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3 credits ncea assessment. Demonstrate an understanding of an aspect of media industry reading material. Media Industry. Students must choose an aspect for study. It will be: commercial or another aspect. See the exam requirement here

Demonstrate in-depth understanding involves analysing an aspect of a media industry by explaining its impact on the industry and/or society. An impact may be social, cultural, political, historical, economic, technological, or ideological

e.g the impact of economy is that, if a film does not make profit a company, after several losses may have to fold. So, how does economy impact? Businesses working with Cinema systems must work out ways to make profit. See more here --- Is this a strong time for cinema?

http://www.buzzle.com/articles/what-happe ned-to-hollywood.html

See the article below: Falling Attendance.
 * || [[image:hollywoodsign2.jpg]] ||

Are new monopolies the same structural shape as the older?( Read about the early moguls below)


 * These companies have been considered the big six of the Entertainments Industry

- the distributor Most of today's Big Six control subsidiaries with their own distribution networks that concentrate on[|arthouse] pictures (e.g., [|Fox Searchlight]) or [|genre films] (e.g.,[|Sony]'s [|Screen Gems]); several of these specialty units were shut down or sold off between 2008 and 2010. The six major movie studios are contrasted with smaller movie production and/or distribution companies, which are known as independents or "indies". The leading independent producer/distributors—[|Lionsgate], [|Summit Entertainment], [|The Weinstein Company], [|Overture Films], and former major studio [|MGM]—are sometimes referred to as "mini-majors". From 1998 through 2005,[|DreamWorks SKG] commanded a large enough market share to arguably qualify it as a seventh major, despite its relatively small output and frequent reliance on outside distributors. In 2006, DreamWorks was acquired by [|Viacom] ||

 The Business terrain http://www.tribecafilm.com/
 * watch this interview. **

read and discuss the red strip sections
 * [[image:Weissman 1.jpg]]

Weissman On the board of MGM 2012

read about moguls, monopolies, transmedia Also moguls ||  ||

Falling cinema attendance 2013 I t’s a pretty depressing truth, considering the cinematic landscape. For every Marvel’s The Avengers we get a Green Lantern. For every Shrek we get a Shrek: The Third, and for every Pixar we get an Alvin and the Chipmunks, and an Alvin and the Chipmunks: The Squequel, and an Alvin and the Chipmunks: Chipwrecked. Enjoyed The Amazing Spider-Man? Great! Because producer Matt Tolmach has planned for at [|least three more movies] as part of the latest reboot. After those are done, Spider-Man will probably be rebooted again. As long as we keep paying, they’ll keep coming, so by 2030, kids might be discussing the merits and flaws of three or four different takes on Spidey’s origin story. Taking risks is hard, of course, because fewer and fewer teenagers are getting off that damned couch. Despite the success of The Avengers - a movie that briefly reinvigorated cinema attendance – it’s estimated that 2012’s summer movie attendance will be the [|lowest in two decades]. As attendance falls, so do studio margins, resulting in fewer green-lit films. Coupled with a crippled DVD marketplace, this kind of landscape isn’t fertile for risky ventures. When it’s all about the bottom line, building upon familiarity makes a hell of a lot of sense.

http://www.ign.com/articles/2012/09/17/opinion-the-price-of-originality

- the distributor -Most of today's Big Six control subsidiaries with their own distribution networks that concentrate on arthouse pictures (e.g., Fox Searchlight) or genre films(e.g.,Sony's Screen Gems); several of these specialty units were shut down or sold off between 2008 and 2010. The six major movie studios are contrasted with smaller movie production and/or distribution companies, which are known as independents or "indies". The leading independent producer/distributors—Lionsgate, Summit Entertainment, The Weinstein Company, Overture Films, and former major studioMGM—are sometimes referred to as "mini-majors". From 1998 through 2005,DreamWorks SKG commanded a large enough market share to arguably qualify it as a seventh major, despite its relatively small output and frequent reliance on outside distributors. In 2006, DreamWorks was acquired byViacom

- the Exhibitor

http://www.masterguide.com/globalmedia/exhibito.html cinema oscars night http://oscar.go.com/

QUESTION: are the oscar votes rigged? http://www.thestar.com/entertainment/oscars/article/767791--could-new-oscar-voting-system-skew-results

http://www.nytimes.com/ads/editpromo/020310/attimes.htmlhttp://edition.cnn.com/CNN/Programs/weekday.html Global media is a relationship between audiences and producers at many layers and levels. Read a lot about audience

See the recent collapse of the movie Nine While Fellini’s 8½ was a glorious melange of myths, women and dreams, Marshall’s Nine is the product of a neat freak whose determination to tidy everything up ruins all the fun.

more here:

http://www.rottentomatoes.com/m/nine_2009/ Students shall prepare for the examination with understandings of the American contemporary digital entertainment Industry.

