Business Of Cinematic Arts

  business of cinematic arts: The Movie Business Book Jason E Squire, 2016-08-05 Tapping experts in an industry experiencing major disruptions, The Movie Business Book is the authoritative, comprehensive sourcebook, covering online micro-budget movies to theatrical tentpoles. This book pulls back the veil of secrecy on producing, marketing, and distributing films, including business models, dealmaking, release windows, revenue streams, studio accounting, DIY online self-distribution and more. First-hand insider accounts serve as primary references involving negotiations, management decisions, workflow, intuition and instinct. The Movie Business Book is an essential guide for those launching or advancing careers in the global media marketplace.
  business of cinematic arts: The Healthy Edit John Rosenberg, 2011 Featured throughout the book are interviews with well-established Hollywood editors on their experiences with film doctoring and fixing problematic movies through creative editing solutions. The companion site, TheHealthyEdit.com features Flash animations of the editing techniques discussed in the book, and more. --Book Jacket.
  business of cinematic arts: Fast Forward Holly Willis, 2016-08-16 Cinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as worldbuilding, virtual reality, and transmedia introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
  business of cinematic arts: The Business of Film Paula Landry, Stephen Greenwald, 2018-06-14 The updated second edition of this text introduces readers to the business of film at every stage of the filmmaking lifecycle, from planning and production to distribution. Authors Paula Landry and Stephen R. Greenwald offer a practical, hands-on guide to the business aspects of this evolving industry, exploring development, financing, regional/global/online distribution, business models, exhibition, multi-platform delivery, marketing, film festivals, production incentives, VR/AR, accounting, and more. The book is illustrated throughout with sample financing scenarios and charts/graphics, and includes detailed case studies from projects of different budgets and markets. This new and expanded edition has further been updated to reflect the contemporary media landscape, including analysis on major new players and platforms like Netflix, Amazon, Google and Vimeo, shifting trends due to convergence and disruption from new technology, as well as the rise of independent distribution and emergent mobile and online formats. An eResource also includes downloadable forms and templates, PowerPoint slides, quizzes and test banks, and other additional resources.
  business of cinematic arts: Reading in a Participatory Culture: Remixing Moby-Dick in the English Classroom Henry Jenkins, Wyn Kelley, Katie Clinton, Jenna McWilliams, Ricardo Pitts-Wiley, 2013-03-22 EDUCATION / Teaching Methods & Materials / Language Arts
  business of cinematic arts: The Business of Entertainment Robert C. Sickels, 2008-11-30 We love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle—even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distribute entertainment. As this set shows, the industries in which commerce, art, and technology intersect are among the most fascinating in all of business. Entertainment is a high-stakes industry where stars are born and flame out in the blink of an eye, where multimillion dollar deals are made on a daily basis, and where cultural mores, for better or worse, are shaped and reinforced. The Business of Entertainment lifts the curtain to show the machinery (and sleight of hand) behind the films, TV shows, music, and radio programs we can't live without. The Business of Entertainment comprises three volumes, covering movies popular music, and television. But it's not all about stars and glitter—it's as much about the nuts and bolts of daily life in the industry, including the challenges of digitizing content, globalization, promoting stars and shows, protecting intellectual property, developing talent, employing the latest technology, and getting projects done on time and within budget. Challenges don't end there. There's also advertising and product placement, the power of reviews and reviewers, the cancerous spread of piracy, the battles between cable and satellite operators (and the threat to both from telephone companies), the backlash to promoting gangsta lifestyles, and more. Each chapter is written by an authority in the field, from noted scholars to entertainment industry professionals to critics to screenwriters to lawyers. The result is a fascinating mosaic, with each chapter a gem that provides insight into the industry that—hands down—generates more conversations on a daily basis than any other.
