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Black And White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry.
At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution, and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States, and Australia, as well as from Africa. These included not only the original “long trek movie” and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu, and Msoga Mwana, who starred as the black revolutionary in Prester John.
In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses—plus quotations from reviews—so that readers can rediscover this long-lost treasure trove of silent cinema.
Why do most people know what an Ewok is, even if they haven't seen Return of the Jedi? How have Star Wars action figures come to outnumber human beings? How did 'Jedi' become an officially recognised religion? When did the films' merchandising revenue manage to rival the GDP of a small country?
Tracing the birth, death and rebirth of the epic universe built by George Lucas and hundreds of writers, artists, producers, and marketers, Chris Taylor jousts with modern-day Jedi, tinkers with droid builders, and gets inside Boba Fett's helmet, all to find out how Star Wars has attracted and inspired so many fans for so long.
The CEO of Disney, one of Time’s most influential people of 2019, shares the ideas and values he embraced to reinvent one of the most beloved companies in the world and inspire the people who bring the magic to life.
Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Morale had deteriorated, competition was intense, and technology was changing faster than at any time in the company’s history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger—think global—and turn Disney into a stronger brand in international markets.
Fourteen years later, Disney is the largest, most respected media company in the world, counting Pixar, Marvel, Lucasfilm and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era.
In The Ride Of A Lifetime, Robert Iger shares the lessons he’s learned while running Disney and leading its 200,000 employees, and he explores the principles that are necessary for true leadership, including:
This book is about the relentless curiosity that has driven Iger for forty-five years, since the day he started as the lowliest studio grunt at ABC. It’s also about thoughtfulness and respect, and a decency-over-dollars approach that has become the bedrock of every project and partnership Iger pursues, from a deep friendship with Steve Jobs in his final years to an abiding love of the Star Wars mythology.
From Double Indemnity to The Godfather, the stories behind some of the greatest films ever made pale beside the story of the studio that made them. In the golden age of Hollywood, Paramount was one of the Big Five studios. Gulf + Western's 1966 takeover of the studio signaled the end of one era and heralded the arrival of a new way of doing business in Hollywood. Bernard Dick reconstructs the battle that culminated in the reduction of the studio to a mere corporate commodity. He then traces Paramount's devolution from free-standing studio to subsidiary - first of Gulf + Western, then Paramount Communications, and currently Viacom-CBS. Dick portrays the new Paramount as a paradigm of today's Hollywood, where the only real art is the art of the deal. Former merchandising executives find themselves in charge of production, on the assumption that anyone who can sell a movie can make one. CEOs exit in disgrace from one studio only to emerge in triumph at another. Corporate raiders vie for power and control through the buying and selling of film libraries, studio property, television stations, book publishers, and more. The history of Paramount is filled with larger-than-life people, including Billy Wilder, Adolph Zukor, Sumner Redstone, Sherry Lansing, Barry Diller, Michael Eisner, Jeffrey Katzenberg, and more.
Renowned psychotherapist and career counselor Linda Buzzell is the expert in knowing how to create and develop a career in Hollywood. With this book, she shows you how to look at your personality, your strengths, your weaknesses, your special skills, and your talents in order to target your personal goals and maximize your career success. She then explains all the jobs in Hollywood and how to find them, get them, and advance through each stage in your career.
How To Make It in Hollywood includes everything you need to know about agents, managers, lawyers, the casting couch, chutzpah, schmoozing, networking, Godfather Calls, rhino skin, Power Rolodexes, handling rejection, constant unemployment, and keeping yourself on the track to your dreams when real life keeps telling you to give it all up and move back to Cincinnati!
'One of the best business books I've read in years.' BILL GATES THE #1 NEW YORK TIMES BESTSELLER A SUNDAY TIMES BOOK OF THE YEAR 2019 _____________________________ The CEO of Disney, one of Time's most influential people of 2019, shares the ideas and values he embraced to reinvent one of the most beloved companies in the world and inspire the people who bring the magic to life. Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Morale had deteriorated, competition was intense, and technology was changing faster than at any time in the company's history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger-think global-and turn Disney into a stronger brand in international markets. Fourteen years later, Disney is the largest, most respected media company in the world, counting Pixar, Marvel, Lucasfilm and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era. In The Ride of a Lifetime, Robert Iger shares the lessons he's learned while running Disney and leading its 200,000 employees, and he explores the principles that are necessary for true leadership, including: Optimism. Even in the face of difficulty, an optimistic leader will find the path toward the best possible outcome and focus on that, rather than give in to pessimism and blaming. Courage. Leaders have to be willing to take risks and place big bets. Fear of failure destroys creativity. Decisiveness. All decisions, no matter how difficult, can be made on a timely basis. Indecisiveness is both wasteful and destructive to morale. Fairness. Treat people decently, with empathy, and be accessible to them. 'Bob Iger has not only lived up to ninety-six years of groundbreaking history but has moved the Disney brand far beyond anyone's expectations, and he has done it with grace and audacity. This books shows you how that happened.' STEVEN SPIELBERG
In the first of two volumes tracing the history of Britain's most
famous cinema circuit, Allen Eyles looks at its creation in the
early '30s by Oscar Deutsch and colleagues, the evolution of the
distinctively modern house style in the hands of its key
architects, the takeover of other cinemas, the start of the Odeon
circuit release, and the impact of World War Two. This book pays
tribute to some of the best buildings erected in Britain in the
'30s and to Oscar Deutsch, whose long battle against ill-health
culminated in his early death in 1941.
