American Film in the Digital Age (New Directions in Media) by Robert C. Sickels

By Robert C. Sickels

The yank movie has entered a brand new period. American movie within the electronic Age lines the commercial alterations considering the fact that 1990 that experience introduced us thus far, specifically: the increase of media conglomerates, the proliferation of pornography via peripheral avenues of mainstream media, the function of big name actors and administrators in dispensing and publicizing their very own puppy initiatives, the improvement of electronic expertise, and the loss of life of actually autonomous motion pictures. writer Robert Sickels attracts immediately strains from the films to song, DVDs, games, speedy foodstuff, digital-on-demand, and extra, to illustrate how all types of media are merging into one. He explores the irony that the luck of self sufficient motion pictures primarily killed self reliant cinema, displaying the way it has turn into nearly very unlikely to get a movie published with out the imprimatur of 1 of the massive six media companies—Fox, Viacom, TimeWarner, Disney, normal electrical, or CBS. in any case, utilizing fresh, renowned movies as examples, he explains not just how we received the place we're, yet the place we are most probably headed to boot.

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There are many good things that came from the major studios’ entry into the specialty business. More companies in the business meant more opportunities for indie filmmakers to secure distribution deals for their films. For the studios, distribution was the best of all worlds, or at least it was before the prices for acquisitions went off the deep end. The beauty of a festival acquisition is that ostensibly costs can be controlled, whereas in production, things sometimes have a way of spiraling totally out of control.

Third, the owner of the ex-studio was not American. S. citizen, this was never perceived as a problem given the conglomerate’s lack of market specialization and therefore lack of interest in controlling a nation’s media. S. television network, which meant that a large section of the nation’s media and their channels of distribution were increasingly concentrated under the control of one agency. Finally, and more important, Fox’s takeover by News Corporation was only one (but arguably the most significant) corporate move towards the development of a new super-company, a transnational entertainment corporation that would continue to expand horizontally in order to own all available entertainment distribution and exhibition windows, while also controlling the huge volume of programming that is required for all those windows to operate efficiently.

Not surprisingly, they are often content to sell their film for a flat fee covering the money they owe, or not much more. The purchasing studio then invests in whatever additional post production a film needs and outlays the P & A and distribution costs. Whatever money the film makes beyond their investment is theirs to keep. It can be a slim profit margin, but with fiscal discipline and a little luck, a company can be quite successful. As Anne Thompson notes, “The advantages are clear for experienced indie execs with enlightened management—from Fox THE GUILLOTINE HAS FALLEN 37 Searchlight and Sony Pictures Classics to Miramax and Focus Features—who understand the intricacies of the sector” (“Niche”).

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