By Charles C. Moul
This brief instruction manual collects essays on all facets of the movie via best gurus in political economic system, economics, accounting, finance, and advertising. as well as bringing the reader an updated standpoint on what's recognized and what has been complete, it comprises either new findings on various themes and instructions for added study. themes contain estimation of theatrical and ancillary call for, profitability experiences, the answer of obtrusive paradoxes in studio govt habit, the interplay of the and executive, the affects of the newest adjustments in accounting criteria, and the function and significance of participation contracts. New effects comprise findings at the actual nature of the seasonality of theatrical call for, the predictive energy of surveys established upon trailers, the impression of the Academy Awards, the efectiveness of previous background measures to gauge solid contributors and administrators, and the substitutability of flicks throughout diverse genres.
Table of Contents
1. Critiquing Hollywood: the political financial system of movies Janet Wasko
2. movie construction within the electronic age: what can we learn about the earlier and the long run S. Abraham Ravid
3. motion picture accounting Harold L. Vogel
4. Theatrical releases and the launching of movies Charles C. Moul and Steven M. Shugan
5. the flicks exhibition company: serious concerns, perform, and learn Jehoshua Eliashberg
6. earnings out of the image: examine matters and profit assets past the North American field place of work Charles B. Weinberg.
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Additional info for A Concise Handbook of Movie Industry Economics
A second focus has been on the contracts governing the production process. Ignoring the contractual reality may lead one to miss the boat, making reasonable decisions look silly. Some contracts in the film 2 Landers and Lublin (2003) describe how Merck’s bet on research had come up short as four of eleven drugs long in development had already failed and two others had been delayed. 3 See Litman (1998), Caves (2000), or Vogel (2001) for a description of the economics of the studio era. 4 Barker (2003) discusses the case of Billy Dead Inc.
2000. The Biz: The Basic Business, Legal and Financial Aspects of the Film Industry, Los Angeles, CA: Silman-James Press. Mosco, Vincent. 1996. The Political Economy of Communications: Rethinking and Renewal, London: Sage Publications. Murdock, Graham, and Peter Golding. 1974. “For a Political Economy of Mass Communications,” Socialist Register, 205–34. ———. 1979. ), Mass Communication and Society, Beverly Hills, CA: Sage Publications. Nielsen, Mike. 1985. D. dissertation, University of Illinois.
5 For the classic article on this issue, see Rosen (1981); and also Adler (1985), MacDonald (1988), and Hamlen (1991). xml CB784-Moul 0 521 84384 7 April 22, 2005 18:19 S. Abraham Ravid industry, such as a pay-or-play contract, are quite different from contracts in other industries. The other interesting feature of the film industry is the project-byproject nature of the contracts – in general, a team is assembled, a project is created, and then the team is dispersed and a new team assembles for the next project.