Before this, as a warm-up, here is a set of resources on the music industry. This is compiled by another teacher on level 3 at another school.Enjoy. http://skc-media-industry.wikispaces.com/ Also: http://6thformnoodle.blogspot.com/search/label/Year%2012%20Film%20-%20FM2%20Hollywood%20Case%20study

Biggest Box Office of all time

http://news.ninemsn.com.au/entertainment/1007783/sydney-costume-designer-gets-oscars-nod Avatar

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article5089354.ece

( from the web article above ) cinema oscars nighthttp:oscar.go.com/

This site is great for accessing 'fan-sites' where you can find loads of great marketing and publicity for your case study film+ facts/figures to do with box office sales and studio info.

http://www.hollywood.com/


 * ||  ||   ||   || __These companies are distributors__ ||
 * ||  ||   ||   || __These companies are distributors__ ||



Cinema - the backer.1 Despite the enormous amount of attention they get, the Hollywood studios have for a long time now been a shadow of their former selves in terms of their importance to the companies that own them. Or, I think it’s safe to say, in terms of the audiences that view their movies. Today, if you’re looking for films about recognizable human beings – which is what the vast majority of the world’s memorable dramatic stories are about – don’t look to the six Hollywood studios. They’re not in that business anymore. Copyright (c) 2012 Howard Suber

http://thepoweroffilm.com/pages/disney-finally-jumps-shark/ Read this long article about breakaway success http://www.newyorker.com/science/maria-konnikova/how-frozen-took-over-the-world?utm_source=tny&utm_campaign=generalsocial&utm_medium=facebook&mbid=social_facebook

http://jabcatmovies.com/2011/03/box-office-results-march-11-13-2011/ click to cinema studies above.--
 * Who is the audience for Red Riding Hood?

FOX SEARCHLIGHT

Fox Searchlight Pictures, established in 1994, is a film division of [|Fox Filmed Entertainment] alongside the larger Fox studio [|20th Century Fox]. It specializes in [|independent] and [|British] films, alongside [|dramedy] and horror as well as non-English-language films, and is variously involved with the production and/or distribution of these films. In the early-to-mid 1980s, prior to the creation of Searchlight, Fox previously released independent films under the banner of 20th Century-Fox International Classics; the most notable of the releases under this banner include [|Bill Cosby: Himself], [|Reuben, Reuben], and [|Ziggy Stardust and the Spiders from Mars]. In 2006, a sub-label, [|Fox Atomic], was created to produce and/or distribute genre films. Its first release was [|Turistas]. Fox Atomic closed down in 2009. As is the case with [|Fox's television unit], all copyright notices of programming produced by a Fox-related company (with some exceptions) read "© (respective year) Twentieth Century Fox Film Corporation". Fox Searchlight's [|Slumdog Millionaire] won the [|Academy Award for Best Picture] at the [|81st Academy Awards] as well as a further 7 academy awards. Other Fox Searchlight films receiving Best Picture nominations include [|The Full Monty],[|Sideways], [|Little Miss Sunshine], [|Juno], [|Black Swan] and [|127 Hours]. || films are a risky business !!! read. It is a thorough piece of research into audience. "Fear of the Box-office!"



__Vocabulary__

- American Film Industry oligopoly

corporationBlockbustersniche marketsmass marketFan CultureAudience appealmainstream appeal__film industry analysis__

look for :

positions of power

positions and structures of control. For example, look into vertical and horizontal marketing strategies

- read Stress and strain || student readers || p71, power<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 21px;">M 2 ||
 * NEWS NEWS NEWS

http://www.guardian.co.uk/film/2012/oct/30/disney-lucasfilm-star-wars-deal or the Weinstein Company Harvey Weinstein ||  || Follow more of this topic in the link below on the description of conglomorates

In large western societies we look into the media systems, e.g global markets with specific examples from the USA, the topics under scrutiny are relations of power and control within these systems.

How audience appreciation of businesses is changing and what businesses are trying to do about this Disney now focuses on two kinds of films: (1) Pixar animation, Marvel comics, and remakes of pre-existing Disney projects and (2) “event” movies capable of producing lucrative merchandising, tv series or theme park attractions. If you want to make films about recognizable human beings, Disney is not your primary destination. Howard Schubner http://www.nytimes.com/2009/09/01/business/media/01disney.html http://marvel.com/

http://www.disneystore.com/mn/1001152/?CMP=KNC-DSPTDSGoogle&s_kwcid=TC%257C12111%257Cdisney%2520sale%257C%257CS%257Cb%257C9093178872

