Paramount's Abnormal Approach Summary

Outline the main changes the paramount decree effected on the structure of the American film industry and discuss the measures the ex-studios took to remain in control of the film market.

Arundel Partners wants to buy the rights to produce the sequels in advance rather than negotiating on a film-by-film basis because otherwise, the studios will have an informational advantage. Later on in the production process, studios will have a greater idea of the quality of the film, making them less likely to sell the rights to more profitable sequels. Advanced rights to the entire portfolio of films mitigates this informational asymmetry and creates an options-pricing model for Arundel. There is value in Arundel’s right to forgo production of the sequel if they discover that the original is a flop. If Arundel chooses to forgo producing a sequel, in this model they are now only taking a $2M loss. To the movie studios, Arundel’s proposal creates great value. By offering the cash for all movies in advance, Arundel is providing upfront financing to the cash-hungry studios, allowing them the resources to pursue other projects, especially big budget blockbusters that have substantial negative costs. The guaranteed profit of the sequel rights fees abolishes some risk for the studios, even though it eliminates their potential upside. By purchasing the rights to an entire portfolio of films from the studios, it also serves Arundel to diversify away the risks of individual films, much like investing in diversified funds of market indexes.

In this book, King examines the Hollywood “Renaissance” from the late 1960s to the late 1970s as well as some of the industrial factors that shape the current dominance of the corporate blockbuster. King begins by stating that there are two distinct periods when addressing “New Hollywood” including the Hollywood Renaissance and the New Hollywood. Geoff King analyses new Hollywood dynamically and accessibly in his text and discusses diverse films, film makers and film companies apart from concentrating on the interactions between the film texts, social contexts, and their producers by using examples across Hollywood and its genres. He further discusses how positions of studios within media conglomerate, and the relationship between production for big and small screens as well as the influence of television, advertising and franchising on the New Hollywood have been transformed the form of the films (King 137-140).

Given our analysis of the motion picture industry, we recommend that Arundel carefully select the major film studios from which they intend to purchase sequel rights. The net present value of hypothetical sequels taken from the available previous years shows not only that the industry is highly volatile, but also that certain production studios are more volatile than others in terms of their recent performance. In addition, some studios are consistently less profitable than others. (See "NPV for Each Production Company" chart in appendix) Since the success of film studios are relatively stable in the short term (see "Rental Shares of Major Film Distributors" table and graph) Because of this stability, it is possible for Arundel to approach more profitable studios with their offer to purchase sequel rights. Out of all the major film studios, only MCA-Universal, Warner Bros., and The Walt Disney Company generate a positive net present value on a per-film basis. However, according to casual inquiries, it is unlikely that any movie studio would enter negotiations with Arundel on a per film price that is less than 1 million. Instead, the film studios seem to

This open letter is directed at the directors of Horror films. This letter will discus the over used gimmicks and the lack of creativity on their part. It will be written in a conversational way with the use of pathos of how these movies are faulty with a touch of humor, and rhetorical questions to emphasize certain points of my discussion of this topic. I will also use ethos through my time as a film fanatic who is passionate on all that is film especially horror film which is my favorite film genre, and is the largest genre with so many subgenres within it that have the ability to use so much imagination. I have crafted this conversation to be directed towards the directors of horror films with the use of film lingo that is used for this genre, movie examples they should look at, and a deep analysis of what and how this problem cause movie of today to lack in appeal.

In wasn’t until the late 1937 that the studios began to run in to trouble, partly because on of economic conditions in the United States and partly because of movies that the public felt were low in quality and subpar. Many blamed this on the “block booking.” It was during this time that one of the smaller studios (Disney Studios) released its 1937 hit “Snow White and the Seven Dwarfs,” an animated film with no stars and released by a small studio. This was a wakeup call for the larger studios that maybe this practice of “block booking” wasn’t such a good idea.

Firstly, one of the most notable of the features of the poster is the names of starring actresses. Unlike previous posters, the prominence of “Co[l]leen Moore” and “[M]ary Pickford” indicate the emergence of the star system, which gains momentum in the 1930s, soon after the release of these films. The poster also specifies that this is Pickford’s “only appearance this year” in an attempt to entice her fans, otherwise unable to see her theatrically. Moreover, the name of the production company for Twinkletoes is also foregrounded. Although the Universum Film AG logo and the local distributor for Metropolis are less stressed, they are still present. Together, these two instances reveal the growing importance of production and distribution companies in the industry.