  business of cinematic arts: A History of American Movies Paul Monaco, 2023-06-14 In A History of American Movies: A Film-by-Film Look at the Art, Craft and Business of Cinema, Paul Monaco provides a survey of the narrative feature film from the 1920s to the present. The book focuses on 170 of the most highly regarded and recognized feature films selected by the Hollywood establishment: each Oscar winner for Best Picture, as well as those voted the greatest by members of the American Film Institute. By focusing on a select group of films that represent the epitome of these collaborations, Monaco provides an essential history of one of the modern world's most complex and successful cultural institutions: Hollywood. Divided into three sections, Classic Hollywood, 1927-1948, Hollywood In Transition, 1949-1974, and The New Hollywood, 1975 To The Present, Monaco examines some of the most memorable works in cinematic history, including The General, Wings, Bringing Up Baby, Gone with the Wind, Citizen Kane, Casablanca, On the Waterfront, The Searchers, Psycho, West Side Story, The Godfat
  business of cinematic arts: The Lumière Galaxy Francesco Casetti, 2015-03-03 Francesco Casetti believes new media technologies are producing an exciting new era in cinema aesthetics. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to alter our habits and excite our imaginations. Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favor of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives and culture, along with a critical sea-change in the study of the art. The more the nature of cinema transforms, the more it discovers its own identity, and Casetti helps readers realize the galaxy of possibilities embedded in the medium.
  business of cinematic arts: Studios Before the System Brian R. Jacobson, 2015-09-01 By 1915, Hollywood had become the epicenter of American filmmaking, with studio dream factories structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema's virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France—the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès's Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world's Second Industrial Revolution and what Lewis Mumford would later call the specific art of the machine. From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.
  business of cinematic arts: 3D Storytelling Bruce Block, Philip Mcnally, 2013-07-04 3D Storytelling is the ultimate guide for directors, cinematographers, producers, and designers of stereoscopic 3D movies and videos. With an emphasis on the aesthetic over the technical, this book is an essential foundation for showing you how to use 3D creatively to tell a story. Hollywood producer Bruce Block and Dreamworks stereoscopic supervisor Philip Captain 3D McNally blend their vast real-world experience and teaching skills to help you learn how to: * Think in 3D * Integrate 3D design into your script or story * Direct and design the 3D depth of your shots * Use stereoscopic windows * Work with the depth cues in 3D * Create a comfortable viewing experience for the audience * Plan editing and directorial considerations for 3D * Understand closed, open, and unstable 3D space Brimming with practical information that can be immediately applied to your 3D production, the book also features interviews with some of the industry’s leading stereographers, as well as 3D diagrams and photographs that illustrate how 3D works, how it can be controlled in production, and how 3D can be used to tell a story.
  business of cinematic arts: Cinema by Design Lucy Fischer, 2017-03-14 Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical trick films of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)—in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.
  business of cinematic arts: After Uniqueness Erika Balsom, 2017-03-21 Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.
  business of cinematic arts: Transmedia Frictions Marsha Kinder, Tara McPherson, 2021-03-16 Editors Marsha Kinder and Tara McPherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term “transmedia” with “transnational,” they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors. Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media. In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña examine interactive bodies transformed by shock, gender, and color. An invaluable reference work in the field of visual media studies, Transmedia Frictions provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent.
  business of cinematic arts: Film as a Subversive Art Amos Vogel, 2005 By Amos Vogel. Foreword by Scott MacDonald.
  business of cinematic arts: The Hollywood MBA Tom Reilly, 2017-01-10 What would you do if alligators were loose in your office? Or if your place of business changed 80 times during a four month period? What if two of your key employees were infant twins? Or you were asked to manage 130 people who were hired yesterday? Tom Reilly has faced these obstacles and thousands more in his three-decade career managing major motion pictures. He’s led more than 100,000 employees and been responsible for overseeing over two billion dollars in pro-rated production budgets and learned that successful management isn’t about what you want; the question is, what do you NEED? Often filming at live locations, Reilly was forced to adopt a unique set of strategies to accommodate for extreme workplace conditions and the challenge of leading and managing big budget projects, a revolving-door workforce of technicians, and actors such as Al Pacino, Robert de Niro, Tom Hanks, Charlize Theron, Sean Connery, and Harrison Ford. In The Hollywood MBA, Reilly explores the ten key strategies he utilized to manage big crews, big budgets, and big personalities on major motion pictures, and shows us how these strategies can be leveraged in any business for success. With an eye for making small adjustments to management strategy that produce big results, Reilly utilizes the narrative backdrop of the film set as an extreme case study in modern management identifying proven, easy-to-implement, and often counter intuitive practices that will increase engagement, team cohesion, efficiency, creativity, quality, and the bottom line in any industry.
