CHAPTER #12 THE MOVIE INDUSTRY

(Motion picture)

Febe Evangeli ta ! "ratia Eleonora ! #in$a Novita ! M% In$ranto &ra'e tia$i

()*+,-

Motion &icture ('o.tion pic.ture)

a e/uence o0 con ecutive p1otograp1ic i'age pro2ecte$ onto a creen in uc1 rapi$ ucce ion a to give t1e illu ion o0 'ove'ent%

1790 1800s

THE LANTERN MAGIC

Magician 3ere t1e 'a ter 1o3'en o0 Europe an$ t1e Unite$ State in t1e (455 % - earl6 a t1e ()75 8 'agic per0or'ance u e$ li$e to pro2ect '6 tical picture onto 'o9e ri ing 0ro' cani ter in t1eir $ar9ene$ t1eater % T1at 'agician 3ere particularl6 intere te$ in t1e e:peri'ent in creating8 an$ even pro2ecting8 'oving picture t1at inventor in t1e latter part o0 t1e centur6 3ere con$ucting%

Flipped book with a m otion

(Persisten e o! "ision Phenom enon#

In t1e U%S%8 earl6 e:peri'ent 3it1 p1otograp1ic i'age to i'ulate 'otion ugge te$ t1e po ibilit6 o0 'otion picture %

1878

1889
E$i on u e$ t1e flexible photographic film invente$ b6 "eorge Ea t'an to $evelop a 'otion picture ca'era in (4478 but E$i on conceptuali;e$ t1e co''ercial value o0 t1e invention a an arca$e entertain'ent calle$ a kinetoscope%

April 1896, NYC

"eorge Ea t'an< 9ineto cope

T1o'a -r'at< &1anta cope (Mo$i0ie$ ver ion o0 E$i on< Vita cope)

E$i on< Vita cope

Then Fil' e'erge$ a a 'a 'e$iu' 3it1 t1e $evelop'ent o0 t1eatrical pre entation in nickelodeons an$ 3it1 t1e $evelop'ent o0 'a au$ience t1at inclu$e$ ne3l6 arrive$ i''igrant %

Not t1i Nic9elo$eon%=

Early 1900s

T1e Nickelodeon ('ovie t1eater) 3a t1e 0ir t t6pe o0 in$oor e:1ibition pace $e$icate$ to 1o3ing pro2ecte$ 'otion picture % U uall6 et up tore0ront 8 t1e e 'all8 i'ple t1eater c1arge$ 0ive cent 0or a$'i ion an$ in converte$ 0louri 1e$ 0ro' about (75> to (7(>%

A TRIP T$ THE M$$N

Frenc1'an "eorge M?li@ an$ -'erican E$3in S% &orter% - 'agician an$ grap1ic arti t8 'a$e 0anta 6 0il' 3it1 elaboratel6 painte$ cener6 an$ 9ill0ul ca'era e00ect 1i 0il' - Trip to t1e Moon i particularl6 3ell 9no3n 0or intro$ucing ani'ation an$ cience 0iction narrative to t1e 'ovie bu ine %

1908

E$i on an$ ot1er e tabli 1e$ t1e Motion &icture &atent Ao'pan6 (M&&A) a a tru t inten$e$ to control t1e ne3 in$u tr6 b6 'ean o0 patent an$ licen ing t1e u e o0 e/uip'ent%

T1e patent o3ne$ b6 t1e M&&A allo3e$ t1e' to u e 0e$eral la3 en0orce'ent o00icial to en0orce t1eir licen ing agree'ent an$ to prevent unaut1ori;e$ u e o0 t1eir ca'era 8 0il' 8 pro2ector 8 an$ ot1er e/uip'ent% In o'e ca e 8 1o3ever8 t1e M&&A 'a$e u e o0 hired thugs an$ mob connection to violently $i rupt pro$uction t1at 3ere not licen e$ b6 t1e Tru t

DECLINE

Man6 in$epen$ent 0il''a9er 8 31o controlle$ 0ro' one*/uarter to one*t1ir$ o0 t1e $o'e tic 'ar9etplace8 re pon$e$ to t1e creation o0 t1e M&&A b6 'oving t1eir operation to Holl63oo$%

BHYC
T1e $i tance 0ro' E$i onD 1o'e ba e o0 Ne3 Eer e6 'a$e it 'ore $i00icult 0or t1e M&&A to en0orce it patent % Sout1ern Aali0ornia c1o en becau e o0 it beauti0ul 6ear*roun$ 3eat1er an$ varie$ countr6 i$eF it topograp168 e'i*ari$ cli'ate an$ 3i$e prea$ irrigation gave it lan$ cape t1e abilit6 to o00er 'otion picture 1ooting cene et in $e ert 8 2ungle an$ great 'ountain %