The second volume tracing the history of Britain's most famous
cinema circuit continues the story from 1942 when J. Arthur Rank
took control after the death of its founder, Oscar Deutsch. Odeon
expanded rapidly and eventually merged with Rank's other circuit,
Gaumont cinemas, as part of The Rank Organization. This book shows
in great detail how Odeon adapted to the wide screen and roadshow
eras, built new cinemas, and converted existing ones to two and
three screens but went into a sharp decline until the turnaround in
cinema attendance begining in 1985, fueled by the arrival of
American-style multiplexes. By entering the race to build
multiplexes and further subdividing its older sites, Odeon
reasserted itself to become the largest chain in the United Kingdom
This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry. Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade. Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.
Ever seen a dead film festival? It's not a pretty sight. The economic climate of the past five years has marked a major fear of extinction for film festivals worldwide. As budgets tighten, film festival organisers are faced with difficult managerial decisions. Whether it is rethinking niche programming or seeking new funding streams, the action taken to keep from falling behind today will have repercussions well into the future. Sustainable Projections: Concepts in Film Festival Management digs deep into the precarious, intuitive business of film festival organisation. Alex Fischer pours this often-chaotic business into an adapted framework of the Open Systems Theory, so that it becomes possible to think about festivals in more pragmatic terms. This book is not intended to be a 'how to' guide or a DIY manual, but rather a resource that strives to present film festival operation in a manner that makes it clear, concise and understandable, and in a way that can contribute to an event's sustainability. The first study of its kind, Alex Fischer's Sustainable Projections bases his new theory of film festival management on field-defining theories, interviews with practitioners as well as his own experiences. He realistically portrays the ups and downs, as well as the struggles and rewards of film festival management, as he suggests a flexible framework within which to work and research. In so doing, he opens up a fresh angle on economic, political and social aspects in film festivals, useful for all those involved in, attracted by and enjoying film festivals.
United Artists was a unique motion picture company in the history
of Hollywood. Founded by Charlie Chaplin, Mary Pickford, Douglas
Fairbanks, and director D.W. Griffith--four of the greatest names
of the silent era--United Artists functioned as a distribution
company for independent producers. In this lively and detailed
history of United Artists from 1919 through 1951, film scholar Tino
Balio chronicles the company's struggle for survival, its rise to
prominence as the Tiffany of the industry, and its near extinction
in the 1940s.
This book examines cross-regional film collaboration within the Asia-Pacific region. Through a mixed methods approach of political economy, industry and market, as well as textual analysis, the book contributes to the understanding of the global fusion of cultural products and the reconfiguration of geographic, political, economic, and cultural relations. Issues covered include cultural globalization and Asian regionalization; identity, regionalism, and industry practices; and inter-Asian and transpacific co-production practices among the U.S.A., China, South Korea, Japan, India, Hong Kong, Taiwan, Argentina, Australia, and New Zealand.
Since the 1930s, the Walt Disney Company has produced characters, images, and stories that have captivated audiences around the world. How can we understand the appeal of Disney products? What is it about the Disney phenomenon that attracts so many children, as well as adults? In this updated second edition, with new examples provided throughout, Janet Wasko examines the processes by which the Disney company - one of the largest media and entertainment corporations in the world - continues to manufacture the fantasies that enthrall millions. She analyses the historical expansion of the Disney empire into the twenty-first century, examines the content of Disney's classic and more recent films, cartoons and TV programs and discusses how they are produced, considering how some of the same techniques have been applied to the Disney theme parks. She also discusses the reception (and sometimes, reinterpretation) of Disney products by different kinds of audiences. By looking at the Disney phenomenon from a variety of perspectives, she provides an updated and comprehensive overview of one of the most significant media and cultural institutions of our time. This important book by a leading scholar of the entertainment industries will be of great interest to students in media and cultural studies, as well as a broader readership of Disney fans.
