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Description
The video-on-demand marketplace in film has usually been reserved for independent distributors like Magnolia Pictures and IFC Films, who cannot secure widespread theatrical exhibition like the major studios do (which include Sony, 20th Century Fox, Warner Bros., and Disney, amongst other), therefore opting for the in-home launch of films through

The video-on-demand marketplace in film has usually been reserved for independent distributors like Magnolia Pictures and IFC Films, who cannot secure widespread theatrical exhibition like the major studios do (which include Sony, 20th Century Fox, Warner Bros., and Disney, amongst other), therefore opting for the in-home launch of films through on-demand services. These include cable providers, iTunes, Google Play, and even Netflix and Amazon Instant Video. A drastic change to this model came with the launch of The Interview exclusively on VOD platforms and in independent cinemas, challenging the established norm in the industry of major studios releasing their films with major exhibitors like AMC and Regal. Sony's controversial film provided a breakthrough in the VOD marketplace as it became the highest-grossing film ever released on the platform. There remains mystery and secrecy in the VOD realm, though, as independent distributors fail to provide accountable data on their releases and rarely measure financial successes in public. Whereas theatrical box office are available every weekend, VOD numbers do not have to be disclosed at any time, further driving ambiguity behind just how successful the technology must be when the films are often low-key, character-driven efforts rather than the blockbusters that pervade the theatrical landscape around the world. This paper explores the ramifications of video-on-demand on the theatrical marketplace, and attempts to counter the recent claim of The Interview being the game-changing success for VOD.
ContributorsForthun, Eric Matthew (Author) / Sandler, Kevin (Thesis director) / Green, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Department of English (Contributor)
Created2015-05
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DescriptionA comprehensive look at the roles and responsibilities of producers in contemporary Hollywood. The experience I have as an Associate Producer on a current project is also chronicled while the ups and downs of film production are explored.
ContributorsGalen, Adam (Author) / Sandler, Kevin (Thesis director) / Green, Michael (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / Department of Marketing (Contributor) / Department of English (Contributor)
Created2014-05
Description

The Academy Awards represent the uneasy tension between art and commerce in Hollywood. The façade of art that the Academy has worked so hard to cultivate is weakened in the face of “for your consideration” campaigning. These advertising efforts, led by the studios and teams employed by potential nominees, make

The Academy Awards represent the uneasy tension between art and commerce in Hollywood. The façade of art that the Academy has worked so hard to cultivate is weakened in the face of “for your consideration” campaigning. These advertising efforts, led by the studios and teams employed by potential nominees, make claims to the virtues of a given film and advocate for their celebration. The awards business has grown into a multi-million dollar industry, directly contradicting the art-driven version of Hollywood that the Academy claims to represent.

ContributorsKisicki, Lauren (Author) / Vasquez, Joshua (Thesis director) / Baker, Aaron (Committee member) / Barrett, The Honors College (Contributor) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Department of English (Contributor)
Created2023-05