  business of cinematic arts: But What I Really Want to Do Is Direct Ken Kwapis, 2020-10-06 For over three decades, director Ken Kwapis has charted a career full of exceptional movies and television, from seminal shows like The Office to beloved films like He’s Just Not That Into You. He is among the most respected directors in show business, but getting there wasn’t easy. He struggled just like everyone else. With each triumph came the occasional faceplant. Using his background and inside knowledge, But What I Really Want To Do is Direct tackles Hollywood myths through Ken’s highly entertaining experiences. It’s a rollercoaster ride fueled by brawls with the top brass, clashes over budgets, and the passion that makes it all worthwhile. This humorous and refreshingly personal memoir is filled with inspiring instruction, behind-the-scenes hilarity, and unabashed joy. It’s a celebration of the director’s craft, and what it takes to succeed in show business on your own terms. Ken Kwapis always brought out the best in the actors on The Office. Whenever Ken was directing, I always felt safe to go out on a limb and take chances, knowing he had my back. Every aspiring director should read this book. (I can think of several 'professional' directors that should read it too!) -Jenna Fischer A vital, magnificent manifesto on the art and craft of directing, written with emotional, instinctual and intellectual depth by one of America's most beloved film and television directors -Amber Tamblyn In the years that I was fortunate to work with Ken on Malcolm in the Middle, he had an uncanny ability to guide actors right to the heart of a scene and reveal its truths. He admits that he doesn’t have all the answers, he’ll make mistakes, and at times he’ll struggle, but as he says in the book, 'It’s the struggle to get it right that makes us human.' -Bryan Cranston Good luck finding a more kind, passionate, and talented director alive than Ken. Seriously, good luck. -Tig Notaro “'Action!' is what most directors bark out to begin a scene. But Ken Kwapis starts by gently intoning the words 'Go ahead...' That simple suggestion assures everyone they’re in smart, capable, humble hands. That’s how you’ll feel reading this book. And so, if you’re anxious to discover how a top director always brings humor, honesty, and humanity to his work, all I can tell you is...Go ahead. -Larry Wilmore
  business of cinematic arts: Slow Movies Ira Jaffe, 2014-05-14 In all film there is the desire to capture the motion of life, to refuse immobility, Agnes Varda has noted. But to capture the reality of human experience, cinema must fasten on stillness and inaction as much as motion. Slow Movies investigates movies by acclaimed international directors who in the past three decades have challenged mainstream cinema's reliance on motion and action. More than other realist art cinema, slow movies by Lisandro Alonso, Nuri Bilge Ceylan, Pedro Costa, Jia Zhang-ke, Abbas Kiarostami, Cristian Mungiu, Alexander Sokurov, Bela Tarr, Gus Van Sant and others radically adhere to space-times in which emotion is repressed along with motion; editing and dialogue yield to stasis and contemplation; action surrenders to emptiness if not death.
  business of cinematic arts: Professional and Business Ethics Through Film Jadranka Skorin-Kapov, 2018-08-10 This book considers ethical issues arising in professional and business settings and the role of individuals making decisions and coping with moral dilemmas. Readers can benefit from engagement in filmic narratives, as a simulated environment for developing a stance towards ethical challenges. The book starts by elaborating on critical thinking and on normative ethical theories, subsequently presenting the structure and cinematic elements of narrative film. These two avenues are tools for evaluating films and for discussions on various ethical problems in contemporary business, including: the corporate and banking financial machinations (greed, fraud, social responsibility); workplace ethical challenges (harassment, violence, inequity, inequality); professional and business ethical challenges (corruption, whistleblowing, outsourcing, downsizing, competition, and innovation); environmental and social issues; international business and human rights; and personal responsibility and identity challenges due to career pressures, loss of privacy and cyber harassment, and job structure changes in light of changing technology.
