Robin Good

First, Hollywood’s star system can be effective promoting of the studio. The studio has a stable number of audiences which were the fans of studio’s movie stars. Star system is a way that sustains successful movie star’s popularity. These studios tried to give similar roles to those movie stars and suit their public image. For an example, Don Lockwood, who was a male main character in the Singin’ in the Rain, was a successful silent movie star in the film. He acted as a handsome, charming and young star who was dreamboat of the female audiences. Don’s studio always gives a similar role to him such as a hero who saves a princess in The Dueling Cavalier. And the fans were following

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

The existence of the motion picture industries has been a primary source of media information. In fact, video studio gave birth to some magazines. The is so much obsessed with celebrity and star news leaving the media personnel with no option but dig star gossips as much as they can. The movie industry has been around for quite some time. However, over time it can be appreciated that cultures have regularly changed as time goes by (Thomas 67). Values to be depicted on in a movie vary widely as well as the actors. To get a clear picture of these varying cultures and values, it is important to compare two Hollywood stars; One before the year 1980 and the other one our current time.

After completing your movie analysis, you will reflect on the analysis process and how you have learned to more thoroughly analyze film as well as how rigorous study of film enhances your development as a student and thinker. In this 300- to 600-word reflection, review your initial post from the “Post Your Introduction” discussion in Week One, and consider how your ability to analyze movies has changed or grown. Append your reflection to the analysis portion of your paper. Your reflection should be personal and exploratory in

In his essay, Burr instantly creates a sense of ethos. Within the first two paragraphs, Burr articulated that he is a “professional film critic for a major metropolitan daily newspaper” (Burr 31). Because of this statement, he gained credibility on the subject of actors. Additionally, he has “interviewed a number of actors and directors, ingénues and legends” (Burr 31). Burr makes sure to give some examples of especially famous stars that he has interviewed to further provide credibility. Some include: Steve Carell, Laura Linney, and Kevin Spacey (Burr 33). Throughout his essay, Burr takes a position of authority on the subject and writes with intense confidence in his knowledge. Furthermore, readers swiftly realize that Burr has done plenty of research to make readers ponder their position. By proving his credibility, Burr quickly and efficiently snatches the reader’s attention and gives them a reason to want to continue reading.

Bad films seem to be even worse when talented people are funding, starring or involved in production. One example is the 1987 film Leonard Part 6. It had a huge cast of stars including Bill Cosby and Tom Courtenay, who were both well respected actors at that time (Bailey). Directing the film was Barry Sonnenfeld, the man behind the Men in Black franchise, The Addams Family film, and Big starring Tom Hanks. Leonard Part 6 could have been an amazing action comedy, but it flopped. To give an example of just one failure, there were no other Leonard films, the franchise started on six, because the backers thought it would be funny to imply there had been five other films. This confused the audience. This caused people to not see the film,

2. If you had the opportunity to take a position like Griffin’s and work in Hollywood, would you take it after seeing this film? Please explain

* S is the present value of net inflows of hypothetical sequels at year 4; we attached different values to S for the various studios using an average of the present value of net inflows of hypothetical sequels of each studio in 1999 (found in Exhibit 7). S was also computed for the overall portfolio using an average of the present value of net inflows of hypothetical sequels of all studios.

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.

A star’s image is a concept carefully molded by the celebrity himself or herself with the aid of many factors such as audience reception and current ideological trends. Star image, by definition, given by O’Shaughnessy and Stadler, is “the qualities, ideals, and values that a star represents, based on their films and other performances, and on media information circulated about them” (430). A change of star image encompasses the sum of everything we, as in the audience, affiliate with that star. That means changing the star’s body of work, promotion, publicity, and audience practices. These factors put together is also known as star text (Professor Josh Jackson, September 8, 2016, University of California, Berkeley). Jennifer Lawrence had a particular star text before she took on the role of Katniss Everdeen in The Hunger Games and was instead known for her role of Ree Dolly in Winter’s Bone. This new role launched Lawrence into a different star text she was previously known for. Though it seemed like the change is solely based on her landing an already popular role, the change in her star text is still calculated in order for her to maintain a certain image that landed her at the top of the celebrity social ladder. This careful manipulation of a celebrity’s image as she takes on a role that guaranteed a big impact on her acting career demonstrates how a star’s image is important when it comes to maintaining what the celebrity, and everyone who is working with that

4. The bargaining power of buyers: The outlook for the target market isn’t favorable for the movie industry because it will not be growing as fast as the overall population. Buyer power is a strong force because of the target market and several other factors including: the undifferentiated product offered, switching to an alternative is simple and low cost, and customers can stay home and watch movies. The consumers are also complaining about concession and ticket costs, along with the advertisements before the film is shown.

Based on our valuation of the investment, as outlined below in the Analysis portion of the report, we have determined a per-movie-value of $8.9 million when considering purchasing the rights to the entire portfolio of 99 movies analyzed in the sample data. Based on production of 10 sequels, the per-movie-value of the portfolio would be $52.25 million. Our calculations based on the hypothetical portfolio is that Arundel Partners should make this investment as long as the present value of the expected cash flows from the sequel revenues exceeds the cost of production plus the cost of the investment. Depending on what value a studio will accept as payment per sequel, there appears to be significant profitability in the investment.

While casting our movie, we wanted to incorporate many famous celebrities. Our goal is that by casting many high- profile names, it will draw crowds and boost box- office numbers,

In the Hollywood movie world, no one has less power than the young ingénue who has just been introduced to the lime light. They are often seen as expendable, and can easily be taken advantage of by any person with connections they can use to their advantages. The large

The question at hand states, “In evaluating a film, should we interpret and evaluate it by considering how the film is the creative work of a single author or auteur?” (Yenter, “Essay Information”). Understanding my claim requires an understanding of what an auteur is. The original “auteur theory” is the idea that the director is the sole author of the film. There are three different strategies that are typically used to argue for the theory of single authorship.