Supply Chain Cinema

Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient. Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros' permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK's ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking.

The contributors to Assembly Codes examine how media and logistics set the conditions for the circulation of information and culture. They document how logistics—the techniques of organizing and coordinating the movement of materials, bodies, and information—has substantially impacted the production, distribution, and consumption of media. At the same time, physical media, such as paperwork, along with media technologies ranging from phone systems to software are central to the operations of logistics. The contributors interrogate topics ranging from the logistics of film production and the construction of internet infrastructure to the environmental impact of the creation, distribution, and sale of vinyl records. They also reveal how logistical technologies have generated new aesthetic and performative practices. In charting the specific points of contact, dependence, and friction between media and logistics, Assembly Codes demonstrates that media and logistics are co-constitutive and that one cannot be understood apart from the other. Contributors Ebony Coletu, Kay Dickinson, Stefano Harney, Matthew Hockenberry, Tung-Hui Hu, Shannon Mattern, Fred Moten, Michael Palm, Ned Rossiter, Nicole Starosielski, Liam Cole Young, Susan Zieger

The role of the film marketer is both vital and challenging. Promotion is one of the industry’s biggest costs, with the campaign of a large film costing up to half its production budget. Box office results, however, are wildly unpredictable: relatively few films a year make a profit. These market conditions make this a unique industry and film marketing a specific and demanding skill set that requires attention early in the career of any marketing student looking to progress in the industry. This new edition of Film Marketing is a thorough update of the first textbook in film promotion. Like in the first edition, Kerrigan takes a socio-cultural, as well as a business view of film marketing and its impact, covering different approaches to promotion according to different aims and audiences internally and externally, and across the world. This book addresses all areas of film marketing from the rigorous perspective of someone with first-hand knowledge of the trade. This new edition also includes: Additional pedagogy and visual examples to reinforce key points A more international range of cases and coverage of non-Western markets to give a global overview of film marketing across the world New and expanded sections on social media, digital promotion, transmedia and crowdfunding This is the original film marketing text which no engaged film or marketing student should be without.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

The Supply Chain concept is one of the most important ideas to emerge in management research and practice in the last twenty five years. Organizations do not exist in isolation. Any organization, whether a large corporation, public body, or small business, which aims to meet the needs of its various customers and stakeholders will need resources in order to do this, and will acquire many of its materials, equipment, and supplies from other organizations. The performance of an organization is thus influenced to a greater or lesser degree by the actions of the organizations that make up the Supply Chain. There is no doubt that the emergence of Supply Chain Management has been a major development in management thinking and practice. It has become an established feature of management education, and a professional field with its own magazines and journals - a field with its own distinctive perspectives. However, many writers observe that it is a field characterized by imprecise terminology, sloppily applied metaphors, and conflated or confused concepts. The slightest skim of the many literatures that use the term reveals a wide range of interpretations, hundreds of different formulations, nuances, and taxonomies for the 'Supply Chain', and dozens of near synonyms. The purpose of this volume is to bring together insights from the leading researchers and thinkers on supply chain management to help move the field forward. It provides a survey of the key theoreticalconcepts which underpin the field, and presents critical evaluations of the underlying ideas and approaches. It will be an important resource for those active in researching in or applying the ideas of supply chain management, and for advanced students and their teachers.

This is a complete guide to film finance around the world, from first web short film to mainstream international multi-million dollar co-production.

With the advent of digital filmmaking and critical recognition of the relevance of self expression, first-person narratives, and personal practices of memorialization, interest in the amateur moving image has never been stronger. Bringing together key scholars in the field, and revealing the rich variety of amateur filmmaking-from home movies of Imperial India and film diaries of life in contemporary China, to the work of leading auteurs such as Joseph Morder and Péter Forgács-Amateur Filmmaking highlights the importance of amateur cinema as a core object of critical interest across an array of disciplines. With contributions on the role of the archive, on YouTube, and on the impact of new technologies on amateur filmmaking, these essays offer the first comprehensive examination of this growing field.