  business of cinematic arts: 101 Things I Learned® in Film School Neil Landau, Matthew Frederick, 2021-01-12 An illustrated, accessible introduction to filmmaking from an award-winning Hollywood producer, screenwriter, film school professor, and script consultant to major movie studios Anyone with a cellphone can shoot video, but creating a memorable feature-length film requires knowledge and mastery of a wide range of skills, including screenwriting, storytelling, directing, visual composition, and production logistics. This book points the aspiring filmmaker down this complex learning path with such critical lessons as: • how to structure a story and pitch it to a studio • ways to reveal a story’s unseen aspects, such as backstory and character psychology • the difference between plot, story, and theme • why some films drag in Act 2, and what to do about it • how to visually compose a frame to best tell a story • how to manage finances, schedules, and the practical demands of production Written by an award-winning producer, screenwriter, film school professor, and script consultant to major movie studios, 101 Things I Learned® in Film School is an indispensable resource for students, screenwriters, filmmakers, animators, and anyone else interested in the moviemaking profession.
  business of cinematic arts: Pretty Rosalind Galt, 2011-06-07 Film culture often rejects visually rich images, valuing simplicity, austerity, or even ugliness as more provocative, political, and truly cinematic. Although cinema challenges traditional ideas of art, this opposition to the decorative continues a long-standing aesthetic antipathy to feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal and colonial perspective along with the preference for fine over decorative art, filmmakers, critics, and theorists tend to denigrate cinema's colorful, picturesque, and richly patterned visions. Condemning this exclusion of the pretty from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scène, painterly framing, and arabesque camera movements—styles increasingly central to world cinema. From European art house cinema to the films of Wong Kar-wai and Santosh Sivan, from handmade experimental films to the popular pleasures of Moulin Rouge! and Amelie, pretty is a vital element of contemporary cinema, using visual exuberance to communicate distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, a singular representation of cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art and film theory and philosophy, Galt reclaims prettiness as a radically transgressive style, woven with the threads of political agency.
  business of cinematic arts: Chromatic Modernity Sarah Street, Joshua Yumibe, 2019-04-02 The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.
  business of cinematic arts: The Politics and Poetics of Cinematic Realism Hermann Kappelhoff, 2015-08-11 Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of thinking in images to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
  business of cinematic arts: Development of the Global Film Industry Qiao Li, Yanqiu Guan, Hong Lu, 2020-09-01 The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional production companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a big picture view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world.
  business of cinematic arts: Minding Movies David Bordwell, Kristin Thompson, 2011-04-15 David Bordwell and Kristin Thompson are two of America’s preeminent film scholars. You would be hard pressed to find a serious student of the cinema who hasn’t spent at least a few hours huddled with their seminal introduction to the field—Film Art, now in its ninth edition—or a cable television junkie unaware that the Independent Film Channel sagely christened them the “Critics of the Naughts.” Since launching their blog Observations on Film Art in 2006, the two have added web virtuosos to their growing list of accolades, pitching unconventional long-form pieces engaged with film artistry that have helped to redefine cinematic storytelling for a new age and audience. Minding Movies presents a selection from over three hundred essays on genre movies, art films, animation, and the business of Hollywood that have graced Bordwell and Thompson’s blog. Informal pieces, conversational in tone but grounded in three decades of authoritative research, the essays gathered here range from in-depth analyses of individual films such as Slumdog Millionaire and Inglourious Basterds to adjustments of Hollywood media claims and forays into cinematic humor. For Bordwell and Thompson, the most fruitful place to begin is how movies are made, how they work, and how they work on us. Written for film lovers, these essays—on topics ranging from Borat to blockbusters and back again—will delight current fans and gain new enthusiasts. Serious but not solemn, vibrantly informative without condescension, and above all illuminating reading, Minding Movies offers ideas sure to set film lovers thinking—and keep them returning to the silver screen.
