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This is the history of advertising in motion pictures from the slide ads of the 1890s to the common practice of product placement in the present. Initially, product placement was seen as a somewhat sleazy practice and also faced opposition from the film industry itself; it has grown dramatically in the past 25 years. From Maillard's Chocolates advertising with a shot of Cardinal Richelieu enjoying a hot cup of cocoa in 1895, to product placements in 2002's Minority Report, for which advertisers were rumored to have paid $25 million, this book explores the developing union of corporate America and Hollywood. This work addresses such topics as television's conditioning of filmgoers to accept commercials, companies' donation of props, the debate about advertising such activities as smoking and drinking in films, and "product displacement," or demands by companies to keep their products absent from unpopular or controversial films. Film stills and a bibliography complete the book.
From the growth in merchandising and product placement to the rise of the movie franchise, branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., Brand Hollywood provides the first sustained examination of the will-to-brand in the contemporary movie business. Outlining changes in the marketing and media environment during the 1990s and 2000s, Paul Grainge explores how the logic of branding has propelled specific kinds of approach to the status and selling of film. Analyzing the practice of branding, the poetics of corporate logos, and the industrial politics surrounding the development of branded texts, properties and spaces - including franchises ranging from Looney Tunes to Lord of the Rings and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent principle of ‘total entertainment’. Employing an interdisciplinary method drawn from film studies, cultural studies and advertising and media studies, Brand Hollywood demonstrates the complexities of selling entertainment in the global media moment, providing a fresh and engaging perspective on branding’s significance for commercial film and the industrial culture from which it is produced.
Upon its original publication in 1976, The American Film Industry was welcomed by film students, scholars, and fans as the first systematic and unified history of the American movie industry. Now this indispensible anthology has been expanded and revised to include a fresh introductory overview by editor Tino Balio and ten new chapters that explore such topics as the growth of exhibition as big business, the mode of production for feature films, the star as market strategy, and the changing economics and structure of contemporary entertainment companies. The result is a unique collection of essays, more comprehensive and current than ever, that reveals how the American movie industry really worked in a century of constant change-from kinetoscopes and the coming of sound to the star system, 1950s blacklisting, and today's corporate empires.
The author goes right to the source and provides data, quotes, and insights from high profile industry professionals and information on market research that the major studios don't want the moviegoing public to know. This book provides practical data, such as templates for advertising campaigns of different sizes, solutions, and an insight into the complicated movie marketing process. Armed with the strategies that Hollywood professionals would prefer not to share, film professionals and marketing professionals alike will have a leg up in this complicated business.
In this book, James Hamilton presents the first major theoretical and empirical examination of the market for television violence. Hamilton examines in detail the microstructure of incentives that operate at every level of television broadcasting, from programming and advertising to viewer behavior, so that remedies can be devised to reduce violent programming without restricting broadcasters' right to compete.
Emma - I know it sounds crazy. You (and Mum!) will be wondering where I've been disappearing to, and when I'll be back. That's why I'm leaving you all this evidence - in case something happens and I DON'T come back. Look at everything in my book. Call the phone numbers. Check out the websites. But, you can't tell ANYBODY about it, unless you want to end up in over your head, like me. But don't worry, I'll be OK (I think). Hey, maybe this is the beginning of a new life for me. For sure it's the end of the old one. Call me. Love, Cathy This book reaches beyond the written word to interact with teenage girls in ways they are quite familiar with in other areas of their lives. From instant-messaging to text-messaging, from surfing the web to having their own sites, the age-old story of 'boy dumps girl and girl wins boy back' is lifted from the page to our three-dimensional, 21st-century world.
In this updated edition of the industry staple, veteran media executive Jeff Ulin relates business theory and practice across key global market segments—film, television, and online/digital—providing you with an insider’s perspective that can't be found anywhere else. Learn how an idea moves from concept to profit and how distribution dominates the bottom line: Hollywood stars may make the headlines, but marketing and distribution are the behind-the-scenes drivers converting content into cash. The third edition: Includes perspectives from key industry executives at studios, networks, agencies and online leaders, including Fox, Paramount, Lucasfilm, Endeavor, Tencent, MPAA, YouTube, Amazon, and many more; Explores the explosive growth of the Chinese market, including box office trends, participation in financing Hollywood feature films, and the surge in online usage; Illustrates how online streaming leaders like Netflix, Amazon, Apple, YouTube, Hulu and Facebook are changing the way TV content is distributed and consumed, and in cases how these services are moving into theatrical markets; Analyzes online influences and disruption throughout the distribution chain, and explains the risks and impact stemming from changing access points (e.g., stand-alone apps), delivery methods (over-the-top) and consumption patterns (e.g., binge watching); Breaks down historical film windows, the economic drivers behind them, and how online and digital delivery applications are changing the landscape. Ulin provides the virtual apprenticeship you need to demystify and manage the complicated media markets, understand how digital distribution has impacted the ecosystem, and glimpse into the future of how film and television content will be financed, distributed and watched. An online eResource contains further discussion on topics presented in the book.
“It’s wild writing: sexy, unguarded, raw, and ardent … highly recommended.”—The Millions After a decade of heavy partying and hard drinking in London, Amy Liptrot returns home to Orkney, a remote island off the north of Scotland. The Outrun maps Amy’s inspiring recovery as she walks along windy coasts, swims in icy Atlantic waters, tracks Orkney’s wildlife, and reconnects with her parents, revisiting and rediscovering the place that shaped her. A Guardian Best Nonfiction Book of 2016 Sunday Times Top Ten Bestseller New Statesman Book of the Year
First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.