The movie industry has been around for just over one hundred years. The first
Public exhibition of film was the film titled “The Arrival of a Train at a Station”. The
mythos around this story is that it’s said that the audience jumped out of the way when
the train arrived because they believed it was going to hit them because it was a real train.
Since then the nineteen seventies opened the eyes of the movie producer’s that sequels
could be used to make big money. Since the decade featured mega hits like Jaws two and
French Connection two. This is what led to the growing problem of the business
becoming so lazy and in need of big bucks that they now resort to making the same
unoriginal films in order to keep the
…show more content…
The main exemplifying moment in all of my research was the announcement of
an expanded Transformers movie universe with Akiva Goldaman writing three more
Transformers films. When will we learn that these are just playing trash movies that
…show more content…
These movies are intentionally made with a lack of dialogue and story in
order to let them sell better overseas which has come to fruition since the last film made
hundreds of millions of dollars in China. Not to mention that the new writer of these
movies is the man who brought us a Batman sequel which featured such innovations as
putting nipples on the bat suit and giving Batman his own bat credit card. The next news
item I felt was very worrisome was the announcement hat the new Alien sequel will be
made in a universe where Alien three and four never happened. This means that if at first
Hollywood fails they’ll just try try again by saying that whatever bad movie they made
never actually happened so that they don’t have to change the canon of beloved film
franchises. The movie industry has found a way to have revisionist history in their films
by giving themselves a get out of jail free card when they make a bad film that taints one
of their big money franchises.
The trends show that ironically the one thing that Hollywood is putting hard and
creative work into is the creation of new and inventive ways to shove the same
Having artfully explored the origins of the caped crusader in Batman Begins, director Christopher Nolan puts Gotham City under a completely new perspective in The Dark Knight, the thrilling second instalment of his superb reinvention of the superhero franchise.
...ne should, and I think everyone should do everything they do that way. Movies have to have quality and integrity because they have such a tremendous influence on the world and on people.” (Coppola)
Christopher Nolan’s The Dark Knight (2008) is representative of key changes in contemporary media conglomerate Hollywood in terms of marketing, distribution, and production because of the steps it took to turn a standard superhero film into a worldwide phenomenon that not only succeeded as a standalone film, but also helped to revitalize an entire franchise, paving the way for many more of its kind. This was accomplished through the breaking of typical marketing trends by utilizing various vigorous viral marketing campaigns and interactive, fan-powered “scavenger hunts”, both online and in the real world, that led to the revelation of new scenes, ads, and teasers. Additionally, the film’s domestic and foreign distribution was so massive at the film’s release, that it still holds records today as the 4th highest total grossing box office and 5th highest grossing opening weekend in North America, 4th widest domestic opening (showing on 9,200 screens in 4,366 theaters), and 18th highest all-time grossing box office worldwide record. Needless to say, The Dark Knight was the highest grossing film of the year in 2008. Supplementary material, including animated films and video games, were also created and distributed between the releases of Batman Begins and The Dark Knight as a simultaneous method of franchise reinforcement as well as promotion for the upcoming second installment of Nolan’s Batman universe. It can be asserted that as a result of these fresh new marketing and distribution trends, Christopher Nolan has played a significant role in helping to usher in successful new production practices that will shape the way films will be produced over the course of the transitional blockbuster/digital production era in Hollywood during ...
The idea of the genre developed from the need for steady box-office success. The same basic combination of precise plots, character types, and themes, proved to draw crowd after crowd into the theaters to see their favorite stars and story lines played out. But somewhere along the way the very thing that drew in these crowds started to evolve to become greater and diverse. Cabaret, Unforgiven, and The Godfather are clear examples of this
Complementary catechisms, but concluding with inconsistent dogmas. And before Batman Beyond extended Wayne's life and career into an unimagined future, the question about the survival of the Batman persona would have had only speculative interest. But with mortality beckoning and a putative heir in the waiting, it acquires new force. Does "Batman" end with Wayne, or does he continue through the efforts of Terry McGinnis? Is Batman merely an extension of Bruce Wayne, or in creating Batman has Wayne inaugurated a hero that transcends himself and ...
Recognize that the "Culture of Hollywood" is based on motion pictures as big business as well as entertainment.
During the mid and late 1970’s, the mood of American films shifted sharply. People needed to get away from such negative memories as the Vietnam War, long gas lines, the resignation of President Nixon, and ...
With an impressive repertoire of movies, books, TV shows, comics, and exclusive memorabilia; the Batman has gained world recognized fame and has played an iconic role for the DC universe. Unlike his other crime fighting colleagues such as Superman or the Flash, Batman the alter ego of billionaire Bruce Wayne does not possess any superhuman powers but instead relies on what DC refers to as his “physical prowess” and “technical ingenuity” (Origins). Perhaps one can consider the vast wealth of Mr. Wayne his true power but in a conjured world packed with villains and other heroes Batman relies perhaps the most important tool a hero can have, his mind. Managing two identities in secrecy Bruce Wayne shows in a sense the power each average individual
The purpose of this paper is to provide the reader with an insight into the Super Hero Series Batman. This crime fighter originally appeared in Detective Comics issue #27 in 1939. It later became a comic book series, a TV series and a movie series. The character Batman is second only to Superman as a Super Hero. Amazingly Batman has no super powers, but he does have a lot of neat crime fighting gadgets. In this paper, we will explore the creation of Batman, his supporting cast of characters both good and bad and the gadgets he used.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
Over the years, Bollywood has emerged as its own distinct identity in the global film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. (Pillania 1) However, Hollywood is still the leader in revenue generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets.
Some examples of this include Samuel Goldwyn belonging to MGM, Fine Line belonging to Time-Warner, and October belonging to Universal. While not all consumers viewing a film may not at first make the connection that a company such as October belongs to Universal, the major studio influence is at play. Major studios also acknowledge that there is a market appeal to producing independent films. Often times the audiences for these films are more mature, older adults than the demographics many summer blockbuster films are marketed towards (How Indies Can Survive and Even Thrive in a Blockbuster World.). This more mature demographic is valuable for the studios to acknowledge since they tend to have more disposable income than the younger audiences and by generating content that is more palatable for this more mature demographic, the studios continue to expand their market
Moviemaking is a risky business, for it is not always profitable. Only one in ten films ever recovers its initial investment from theatrical exhibition. In fact, four out of ten movies never recoup the original investment. In 2000, the average studio film cost had a total cost of over $80 million per film. No other industry in the world risks that much capital to make, finance, produce ...