  business of cinematic arts: Who Gets In and Why Jeffrey Selingo, 2020-09-15 From award-winning higher education journalist and New York Times bestselling author Jeffrey Selingo comes a revealing look from inside the admissions office—one that identifies surprising strategies that will aid in the college search. Getting into a top-ranked college has never seemed more impossible, with acceptance rates at some elite universities dipping into the single digits. In Who Gets In and Why, journalist and higher education expert Jeffrey Selingo dispels entrenched notions of how to compete and win at the admissions game, and reveals that teenagers and parents have much to gain by broadening their notion of what qualifies as a “good college.” Hint: it’s not all about the sticker on the car window. Selingo, who was embedded in three different admissions offices—a selective private university, a leading liberal arts college, and a flagship public campus—closely observed gatekeepers as they made their often agonizing and sometimes life-changing decisions. He also followed select students and their parents, and he traveled around the country meeting with high school counselors, marketers, behind-the-scenes consultants, and college rankers. While many have long believed that admissions is merit-based, rewarding the best students, Who Gets In and Why presents a more complicated truth, showing that “who gets in” is frequently more about the college’s agenda than the applicant. In a world where thousands of equally qualified students vie for a fixed number of spots at elite institutions, admissions officers often make split-second decisions based on a variety of factors—like diversity, money, and, ultimately, whether a student will enroll if accepted. One of the most insightful books ever about “getting in” and what higher education has become, Who Gets In and Why not only provides an unusually intimate look at how admissions decisions get made, but guides prospective students on how to honestly assess their strengths and match with the schools that will best serve their interests.
  business of cinematic arts: A Philosophy of Cinematic Art Berys Gaut, 2010-01-14 A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
  business of cinematic arts: Hollywood Math and Aftermath J.D. Connor, 2020-02-20 Money is Hollywood's great theme-but money laundered into something else, something more. Money can be given a particular occasion and career, as box office receipts, casino winnings, tax credits, stock prices, lotteries, inheritances. Or money can become number, and numbers can be anything: pixels, batting averages, votes, likes. Through explorations of all these and more, J.D. Connor's Hollywood Math and Aftermath provides a stimulating and original take on “the equation of pictures,” the relationship between Hollywood and economics since the 1970s. Touched off by an engagement with the work of Gilles Deleuze, Connor demonstrates the centrality of the economic image to Hollywood narrative. More than just a thematic study, this is a conceptual history of the industry that stretches from the dawn of the neoclassical era through the Great Recession and beyond. Along the way, Connor explores new concepts for cinema studies: precession and recession, pervasion and staking, ostension and deritualization. Enlivened by a wealth of case studies-from The Big Short and The Wolf of Wall Street to Equity and Blackhat, from Moneyball to 12 Years a Slave, Titanic to Lost, The Exorcist to WALLE, Déjà Vu to Upstream Color, Contagion to The Untouchables, Ferris Bueller to Pacific Rim, The Avengers to The Village-Hollywood Math and Aftermath is a bravura portrait of the industry coming to terms with its own numerical underpinnings.
  business of cinematic arts: Phantom Lady Christina Lane, 2020-02-04 Winner of the Mystery Writers of America's 2021 Edgar Allan Poe Award for Best Critical/Biographical In 1933, Joan Harrison was a twenty-six-year-old former salesgirl with a dream of escaping both her stodgy London suburb and the dreadful prospect of settling down with one of the local boys. A few short years later, she was Alfred Hitchcock's confidante and one of the Oscar-nominated screenwriters of his first American film, Rebecca. Harrison had quickly grown from being the worst secretary Hitchcock ever had to one of his closest collaborators, critically shaping his brand as the Master of Suspense. Harrison went on to produce numerous Hollywood features before becoming a television pioneer as the producer of Alfred Hitchcock Presents. A respected powerhouse, she acquired a singular reputation for running amazingly smooth productions— and defying anyone who posed an obstacle. She built most of her films and series from the ground up. She waged rough-and-tumble battles against executives and censors, and even helped to break the Hollywood blacklist. She teamed up with many of the most respected, well-known directors, writers, and actors of the twentieth century. And she did it all on her own terms. Author Christina Lane shows how this stylish, stunning woman became Hollywood's most powerful female writer-producer—one whom history has since overlooked.
