Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
13
result(s) for
"Augros, Joël"
Sort by:
One Dependent, some Dependents: the Interweaving of Independent and Commercial Sectors in Hollywood Today
The independent sector —producers as well as distributors —is in turmoil. This turmoil results from the influence of economic constraints but also from two main phenomena : the emergence of the major companies in this sector at the end of the last century, and the continuing growth of digital means of distribution. Nevertheless, independence still rests on the possibility of taking risks, either as an independent producer or as a producer working inside the majors.
Journal Article
Un dépendant des dépendants: l'imbrication des secteurs indépendants et commerciaux à Hollywood aujourd'hui
The independent sector—producers as well as distributors—is in turmoil. This turmoil results from the influence of economic constraints but also from two main phenomena : the emergence of the major companies in this sector at the end of the last century, and the continuing growth of digital means of distribution. Nevertheless, independence still rests on the possibility of taking risks, either as an independent producer or as a producer working inside the majors.
Journal Article
An addict, addicts: the interweaving of independent and commercial sectors in Hollywood today
ABSTRACT IN ENGLISH: The independent sector - producers as well as distributors - is in turmoil. This turmoil results from the influence of economic constraints but also from two main phenomena : the emergence of the major companies in this sector at the end of the last century, and the continuing growth of digital means of distribution. Nevertheless, independence still rests on the possibility of taking risks, either as an independent producer or as a producer working inside the majors. Reproduced by permission of Bibliothèque de Sciences Po
Journal Article
Un dépendant, des dépendants : l'imbrication des secteurs indépendants et commerciaux à Hollywood aujourd'hui
The independent sector —producers as well as distributors —is in turmoil. This turmoil results from the influence of economic constraints but also from two main phenomena : the emergence of the major companies in this sector at the end of the last century, and the continuing growth of digital means of distribution. Nevertheless, independence still rests on the possibility of taking risks, either as an independent producer or as a producer working inside the majors.
Journal Article
Le mythe de la production indépendante dans le cinéma américain
Starting from the well-known idea that Hollywood is dominated by the major companies whose purpose is to make money rather than art, while on the other hand, independent movie-makers are mostly interested in art, regardless of their bank account, this paper intends to show the interconnections between the two systems and the complexity of the problem. The basic question is to know what « independent » means. And how independent companies can finance their films and distribute them through the three key distribution markets: movie theaters, video networks, and foreign country markets.
Journal Article
Le mythe de la production indépendante dans le cinéma américain
Starting from the well-known idea that Hollywood is dominated by the major companies whose purpose is to make money rather than art, while on the other hand, independent movie-makers are mostly interested in art, regardless of their bank account, this paper intends to show the interconnections between the two systems and the complexity of the problem. The basic question is to know what « independent » means. And how independent companies can finance their films and distribute them through the three key distribution markets : movie theaters, video networks, and foreign country markets.
Journal Article
Le mythe de la production indépendante dans le cinéma américain
Starting from the well-known idea that Hollywood is dominated by the major companies whose purpose is to make money rather than art, while on the other hand, independent movie-makers are mostly interested in art, regardless of their bank account, this paper intends to show the interconnections between the two systems and the complexity of the problem. The basic question is to know what « independent » means. And how independent companies can finance their films and distribute them through the three key distribution markets : movie theaters, video networks, and foreign country markets.
Augros Joël. Le mythe de la production indépendante dans le cinéma américain. In: Revue Française d'Etudes Américaines, N°56, mai 1993. Images de l'Amérique dans le cinéma américain. pp. 123-133.
Journal Article
Croissance, crash, crise, créances
La chute des recettes, elle, est démultipliée car, à la première désaffection du public, les salles ont répondu par une baisse du prix du ticket d'entrée. En 1933, le National Recovery Act mis en place par l'administration Roosevelt interdit un temps cadeaux et jeux comme procédant d'une concurrence déloyale. Avant même l'arrivée du parlant, et les capitaux importants qu'il fallut dégager pour mettre aux normes studios et salles, les compagnies ont lourdement investi dans la constitution de chaînes de salles ainsi que de salles phares (les Deluxe Theaters), condition sine qua non pour garantir à leurs films un débouché constant. L'administration Roosevelt, du moins dans un premier temps, laisse perdurer l'oligopole, favorisant même la signature (novembre 1933) d'un Code of Fair Competition for the Motion Picture Industry qui, au contraire de ce que laisse présager son libellé, n'est qu'une façon d'entériner l'organisation non concurrentielle de l'industrie.
Magazine Article