Compare and Contrast the studio boss job in Hollywood in the 60’s vs today’s “corporate Hollywood”. Does consolidation represent a failed business strategy?
60’s: simpler, not as many jobs, distribution was simpler. One person in charge of entire business.
Today: you must pay attention to a lot of different areas like video, cable, etc. Not one person in charge of entire business.
Consolidation is not a failed business strategy, big the big six struggled to integrate internet and indie distribution
According to Geoff King, What are some of the key aspects of The New Hollywood II era (that began in 1970s)? NAME AT LEAST 4
Which 1970s blockbusters were given a saturation release? Why is this significant?
According to Tino Balio, the 1980s spawned a period of massive globalization. What were some of the historical factors which contributed to the Hollywood studios push to create “a major presence in all the world’s important markets?
What does King mean when he says the 1989 theatrical release of BATMAN served as an expensive advertisement for its auxiliary businesses.
In the case of the AOL-WB merger , was bigger better? Why did it fail?
Why was the legendary pictures/warner bros. alliance significant? Why is it significant that it’s ending?
Who are the producers of these companies: Revolution, Pandemonium, The Canton Co., Valhalla Productions, Baltimore/Spring Creek, Deep River Productions?
For Roth, what are the advantages and drawbacks to being an independent producer w/o a studio deal like one at Sony?
Which films did James schamus produce and what was the name of his company? Why do indie producers like schamus engage in the perilous task of “fractionalizing rights” or pre-selling foreign rights themselves?
Will an indie film made for $1m and distributed by a studio that earns $10m reap large profits for the producer? If not, why not?
According to Claudia Esster in The Plot Thickens for Indie Producers, how did Michael London adapt to changed circumstances?
According to King, how does Pfeil justify his claim that corporate Hollywood has undermined the classical Hollywood narrative through the excessive use of spectacle in films like DIE HARD, SPEED, and MISSION IMPOSSIBLE? How odes King counter this argument, locating sources of continuity between the classical Hollywood and post-classical post-Fordist era?
In what ways have contemporary Hollywood films like RIADERS OF THE LOST ARK and STAR WARS reconstructed conventional B genres from the old Hollywood era
In what ways does Little Big Man represent New Hollywood’s deconstructed version of the western genre?
According to King, in what ways did Quentin Tarantino’s FROM DUSK TILL DAWN reinvent a fading genre?
How have Netflix, Pandora, and Facebook changed the way the entertainment industry decides what consumers want to see?
What tools are the professor-turned-entrepreneur using to evaluate which screenplays will succeed?
What is a “spec” script? What is a script tracker? How do most script trackers get information about a hot script?
What is the typical problem with most scripts that simply don’t work in spite of having a great idea and great characters?
What is the purpose of the “comments” page(s)? Should the reader take a point of view on the material?
The first turning point typically occurs on what page? What should it accomplish? The second turning point typically occurs on what page? What should it accomplish?
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