During the 1960s and 1970s many nations around the world had a film revolution where young filmmakers were making new and different types of movies, they called this movement a “New Wave.” Although Hollywood was was the film capital of the world, it also went through a movement where young directors were taking control of their films over the production studios, the films were reaching to younger audiences, and the films were generally more independent and had to be cheap. The reason for this “new wave” movement was because old Hollywood was losing money and it needed a new way of making films, it needed to be shaken up. Influence from all over the globe helped spark the American movement, the French, German, Latin American, and British New

Onwards from the late sixties, trailers emerged to the forefront of film marketing. Prior to this, film trailers were nowhere near as predominant in the marketing process as they are today; they are now a consolidation of marketer strategies, used as an effective tool in targeting the greatest number of potential audiences to increase cinema sales and therefore film revenue. Companies often spend large amounts on advertising new products, prior to their launch, which is extremely apparent within the creative industries (Elberse & Anand, 2007), namely the film industry. While trailer marketing tends to exploit audience behaviour and genre preferences, this promotional tool has proved itself to be the most effective in publicising films. Today, trailers are a cinema of ‘coming’ attractions in a blockbuster era (Kernan, 2004), where marketing dictates what is to be produced within the global film industry.

Turn on the lights, press the red button, and follow the action. Film class has boomed with ecstatic creativity. With New projects aloft and deadlines to meet, ideas erupted.

Hollywood has become synonymous to great cinema, be it American or an international equivalent, it always comes back to a Hollywood comparison. Classical Hollywood style exhibits clarity, unity, goal-orientated characters, and closure, while most other elements are set aside to further progress the cumulative buildup of narrative. Often referred to as the “invisible style,” because it relies on this “unobtrusive craftsmanship,” classic Hollywood practices ensure viewers will be completely immersed in a film without focusing on the literal separation between the screen and the audience. However, with as much importance creativity is placed upon the film industry, profit is also a huge factor in the filmmaking practice. There are certain genres

The costs, methods of distribution, and themes of Hollywood and Nollywood films reflect strongly their target audiences; how the target audience affects the production of a film and how the production of a movie is designed to capture a specific

Since the early days of filmmaking, Hollywood the dominated over the world cinema. American cinema has always drawn inspiration from other nations. In the past, few countries have received more attention from Hollywood than Japan. There be little doubt that Nakata’s Ringu (1998) has much to do with the recent international interest not just in Japanese cinema, but East Asian cinema more generally. (Colette, 2008). In America and Europe horror films tell the story of extermination of evil spirits, Japanese horror films end up with the suggestion that the spirit still remain at large. That’s because Japanese don’t regard spirits only as enemies, but as being that co-exist with this world of ours. (Suzuki, 2005). In this essay I will look at the difference between American and Japanese horror style and discuss the reasons why Japanese horror films are appealing prospect for remake. To do this I need to look at the importance of Roy lee and vertigo entertainment in remaking films such as the Ring (2002) which is directed by Gore Verbinski.

Most of the classics seem to have fallen prey to the greedy hands of the movie industry in hopes of collecting profit. A sequel to George A. Romero’s Night of the Living Dead was made in 2004, in 2007 Rob Zombie directed his version of John Carpenter’s Halloween, Gus Van Sant directed the remake of Hitchcock’s Psycho and The Saw franchise is due to get its eighth sequel released in 2017. Hantke calls this “the symptom of the crisis of contemporary American horror film” (6). Some of these films did very well at the box office but most of them didn’t, largely due to the loss of originality and the ability to surprise and shock, which stands at the basis of every successful horror film. The next step for the challenged horror industry was the process of transnationalization – searching for inspiration outside familiar borders, more specifically turning to East Asia. “The initial phase of J-horror’s rising popularity in the United States, for example, was largely driven by a search, on the part of hardcore fans, for more exotic and extreme forms of horror film. (Hantke 12) However, Hantke states that this is not an isolated phenomenon, since Hollywood has always thrived

Today’s cinema however, has evolved to be one which has enough screens to give a wide choice of films providing for variety, one which is sophisticated and friendly, one with good quality