T1e Stu$io S6 te'G

HOLLYWOOD ERA

Organi;e$ Vertical Integration (&ro$uction8 Di tribution8 E:1ibition) Star S6 te' (-HI 'ovie unit 8 I i c1eaper an$ 'a$e /uic9l6 Iloc9 boo9ing (I0 6ou 3ant to bu6 J-K Movie 8 6ou 1ave to ta9e o'e o0 JIK 'ovie in t1e pac9age

&RODUATION IN MOTION &IATURE INDUSTRY

THE MA%$R&

THEY DIDNT ALWAYS PRODUCE THE MOVIES

These firms create only a small fraction (often one-third or less) of the movies to which their names are attached. The reason that their names are on the screen is that they are the distributors of the films. The films are often produced by other companies.

&ro$uction Fir' o Ao'ing up 3it1 tor6 I$ea o Fin$ing Script3riter o Hiring t1e cre3 o Ma9e ure t1e 0il' i carrie$ out on ti'e an$ on bu$get

Di tribution Fir' o Fin$ing pro$uction 0ir' o Re pon ible 0or 0in$ing t1eater o &ro'ote t1e 0il' o Aontribute 'one6 to3ar$ t1e pro$uction 0ir' co t o0 'a9ing t1e 0il'

THE PROCESS
"etting t1e I$ea Televi ion S1o3 * Ao'ic Ioo9 * S1ort torie Script3riter * Ioo9

"etting t1e Star (Actor & Director, and the others) -0ter purc1a ing a cript8 pro$uction 0ir'< e:ecutive t6picall6 1ave certain actor an$ $irector Actors Agent Have ro ter o0 client 8 $irector8 cine'atograp1er8 etc% ayment! Fro' t1e overall bu$get o0 t1e 0il' pro$uction%

I-AL*END DE-#
a%9%a% &ercentage o0 t1e gro

- $eal in 31ic1 a pro$uction 0ir' convince a 'a2or actor or $irector to ta9e a lo3er alar6 in return 0or a percentage o0 t1e 'one6 t1at t1e pro$uction 0ir' 3ill later receive 0ro' t1e $i tributor

"UI#D

-n union e tabli 1e$ b6 3riter 8 $irector 8 an$Mor actor to protect t1eir 'utual intere t an$ 'aintain tan$ar$
E:G Briter "uil$ o0 -'erica
&rovi$e le 1ig1l6 pai$ 3or9er Stri9eN In +55)H+554 Aancellation o0 pro$uction

The average cost of ov!e "ro#$ct!o% & #!str!'$t!o%

O,5 'illion

S"!#er a% (

O+>5 'illionN

P!rates of Car!''ea%

OP55 'illionNN

"etting a 3ell 9no3n actor to pla6 a lea$ actor Q -ttract people Q MONEYN

So0
Find/Buy Script
Find !ecutives" #irectors" and the stars $alculate the cost Search for Studios % #istributors &' ( )*&+T, Film % Bud-et .pproved, Studio provides the money

Prod' tion(
*ndependent firms have a harder time -ettin- the money to ma/e a film

The fun part Getting to the actual making of the mo ie

Important Crew (besides the director)

#ine &ro$ucer Aa ting $irector Set $e igner Ao tu'e $e igner Ma9eup e:pert Ao'puter grap1ic per onnel

Aine'atograp1er Aa'era per on #ig1ting Recor$ing Engineer E$itor

&reparationM&re*&ro$uction
(Rea$ing8 Iloc9ing8 Re1ear al)

&a t*&ro$uction
E$iting (Roug1 AutHFine Aut) Soun$ Mi:ing H Ao'po ing SFR H A"I Revie3 I6 Director E$iting (again) % % % IT<S - BR-&N

(Script 8 propertie 8 e/uip'ent8 lig1ting8 oun$8 etc)

T1e Da6M&ro$uction
S1ootingN Revie3 Reta9e==%

THE D!STR!"#T!O$ T1e 0ir t or$er o0 bu ine 0or a $i tributor i %%%% To get
'ovie %
Fin$ Stu$io Ma2or $i tributor Areate t1eir o3n 'ovie -u$ience an$ E:ecutive S De'an$ Fin$ ot1er 0il' Fro' ot1er place

Aollaboration o0 Ma2or
S1aring t1e co t H T1e &ro0it 8 lo3er t1e ri 9 E:G Titanic (Fo: ! &ara'ount)