<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 18px;">Dreamworks http://www.dreamworksstudios.com/about/executives/stacey-snider Stacey Snider CEO Stacey Snider is an executive in the motion picture industry and has been the Co-Chairman/CEO of DreamWorks since 2006. Prior to joining DreamWorks, Snider was Chairman of Universal Pictures from 1999 to 2006. [|Wikipedia]
 * [[image:Dreamworks.jpg]] || [[image:snider.jpg]]

http://www.hollywoodreporter.com/news/fox-eyes-dreamworks-stacey-snider-683067 || http://www.charlierose.com/view/interview/11015 Jeffrey Katzenberg CEO of Dreamworks Animation http://www.dreamworksanimation.com/ ||
 * [[image:images-2.jpeg]] || CEO Animation Jeffrey Katzenberg


 * || [[image:http://application.denofgeek.com/pics/film/list/2012.summer/14.jpg]]

A remake? A reimagining? Or a fresh take on the source material? It doesn't seem to matter too much right now, as much of the reaction to a new version of //Total Recall// hasn't been that positive. Still, the hugely-popular Arnold Schwarzenegger-Paul Verhoeven 1990 //Total Recall// didn't actually veer that closely to the Philip K Dick short story, //We Can Remember It For You Wholesale//, so there is some wiggle room here.

Len Wiseman (//Underworld//, //Die Hard 4.0//) is directing, Colin Farrell is taking the lead role, and all concerned will be waiting to see if slightly more serious sci-fi can make a dent in the summer 2012 box office charts. After //Inception//, it might just be possible. || **//We ask what is changing since traditional media for film production( in Hollywood) when moguls ruled.//**

**//It is possible ot wonder that media models of today are starting to look more and more like the mogul era of old.//** ||

<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 18.18181800842285px;">convergence

//the digital entertainment industry is experiencing convergence. Unpack this new idea. // <span style="color: #000aff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 24.545454025268555px;">Business isn't the way it was. Look up convergence __ articles in class: __ Vertical and horizontal Integration in the Media Industry - the differences what are the changes to traditional movie business? Read

http://entertainment.howstuffworks.com/movie-marketing.htm

--- a description of conglomorates

http://www.globalissues.org/article/159/media-conglomerates-mergers-concentration-of-ownership

<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 17px;">David Selznick
 * || David O. SelLznick was the son of industry pioneer Lewis J. Selznick, and the beneficiary of a childhood immersion in independent film production. The Selznick patriarch L. J. Selznick had been a formidable independent producer in the early days of Hollywood. He crossed paths with Carl Laemmle at Universal, and then ushered in a new age of Wall Street investment at the World Film company. In 1915 L. J. Selznick left World to become an independent, taking with him World's biggest star Clara Kimball Young. || [[image:selznick-portrait.jpg]]

Students may read a text on the early moguls in the classroom

||  || <span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 26px;">The past history. The Movie Moguls

Zelznick cont

Later Selznick partnered with Adolph Zukor, only to return to independent production as the head of Selznick Pictures. David, born in 1902 was training in film production from an early age, while his older brother Myron was being groomed to someday run the Selznick Corporation. || * ||

<span class="modifier" style="font-family: arial,sans-serif; font-size: 11px;">__more__ <span style="font-family: arial,sans-serif; font-size: 11px;"> __about Louis__ ||  ||
 * NAME: [|Louis] B. Mayer
 * OCCUPATION: Business Leader, [|Producer]
 * BIRTH DATE: [|July 04], [|1885]
 * DEATH DATE: [|October 29], 1957
 * PLACE OF BIRTH: Minsk, Russia

<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 17.27272605895996px;">present day mogul?

Tom Cruise has become a recent movie mogul with Mission impossible

http://www.metro.co.uk/showbiz/23761-cruise-becomes-movie-mogul See TOWER HEIST 2011 .



go to page 4 <span style="color: #000dff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 20px;">Read below and read media industry


 * ** [|Year] ** ||



This was a seminar in Los Angeles December 2012

The Future of Film Summit next week will focus on emerging business, legal, finance and technology trends in the film industry. The event brings together top executives, creators and professionals from major and independent movie studios, film distributors, talent agencies, law firms, financiers and digital media companies for high-level discussions and debate, intimate meetings and unrivaled networking about the future of the movie business. KEYNOTES: Tom Bernard, Kevin Smith and Ralph Garman

