Blockbuster Vs Independent Case Study

A major film production, for instance, involves the use of “elaborate cameras, lighting equipment, multitrack, sound-mixing studios, sophisticated laboratories, and computer generated special effects.” (2013:9) Furthermore, it is due to the extensive use of technology in filmmaking that it has adapted to include aspects of business. Companies may manufacture equipment, provide funding towards the film or alternatively may be involved in the distribution process of the film, in which the film enters theatres and other venues where the final product is presented to audiences. Moreover, it can be deduced that technology and financing is therefore essential to

Bombarded by 24 hour entertainment available in living rooms, automobiles, and even on smartphones, motion picture consumers are besieged by frenzied, media producers vying for the all-mighty dollar in an incredibly challenging, if not schizophrenic, marketplace. Although some independent studios are able to produce critically acclaimed works on shoestring budgets, such productions rarely capture the attention of the wider consumer-base or enable such studios to maintain anything more than a meager existence (Indie Film Studios: Can They Compete with Hollywood?). So competitive is the entertainment industry, that even once mighty conglomerates like Lucasfilm, LTD proved incapable of maintaining its ability to produce, necessitating the assistance of an even larger conglomerate, Disney. While Lucasfilm has produced some of the industry’s most treasured and profitable motion pictures, spawned leading edge production technologies, and revolutionized the movie making industry, only Disney represented the creative capacity, the marketing capability, and sufficient market dominance to ensure the continued viability of Lucasfilm’s vision (Disney to Acquire Lucasfilm Ltd, 2012).

Significance: The importance of miscegenation to comprehension the recorded background of Hollywood as an industry was the point at which the results of both organizations are comparable, it is a merger of contenders. At the point when all makers of a great or administration in a business unite, it is the formation of a restraining infrastructure. If a couple of contenders remain, it is termed an oligopoly. The Walt Disney Compa...

This essay will be examining the genre of Horror, its conventions and origins. A dark genre that aims to unsettle. Wholly unique in the aspect that traditionally film often attempts to lull the audience into a comfortable sense of detachment. A voyeuristic element of disconnect from the screen, yet Horror's appeal is it's aim to immerse. Mise en scéne, the use of lighting and sound all common film techniques. Used to play upon the audience's most basic instinct, fear.

Miramax with each release of films the quality and standards of independent cinema. With these three set of clips we can see the evolution of how Miramax approach “genre” and tried to make each film successful profit and creating the history of the Miramax brand through each film. The films fit into the brand of Miramax because they all approach different audiences and had a different aspect of “independent film” and creating a successful brand through ideas of editing styles within the film and the ambiguity of narrative closure of a film.

Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...

From the classic America-made Texas Chainsaw Massacre that our parents sat down to into the seventies, to the Japanese horror hit Ju-On: The Curse, horror has become an important genre in film culture. Horror films and their contents have changed with the generations, a constant ebb and flow and reflections of the deep-seated fears and underlying attitudes still prevalent in global societies. American films have often been criticized for blatant misogynistic treatment of women and the sexualization if the violence they face. The numerous rehashing of horror films from other countries, Wee says, is an attempt to “establish an identity against a foreign other”. Despite being the hub of technological advancement, Japanese horror often displays a fear of technology and the dead, typically in combination with a high regard for tradition and ritual. German horror films reflected the mistrust of authority post-WW1 with strange, distorted worlds. In the post-WWII world, it stopped producing horror films altogether for a time, the violence too much of a reflection of its recent struggles. Given this, it’s not difficult to take a closer look at horror films in an attempt to study ourselves and our histories.

With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.

Oddly enough, Focus Features and Focus Features World Wide, which for the purposes of this analysis will be lumped together, remains one of the few art house/independent movie studios that is owned by one of the major six studios. Ironically, this distinction also lends Focus Features a distinct advantage. Typically, the independent film industry requires a studio to distribute/produce a certain number of projects in order to fund initial overhead or licensing costs. This puts a significant financial strain on the smaller market firms and increases risks. While, the project quota remains true for Focus, it is by choice and not by financial necessity. Focus is able to utilize its parent company, Universal’s wide reaching distributive and marketing scope, making Focus’ project performance less variable while fixed costs remain low. However, this corporate structure poses obstacles as well. Independent film studios put a considerable amount of resources into finding or developing content of acceptable quality. This never ending hunt must be balanced against stringent financial targets imposed by Universal. Seemingly, these do not mesh, but due to Focus’ business model, which takes a calculated approach to releases and relies heavily on festivals to generate buzz. By releasing movies in only a moderate number of theaters first, it allows Focus to use their budget for marketing more effectively. Surprisingly, Focus is able to operate almost completely separately from Universal relying on its growing library sales, and international distribution rights to cover its annual operating expenses, including overhead, development, production, acquisition, marketing and distribution costs. More specifically, Focus’ international sales “arm” gi...

The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.