Titanic i $i tribute$ in t1e US b6 &ara'ount8 an$ in t1e 3orl$3i$e b6 +5t1 Aentur6 FOR

Relea e Date

T1e $a6 on 31ic1 t1e 0il' 3ill open in t1eater % A1oo ing a relea e $ate i a c1allenge8 becau eG Di00erent ocietie Q Di00erent 'oviegoing 1abit ! Min$ t1e Holi$a6 in $i00erent Aountrie

Title Te ting
Aon$ucting intervie3 3it1 0il'goer in or$er to $eter'ine 31ic1 o0 a nu'ber o0 title (or na'e ) 0or an upco'ing 0il' 3ill $ra3 people in t1e target au$ience to t1e t1eater to ee t1e 0il'
&H- or print an$ a$verti ing

T1e e:pen e t1at $i tributor incur in 'a9ing print o0 t1eir 0il' 0or t1eater an$ 'ar9eting t1e 0il' to t1e public% E:G &o ter
Trac9ing Stu$ie

Re earc1 on t1e public< a3arene o0 an$ intere t in a 0il'8 beginning t3o 3ee9 be0ore t1e 0il'< relea e an$ continuing t1roug1 t1e 0il'< 0ir t 'ont1 o0 relea e

THE RELAT!O$SH!P "ETWEE$ D!STR!"#TORS A$D THEATER CHA!$S

Di tributor an$ T1eater nee$ eac1 ot1er%

Ho3 relation 1ip 3or9 C

T1eater 1a boo9ing $ivi on in $i00erent area Di tributor in0ro' boo9ing $ivi on 'ont1 in a$vance o0 31at 0il' t1e6 inten$ to relea e t1e $i tributor en$ T1eater publicit6 'aterial T1eater 'a9e an e ti'ate i0 t1at 'ovie 3ill $o at t1e bo: o00ice or not I0 t1e 0il' 3ill 1ave a li'ite$ or e:clu ive relea e8 t1e $i tributor 3ill 3ant to place it in location 31ere t1e target au$ience 0or t1e 0il' live %

%inancial Agreement&

Di tribution an$ e:1ibition e:ecutive negotiate an exhibition license 0or eac1 t1eater E:1ibition licen e al o et t1e 0inancial arrange'ent F con i$eration t1e $i tributor< 1uge e:pen$iture on t1e 0il'8 t1e e:1ibitor< nee$ to cover it co t an$ 'a9e a pro0it%

$i tributor to ta9e a certain percentage o0 t1e tic9et revenue 0ro' t1e 0il'8 3it1 t1e e:1ibitor 9eeping t1e re t% percentage"above"the"nut

$on Theatrical Di&tri'ution ( E)hi'ition

Traditional and 1nline 2ideo Stores
ell*t1roug1 outlet
Store in 31ic1 con u'er bu6 t1e vi$eo rat1er t1an 2u t renting t1e' Ao'panie t1at purc1a e relea e 0ro' 0il' $i tributor an$ t1en rent t1e' on a pa6*per*$a6 ba i to in$ivi$ual cu to'er

rental outlets

$on Theatrical Di&tri'ution ( E)hi'ition *cont+,

!hibition of 3ovies on Television

4*'.$5
(t1e unaut1ori;e$ $uplication o0 cop6rig1te$ 'aterial 0or pro0it)

-ETHODS O% P!RACY
+avin- someone ta/e a video camera into a theater and shoot the movie. Smu--le a movie out of the theater" $opy it" and return the ori-inal. #uplicate the ori-inal #2# into many copies. 6pload the movie to the internet
Un$er pre ure 0ro' t1e Unite$ State 8 t1e A1ine e govern'ent too9 action again t ra'pant 'e$ia pirac6% - a part o0 t1at action8 'illion o0 pirate$ AD an$ DVD 3ere $e tro6e$ b6

3edia )iteracy and the 3otion 4icture *ndustry

3oviema/in- in many ways lies at the center of .merican 4opular $ulture.

 Aultural Diver 6

THE !-PACT.Cultural Di er&it/ ( Cultural Coloniali&m

JT1e U%S% 'ovie in$u tr6 i 9eeping -'erican i olate$ 0ro' i'portant a pect o0 3orl$ cultureK

Aultural Aoloniali '

i t1e proce b6 31ic1 t1e 'e$ia content o0 a $o'inating ociet6 (in t1i ca e8 t1e Unite$ State ) urroun$ people o0 anot1er ociet6 3it1 value an$ belie0 t1at are not t1o e o0 t1eir o3n ocietie %

THAN) * $+