This book is about the practical realities of the film market today and how to make a film while minimizing financial risk. Film is a risky investment and securing that investment is a huge challenge. The best way to get investors is to do everything possible to make the film without losing money. Featuring interviews with film industry veterans - sales agents, producers, distributors, directors, film investors, film authors and accountants - Daniel Harlow explores some of the biggest obstacles to making a commercially successful film and offers best practice advice on making a good film, that will also be a commercial success. The book explores key topics such as smart financing, casting to add value, understanding the film supply chain, the importance of genre, picking the right producer, negotiating pre-sales and much more. By learning how to break even, this book provides invaluable insight into the film industry that will help filmmakers build a real, continuing career. A vital resource for filmmakers serious about sustaining a career in the 21st century film industry.
Film festivals not only build markets and audiences, they also provide platforms for those advocating change. Featuring essays by and interviews with festival programmers, filmmakers, activists and film scholars, Film Festivals and Activism explores the role of film festivals in social justice movements and campaigns. 'Film Festivals and Activism provides an excellent overview of the field of human rights and other activist film festivals. It combines field-level synthesis by academics with expertise in both film festivals and human rights activism and employs a range of perspectives from key protagonists working in both established and new festival settings.' (Sam Gregory, Programme Director, Witness, New York, USA) 'Film Festivals and Activism constitutes a profound acknowledgement of the work carried out by film festivals and contains a wealth of useful information about the ideas behind them. It manages to convey the great diversity of the international film circuit, featuring contributions that range from the traditionally academic to the engagingly essayistic. Film Festivals and Activism clearly demonstrates the need for this kind of publication in academic film studies and, most importantly, provides a valuable resource for anyone planning or working with international film festivals.' (Bjorn Sorenssen, Professor of Film and Media, Trondheim, Norway) 'The Film Festival Yearbook project represents a unique opportunity to study the multi-faceted phenomenon of film festivals. It focuses on both global networks and local practices and sheds new light on the artistic, economic and political issues that are currently reshaping the global cultural field. Bringing together academics and practitioners from an impressively wide range of professional and national origins, it embraces both empirical and theoretical analysis. In so doing it provides striking new insights into a hugely significant cultural phenomenon.' (Jean-Michel Frodon, film critic, Paris, France)
Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.
British television studies in the 1980s have been wide- ranging, yet in the 1990s there is a need for a new body of general theory. In this consideration of contemporary issues concerning television, Collins combines original research with provocative analysis and argument. He focuses on the impact of new technologies and national policies for television in North America and Europe. He considers television news, documentaries, and the history and likely development of media studies. In tackling these issues he considers questions of general theory challenging the dominant assumptions of scholars and forcing a reconsideration of likely future studies.
Most people associate film festivals with premieres and the dissemination of the latest trends in cinema. However, the past three decades has also seen the rise of festivals dedicated to re-presenting cinema's past through restorations, retrospectives and rediscoveries. This anthology is the first to chart the development of this phenomenon, while also considering such key issues as: the relationship between archives and festivals, the role of live music and the event screening, canon formation and the impact of digital technologies. Featuring writings by Paolo Cherchi Usai, Ian Christie, David Robinson, interviews with Tom Luddy and Nick Varley, and chapters by festival specialists and scholars, Archival Film Festivals contains a dozen case studies from around the globe, five interviews with festival directors, programmers and distributors, a themed bibliography and a table of archival film festivals from around the world.
Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich's Berlin flat. Coming of age in the Weimar Republic, both sought fame in Germany's silent film industry. While Dietrich's depiction of Lola Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl-who missed out on the part-insinuated herself into Hitler's inner circle and directed Nazi propaganda films, most famously, Triumph of the Will. Dietrich could never truly go home again, while Riefenstahl was contaminated by her political associations. Moving deftly between two stories never before told together, Karin Wieland contextualises these lives, chronicling revolutions in politics, fame and sexuality on a grand stage.
In this second volume of Tino Balio's history of United Artists, he
examines the turnaround of the company in the hands of Arthur Krim
and Robert Benjamin in the 1950s, when United Artists devised a
successful strategy based on the financing and distribution of
independent production that transformed the company into an
industry leader. Drawing on corporate records and interviews, Balio
follows United Artists through its merger with Transamerica in the
1960s and its sale to MGM after the financial debacle of the film
"Heaven's Gate." With its attention to the role of film as both an
art form and an economic institution, "United Artists: The Company
That Changed the Film Industry" is an indispensable study of one
company's fortunes from the 1950s to the 1980s and a clear-eyed
analysis of the film industry as a whole.
The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the 'recentness' of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to 'the nation' and 'transnationalism' in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of 'transnationalism', that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with 'nation-building' in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.
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