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In Hollywood, the goals of art and business are entangled. Directors, writers, actors, and idealistic producers aspire to make the best films possible. These aspirations often interact with the dominant firms that control Hollywood film distribution. This control of distribution is crucial as it enables the firms and other large businesses involved, such as banks that offer financing, to effectively stand between film production and the market. This book analyses the power structure of the Hollywood film business and its general modes of behaviour. More specifically, the work analyses how the largest Hollywood firms attempt to control social creativity such that they can mitigate the financial risks inherent in the art of filmmaking. Controlling the ways people make or watch films, the book argues, is a key element of Hollywood’s capitalist power. Capitalist power—the ability to control, modify, and, sometimes, limit social creation through the rights of ownership—is the foundation of capital accumulation. For the Hollywood film business, capitalist power is about the ability of business concerns to set the terms that will shape the future of cinema. For the major film distributors of Hollywood, these terms include the types of films that will be distributed, the number of films that will be distributed, and the cinematic alternatives that will be made available to the individual moviegoer. Combining theoretical analysis with detailed empirical research on the financial performance of the major Hollywood film companies, the book details how Hollywood’s capitalist goals have clashed with the aesthetic potentials of cinema and ultimately stymied creativity in the pursuit of limiting risk. This sharp critique of the Hollywood machine provides vital reading for students and scholars of political economy, political theory, film studies, and cinema.
Movies expected to perform well can flop, whilst independent movies with low budgets can be wildly successful. In this text, De Vany casts his eye over all aspects of the business to present some intriguing conclusions.
This book sheds new light on the socio-economic impact of multinational corporations. Combining Cultural Studies and International Political Economy, it provides a revealing analysis of the Walt Disney Company, and by extension the wider Hollywood studio system. It does so by examining the cultural and economic forces powering the industry's expansion, the 'civilisation' that Disney disseminates, and the various ways that societies beyond the USA have adopted facets of the Hollywood productions to which they are exposed. Identifying both the strengths and the weaknesses of these transnational firms, it demonstrates the significance of their contribution to American power and predominance.
Hollywood is currently one of the largest and most profitable sectors of the U.S. economy. In just a few decades, it has transformed itself from a dying company town into a merchandising emporium of movies, games, and licensed characters. It is quickly moving even further into cyberspace, virtual reality, and digital imaging. Aida Hozic writes of these enormous changes in the film industry from a novel perspective: by tracing shifts in spatial organization of film production from the enclosed worlds of old Hollywood studios through globally dispersed location shooting to digital production and distribution. Hozic's fascinating tale of latter-day capitalism suggests that the physical reorganization of production—across the American economy, but in Hollywood in particular—alters material and conceptual boundaries between work and leisure, public and private, reality and fantasy. Particular economic regimes and forms of spatial organization have specific moral implications, and so the story of Hollywood's cultural production is partly a story of censorship and moral surveillance. Hozic's account of industrial change in Hollywood, and of its attempts at moral control over the production of fantasy, is an illuminating confrontation with the peculiar nature of Hollywood's political authority and of its complex power.
This book provides a critical political economic examination of the impact of increasingly concentrated global media industries. It addresses different media and communication industries from around the globe, including film, television, music, journalism, telecommunication, and information industries. The authors use case studies to examine how changing methods of production and distribution are impacting a variety of issues including globalization, environmental devastation, and the shifting role of the State. This collection finds communication at a historical moment in which capitalist control of media and communication is the default status and, so, because of the increasing levels of concentration globally allows those in control to define the default ideological status. In turn, these concentrated media forces are deployed under the guise of entertainment but with a mind towards further concentration and control of the media apparatuses many times in convergence with others
The globalization and digitalization of cultural markets presents formidable challenges for local cinema and storytelling. The essays in this collection address some of these challenges from the perspective of a critical political economy of local cinema. Inspiring these contributions is the effort of supporting local cinema as a form of valuable storytelling that is at risk of market-driven extinction because of the greater commercial viability of global or Hollywood cinema and national cinema.
Substantially revised and updated, this book highlights how Hollywood has transformed itself to attain ever global clout and reach and the material factors underlining Hollywood's apparent artistic success. Takes into consideration recent events affecting Hollywood such as 9/11, US foreign policy and developments in consumer technology.
Over the last decade, political economy has grown rapidly as a specialist area of research and teaching within communications and media studies and is now established as a core element in university programmes around the world. The Handbook of Political Economy of Communications offers students and scholars a comprehensive, authoritative, up-to-date and accessible overview of key areas and debates. Combines overviews of core ideas with new case study materials and the best of contemporary theorization and research Written many of the best known authors in the field Includes an international line-up of contributors, drawn from the key markets of North and Latin America, Europe, Australasia, and the Far East
" a modern mythography, a study of contemporary Hollywood films based on the tools offered by feminism, psychoanalysis, Marxist cultural theory, and deconstruction." --Village Voice "Solidly thought-out observation of the films of the 70's and 80's that comment on the system." --Audience "... intelligent, open advocacy. Its responsible arrangement of carefully described cultural materials will challenge students and instructors alike." --Teaching Philosophy Camera Politica is a comprehensive study of Hollywood film during a period of tremendous change in American history, a period that witnessed the end of the American empire, crises in the economy, a failure of political leadership, loss at war, and the rise of the Right.
The author has incorporated all the learning and theoretical sophistication of political science yet has written an accessible and colorful book. Full of details and anecdotes, Risky Business will appeal to anyone interested in a more comprehensive understanding of the Hollywood mystique.