemmle acquired Lawrence from Biograph. He spread a rumor that she had been killed in a streetcar accident. Then he combated this rumor by saying that she was doing fine and would be starring in an up-coming film produced by his company, the Independent Motion Picture Company (IMP).
The development of film fan magazines gave fans knowledge about the actors outside of their film roles. Motion Picture Story Magazine (1911-) and Photoplay. They were initially focused on movies' stories, but soon found that more copies could be sold if they focused on the actors.
Also, precedents set by legitimate theater encouraged film to emulate the star system of the stage. Theater stars in the late 19th century were treated much like film stars came to be treated by the middle of the 20th century.

Decline of the star system
From the 30s to the 60s it was somewhat regular for studios to arrange the contractual exchange of talent (directors, actors) for prestige pictures. Stars would sometimes pursue these swaps themselves. Stars were becoming selective. Although punished and frowned upon by studio heads, several strong-willed stars received studio censure & publicity for refusing certain parts, on the belief that they knew better than the studio heads about the parts that were right for them. In one instance, Jane Greer negotiated her contract out of Howard Hawks hands over the limp roles he had been foisting on her. Olivia de Havilland and Bette Davis both sued their studios to be free of their gag orders (Davis lost, de Havilland won). The publicity accompanying these incidents fostered a growing suspicion among actors that a system more like being a free agent would be more personally beneficial to them than the fussy, suffocating star system. The studio-system instrument Photoplay gave way to the scandal-mongering Confidential. By the 1960s the days of the star system were numbered.
The conspiratorial aspect of the studio system manipulating images and reality, eventually began to falter as the world and the news media began to accept the dismantling of social boundaries and the manufactured virtue and wholesomeness of stars began to be questioned; taboos began to fall. By the 60s and 70s a new, more natural style of acting ("the Stanislavsky Method") had emerged, been mythologized and enshrined; and individuality had been transformed into a treasured personal quality. With competition from TV, and entire studios changing hands, the star system faltered and did not recover. The studio system could no longer resist the changes occurring in entertainment, culture, labor, and news and it was completely gone by 1970.