LAST CHANCE TO SAVE $100! REGISTER TODAY - www.lafilmconference.com

Session Topics


 * Keynote Conversation with Tom Bernard, Co-President and Co-Founder, Sony Pictures Classics
 * State of the Film Industry
 * Facts on Pacts SuperSession- What is the Future of Studio Production Deals?
 * The Social Marketing Revolution – What’s Working Among Fast Multiplying Apps and Services?
 * China and the Emerging Market Opportunity: What is Success in this Fast-Growing Global Film Business?
 * Trendsetters of the New Platforms
 * Keynote Conversation with Director-Writer Kevin Smith and KROQ radio’s Ralph Garman
 * Scoring the Greenlight: What are the Latest Sources for Financing and Production Partners?
 * The New Distribution Formula – What is the Best When, Where and How?
 * The Art of Storytelling - The New Idea Vs. The Known Brand – What’s Working?
 * Monetizing Film and Video Content in a Digital Age
 * Variety's Producers to Watch Supersession

Session Topics Lydia Antonini, Executive Producer Halo 4: Forward Unto Dawn John August, Screenwriter (Frankenweenie, Corpse Bride, Big Fish) Alex Barkaloff, US/EMEA head of Tom Hanks’ "Electric City" (Reliance/Playtone) Chris Bender, Co-Founder, BenderSpink (History of Violence, Red Eye, Just Friends, The Incredible Burt Wonderstone) Tom Bernard, Co-President and Co-Founder of Sony Pictures Classics (KEYNOTE) Jason Blum, Founder, CEO, Blumhouse Productions (Paranormal Activity franchise, Insidious) Nate Bolotin, Partner XYZ Films, Producer (Frankenstein’s Army and The Raid) Dana Brunetti, President, Trigger Street Productions (The Social Network, Captain Phillips) Reid Carolin, Producer and Writer (Magic Mike) Randall Cox, President, RogueLife and RogueDigital, Relativity Media Danielle DePalma, SVP Digital Marketing, Lionsgate Matthew Erramouspe, Partner, O’Melveny Meyers, Century City Chris Fenton, President, DMG Entertainment Motion Picture Group & GM, DMG North America Michael Gallagher, Co-Founder & Creative Executive, Maker Studios/Creator of Totally Sketch Web series Ralph Garman, KROQ Radio Jeffrey Godsick, President, Consumer Products, 20th Century Fox Nick Gonda, Producer (To the Wonder) Paul Green, COO, Anonymous Content Todd Green, GM, Tribeca Film Toby Halbrooks, Producer (Ain’t Them Bodies Saints) Lynn Hendee, President, Chartoff Productions & Producer (Ender’s Game) Jason Janego, Co-President, RADiUS-TWC James Johnston, Producer (Ain’t Them Bodies Saints) Marc Lieberman, Head of Business Development, The Onion Matt Mason, Executive Director, Marketing, BitTorrent Jamie McCabe, EVP, VOD and Digital HD, Worldwide, 20th Century Fox Eric Mika, CEO, Magic Storm Entertainment (joint venture between Stan Lee’s POW Entertainment and Ricco Capital Limited) Scott Parish, COO/CFO, Alcon Entertainment John Penney, EVP, Strategy & Business Development, Starz Media Elias Plishner, SVP, Worldwide Digital Media, Sony Pictures Worldwide Marketing & Distribution, Sony Pictures Entertainment Milan Popelka, COO, FilmNation Entertainment Tom Quinn, Co-President, RADiUS-TWC Brian Robbins, Creator of Awesomeness TV for YouTube/Executive Producer Smallville Bennett Schneir, Head, Hasbro Films David Shaheen, Managing Director & Head of the Entertainment Industries Group, JP Morgan Chase Adam Sherman, Producer (Marfa Girl) Ned Sherman, CEO & Publisher, Digital Media Wire, Inc. Peter Shiao, CEO, Orb Media Group Daniel Solnicki, Head of Franchise Business Development Worldwide, DreamWorks Animation Nick Spicer, Partner XYZ Films, Producer (Frankenstein’s Army and The Raid) JC Spink, Co-Founder, BenderSpink (History of Violence, Red Eye, Just Friends, The Incredible Burt Wonderstone) Kevin Smith, Director-Writer (KEYNOTE) Andrew Stachler, VP Interactive, Warner Bros. Pictures Danielle Strle, Director, Product & Partnerships, Tumblr Brian Stearns, Co-Head Entertainment Industries, Bank of America Merrill Lynch Jim Stern, CEO, Endgame Entertainment Rob Sussman, EVP, Business Operations, Development, and Strategy, EPIX Tucker Tooley, President, Relativity Media Andrew Walter, Head of Entertainment Practice, Media & Telecom Group, Houlihan Lokey Larry Wasserman, CFO, DreamWorks Studios Ron Yerxa, Partner, Bona Fide Productions (Little Miss Sunshine, Ruby Sparks) William Yuan, Chairman, Affinity Media Capital / Fortress Hill In which media does monopoly model persist? To what degree are there business cross-references. What have become new ways of drawing attention to a product or an idea in new media? Students who research this question and demonstrate an understanding shall be able to use this preparation to arrange ideas for an exam essay at the end of the year on media industry.