The Big Tax Credits Are More Harmful Than Beneficial Or Wasteful?

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

2. What forces are driving changes in the movie rental industry? Are the combined impacts of these driving forces likely to be favorable or unfavorable in term of their effects on competitive intensity and future industry profitability?

In the 1840’s Pittsburgh’s growing working class wanted more entertainment. To meet this demand there was an increase in construction of new music halls over the next two decades. The new theaters included the Melodeon Theatre, Lafayette Hall, Foster’s Gaieties, Trimble’s Variety, Vierheller’s Concert Garden, Wilkens Hall, Sefton’s Opera House, The Pittsburgh Opera House, the Academy of Music, the new Masonic Hall, and the Eagle Ice Cream Saloon that launched the career of Stephen Foster.

The Canadian entertainment industry that is served by Cineplex has been recording sustained growth since 2011 where a growth of 5 percent was recorded. PwC’s Global Entertainment and Media Outlook for 2014-2018 (PWC, 2014) indicate that the industry is set for a take-off. The industry has a

The argument comes from the fiscally conservative mindset, arguing that using taxpayer money for non-necessities, like film is wasteful. However, this view overlooks that the state’s rebate program exists as an investment that the state will eventually make profit on in the form of economic growth through employment. The legislation providing such rebates likely would never have existed in the first place if it were not economically beneficial to the state. Additionally, providing rebates is more likely to attract production of the benefit films that have tighter budgets and have trouble breaking even, rather than the stereotypical big budget films, meaning that rebates could mean the difference of a production company moving forward with riskier films or not. The Hollywood welfare argument is a politically expedient one because of the way Hollywood is viewed politically in present day American culture. Many on America’s rightwing view Hollywood as a big elitist organization with a liberal political agenda. Rhetoric like “Hollywood welfare” truly is a representation of the divisive nature of modern times. Schimmel writes in an essay regarding rhetoric that “language affects our perception and understanding of social and political realities, irrespective of how accurately it reflects them.” Conservative state politicians have capitalized on the preconditioned distrust conservatives have toward Hollywood paired with the negative connotations that the political right has associated with welfare has led to film tax incentives taking major blows, especially in predominantly conservative

In fact, Webb notes that today, only one major studio still exists in the city, as most back lots have turned into offices that coordinate filming activities elsewhere. This small fact proves that “Hollywood has always been a concept as much as a place” (xi), a symbol people reference for the movie industry, no matter where the movies were actually produced.

With rich oil and gas deposits nearby and the strategic position as the furthest inland port on the Mississippi that can accommodate ocean-going tankers, from the establishment of first refinery in 1909, Baton Rouge has experienced an economic boom that still continues today. Apart from being the fourth-largest oil refinery in the country, ExxonMobil’s Baton Rouge Refinery complex is also the tenth largest in the world. Following generous tax incentives, the film industry in Baton Rouge has substantially increased in the past decade, bringing more than $90 million into the local economy in 2013. “True Blood,” “Battleship,” “Pitch Perfect,” “G.I. Joe: Retaliation,” “JFK,” “Battle: Los Angeles,” “Oblivion,” and “Ray” were all completely or partially filmed in Baton

Cinema grants the possibility for an average citizen to escape their mundane life, and delve into a realm of fantasy. However, the film industry fails to act as an instrument in societal progression by instilling superficial ideologies. In this article “Dear Canadian filmmakers…”, Cameron Bailey suggests that Canadian filmmakers ought to shift their perspective by looking more outwards than inwards. As Bailey's emphasizes the significance of producing content that appropriately depicts contemporary Canada. Baileys draws attention to the fact that both, the audience, and the critics have a preference for “drama of real life” based films as opposed to fiction based films. Furthermore, he discusses how filmmakers tend to turn the blind eye to

Afro-American woman are one of the most under represented groups in Hollywood films. They face double underrepresentation not only on screen but also behind the camera and it is because they are woman and black. Since the very beginning, Hollywood film industry has been dominated by white male producers, writers, directors and executives (Smith, 780; Covington, 21) that empower their own race and gender hierarchies. The Ralph J. Bunche Center for African American Studies at UCLA carried out a study of the top 200 Hollywood films in 2013 and found that leading characters are 74.7% male and 25.3% female and according to race, 83.3% are white in contrast to 16.7%, which consists the minorities. Behind the camera, regarding the gender of directors,

The film industry in Louisiana has seen tremendous growth in the last decade due to a generous film tax credit program. The big motion picture companies seem to be bringing more pictures to be filmed in “Hollywood South” claiming the films create jobs and spur economic growth. Louisiana residents are wowed by the chance to potentially see movies filmed in their neighborhoods, the chance to meet stars and perhaps be an extra in a scene. Though many in the state are claiming that the film tax credit program is too costly to maintain.

The introduction of the film industry was a crucial factor in the metamorphosing American Dream. At the time

2. What forces are driving changes in the movie rental industry? Are the combined impacts of these driving forces likely to be favorable or unfavorable in term of their effects on competitive intensity and future industry profitability?

Based on the previous module assessments, NBC Universal’s preliminary focus should be geared toward the film industry. The recent trade deal, between both the U.S. and Chinese Governments, lowered a 20-year-old quota on U.S. films and distribution fees in the Chinese film industry. This signifies productive progression within the film industry, even though small in nature, but nonetheless this could equate to significant profit gains for all the FMO’s within the market.

The film industry has continuously changed since its inception due to rapid technology advancements. Camera technology has been a key factor that has influenced the growth of filmmaking. The first motion picture in the world was produced in the early 1880s, and the first public screening occurred ten years later. It didn’t take long for the quality of films to improve as new filmmaking equipment emerged. Ever since the first movie was produced, the film industry has been continuously changing in response to emerging filmmaking technology. Introduction of digital photography and digital data storage along with the development of internet significantly influenced the film industry (Barsam, 2015). These technologies contributed

It was not until the mid-1910’s did the film industry shift “towards a model that prized business legitimacy. This shift ultimately marginalized the woman filmmaker” (Mahar 133).