  business of cinematic arts: The Digitization of Cinematic Visual Effects Rama Venkatasawmy, 2013 The Digitization of Cinematic Visual Effects: Hollywood's Coming of Age, by Rama Venkatasawmy, analyzes how the Hollywood cinema industry's visual effects applications have not only motivated the expansion of filmmaking praxis, they have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitization of their associated technologies, VFX have been responsible for multiplying the strategies of representation and storytelling, as well as extending the range of stories that can potentially be told onscreen. By the same token, the visual standards of the Hollywood film's production and exhibition have been growing in sophistication. On the basis of displaying groundbreaking VFX--immaculately realized through the application of cutting-edge technologies and craftsmanship--and of projecting such a significant degree of visual innovation and originality, certain Hollywood movies have established techno-visual trends and industrial standards for subsequent filmmaking practice. Hollywood cinema's entry into the digital realm is intertwined with the intensification of conglomeratic practices within the movie business, the domain of techno-scientific R&D in filmmaking, and the unification of corporate media, information technology, and entertainment. Hence, the standardization of, and convergence toward, the digital medium is emblematic of Hollywood cinema's techno-industrial evolution in the late twentieth century. Accordingly, this volume identifies various synergies and partnerships--between VFX providers, movie studios, graphic designers, and more--that have emerged from a progressive growth of awareness in Hollywood of the digital medium's potential.
  business of cinematic arts: Filmmaking For Dummies Bryan Michael Stoller, 2019-11-05 Everything you ever wanted to know about making a movie but were afraid to ask... Lights, camera, action! We all have at least one movie in us, and the amazing and affordable advances in digital technology makes it increasingly easy to make your dream a reality and share it with the world. Filmmaking for Dummies is your definitive guide to bringing a project to life, from the comedy antics of loveable pets to the deepest, most meaningful independent film. Bryan Michael Stoller is your friend and guide, sharing his knowledge gained over 100 productions (directing and working with Dan Aykroyd, James Earl-Jones, Barbra Streisand and Drew Barrymore, among others) to show you how to take your movie from the planning and storyboarding stage, through shooting and editing, to making it available to your adoring audiences through television broadcast, streaming online or in movie theaters. For the do-it-your-selfer, the book includes tips on how to finance your project, a look at the latest software and apps, including advancements in digital technology, and for the passionate director, advice on how to hire and work with your cast and crew and find great scenic locations. Whether you want to become a professional filmmaker or just create great YouTube videos or nostalgic home movies, shooting with your smartphone or with consumer or pro-gear, this practical guide has it all. Learn how to compose your shots and when to move the camera Make the perfect pitch to sell your story Take advantage of helpful contacts and tons of new resources Get up-to-date on the latest and greatest digital technology Find the right distributor, or learn how you can be your own distributor! So, you really have no excuses to make your masterpiece. Get rolling with a copy of Filmmaking for Dummies today and start shooting for the stars!
  business of cinematic arts: The Essay Film After Fact and Fiction Nora M. Alter, 2018-01-02 Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. Like its literary predecessor, the essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre’s origins in early silent cinema and follows its transformation with the advent of sound, its legitimation in the postwar period, and its multifaceted development at the turn of the millennium. In addition to exploring the broader history of the essay film, Alter addresses the innovative ways contemporary artists such as Martha Rosler, Isaac Julien, Harun Farocki, John Akomfrah, and Hito Steyerl have taken up the essay film in their work.
  business of cinematic arts: The City Symphony Phenomenon Steven Jacobs, Eva Hielscher, Anthony Kinik, 2018-07-20 The 1920s and 1930s saw the rise of the city symphony, an experimental film form that presented the city as protagonist instead of mere decor. Combining experimental, documentary, and narrative practices, these films were marked by a high level of abstraction reminiscent of high-modernist experiments in painting and photography. Moreover, interwar city symphonies presented a highly fragmented, oftentimes kaleidoscopic sense of modern life, and they organized their urban-industrial images through rhythmic and associative montage that evoke musical structures. In this comprehensive volume, contributors consider the full 80 film corpus, from Manhatta and Berlin: Die Sinfonie der Grosstadt to lesser-known cinematic explorations.
  business of cinematic arts: The Last Duel Eric Jager, 2005-09-13 NEW YORK TIMES BESTSELLER • NOW A MAJOR MOTION PICTURE • “A taut page-turner with all the hallmarks of a good historical thriller.”—Orlando Sentinel The gripping true story of the duel to end all duels in medieval France as a resolute knight defends his wife’s honor against the man she accuses of a heinous crime In the midst of the devastating Hundred Years’ War between France and England, Jean de Carrouges, a Norman knight fresh from combat in Scotland, returns home to yet another deadly threat. His wife, Marguerite, has accused squire Jacques Le Gris of rape. A deadlocked court decrees a trial by combat between the two men that will also leave Marguerite’s fate in the balance. For if her husband loses the duel, she will be put to death as a false accuser. While enemy troops pillage the land, and rebellion and plague threaten the lives of all, Carrouges and Le Gris meet in full armor on a walled field in Paris. What follows is the final duel ever authorized by the Parlement of Paris, a fierce fight with lance, sword, and dagger before a massive crowd that includes the teenage King Charles VI, during which both combatants are wounded—but only one fatally. Based on extensive research in Normandy and Paris, The Last Duel brings to life a colorful, turbulent age and three unforgettable characters caught in a fatal triangle of crime, scandal, and revenge. The Last Duel is at once a moving human drama, a captivating true crime story, and an engrossing work of historical intrigue with themes that echo powerfully centuries later.
  business of cinematic arts: Cinema at the End of Empire Priya Jaikumar, 2006-05-03 DIVHistory of the relationship between government regulation of the film industry in the UK and the the developing film industry in India between the 1920s and 1940s./div
  business of cinematic arts: Mindy Kim and the Yummy Seaweed Business Lyla Lee, 2020-01-14 Fresh Off the Boat meets Junie B. Jones in this first novel in an adorable new chapter book series about Mindy Kim, a young Asian American girl who is starting a snack business! Mindy Kim just wants three things: 1. A puppy! 2. To fit in at her new school 3. For her dad to be happy again But, getting all three of the things on her list is a lot trickier than she thought it would be. On her first day of school, Mindy’s school snack of dried seaweed isn’t exactly popular at the lunch table. Luckily, her new friend, Sally, makes the snacks seem totally delicious to Mindy’s new classmates, so they decide to start the Yummy Seaweed Business to try and raise money for that puppy! When another student decides to try and sabotage their business, Mindy loses more than she bargained for—and wonders if she’ll ever fit in. Will Mindy be able to overcome her uncertainty and find the courage to be herself?
  business of cinematic arts: Global Hollywood 2 Toby Miller, Nitin Govil, John McMurria, Richard Maxwell, Ting Wang, 2019-07-25 Substantially revised and updated, this book highlights how Hollywood has transformed itself to attain ever global clout and reach and the material factors underlining Hollywood's apparent artistic success. Takes into consideration recent events affecting Hollywood such as 9/11, US foreign policy and developments in consumer technology.
  business of cinematic arts: Religion and Film S. Brent Plate, 2017-09-05 Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world “out there” and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs. Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa. This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies.
  business of cinematic arts: Film, a Sound Art Michel Chion, 2009 The author argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing. The audiovisual makes use of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema. This book considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. It also explores the intersection of auditory and visual realms. The author describes the effects of audio-visual combinations claiming, for example, that the silent era (which he terms deaf cinema) did not end with the advent of sound technology but continues to function underneath and within later films. He also discusses cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words.
  business of cinematic arts: Scenes of Instruction Dana Polan, 2007-04-24 Publisher description
  business of cinematic arts: The Off-Screen Eyal Peretz, 2017-03-21 From the Renaissance on, a new concept of the frame becomes crucial to a range of artistic media, which in turn are organized around and fascinated by this frame. The frame decontextualizes, cutting everything that is within it from the continuity of the world and creating a realm we understand as the realm of fiction. The modern theatrical stage, framed paintings, the novel, the cinematic screen—all present us with such framed-off zones. Naturally, the frame creates a separation between inside and out. But, as this book argues, what is outside the frame, what is offstage, or off screen, remains particularly mysterious. It constitutes the primary enigma of the work of art in the modern age. It is to the historical and conceptual significance of this off that this book is dedicated. By focusing on what is outside the frame of a work of art, it offers a comprehensive theory of film, a concise history of American cinema from D.W. Griffith to Quentin Tarantino, and a reflection on the place and significance of film within the arts of modernity in general.
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