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The film sequel has been much maligned in popular culture as a vampirish corporative exercise in profit-making and narrative regurgitation. Drawing upon a wide range of filmic examples from early cinema to the twenty-first century, this exciting new volume reveals the increasing popularity of, and experimentation with, film sequels as a central dynamic of Hollywood cinema. Now creeping into world cinemas and independent film festivals, the sequel is persistently employed as a vehicle for cross-cultural dialogue and as a structure by which memories and cultural narratives can be circulated across geographical and historical locations. This book aims to account for some of the major critical contexts within which sequelisation operates by exploring sequel production beyond box office figures. Its account ranges across sequels in recent mainstream cinema, art-house and ‘indie’ sequels, non-Hollywood sequels, the effects of the domestic market on sequelisation, and the impact of the video game industry on Hollywood. The book: *Situates the sequel within its industrial, cultural, theoretical and global contexts. *Offers an essential resource for students and critics interested in film and literary studies, adaptation, critical theory and cultural studies. *Provides the first study of film sequels in world cinemas and independent film-making.

\"This illuminating study charts the changing role of the Hollywood film sequel over the past century. Considering a range of sequels in their industrial, historical and aesthetic contexts, from The Son of a Sheik (1926) to Toy Story 3 (2010), this book provides a comprehensive history of this critically-neglected yet commercially-dominant art form\"-- Provided by publisher.

Sequels, serials, and remakes have been a staple of cinema since the very beginning, and recent years have seen the emergence of dynamic and progressive variations of these multi-film franchises. Taking a broad range of sequels as case studies, from the Godfather movies to the Pirates of the Caribbean franchise, Second Takes confronts the complications posed by film sequels and their aftermaths, proposing new critical approaches to what has become a dominant industrial mode of Hollywood cinema. The contributors explore the sequel's investments in repetition, difference, continuation, and retroactivity, and particularly those attitudes and approaches toward the sequel that hold it up as a kind of figurehead of Hollywood's commercial imperatives. An invaluable resource to the film student, critic, and fan, Second Takes offers new ways of looking at the film sequel's industrial, aesthetic, cultural, political, and theoretical contexts.

La secuela, al igual que ocurre con otras obras derivadas, no cuenta con una regulación específica en la legislación de propiedad intelectual. No obstante, independientemente de la falta de delimitación de esta figura por parte del legislador, existen determinados criterios que servirán para distinguirla de la obra originaria de la que ha surgido, así como de otras obras derivadas, en función de su grado de originalidad. La secuela no es una figura de creación reciente, habiéndose manifestado en diferentes medios, dependiendo del momento histórico. En un principio, su aparición se produjo en la literatura y más tarde en el medio audiovisual y cinematográfico. En la actualidad, predominantemente por motivos económicos, la aparición de secuelas es algo muy frecuente, sin embargo, no siempre surgen respetando los derechos de propiedad intelectual de su titular. Las nuevas tecnologías se utilizan para transformar obras y crear, entre otros tipos de obras, secuelas, difundiéndose descontroladamente por todo el mun do. Ante los desafíos tecnológicos y la consecuente obsolescencia de varios estándares a nivel nacional e internacional, se debe explorar los potenciales beneficios de las licencias Creative Commons, la tecnología blockchain y los modelos de autorregulación. Las obras del intelecto, como activos que son, deben aspirar a utilizar los mecanismos de salvaguarda y de gestión más adecuados a sus intereses. Como resultado del planteamiento previo, esta obra se presenta con el objetivo no sólo de valorar si la secuela encuentra o no encaje en los planteamientos principales de la normativa nacional, europea o internacional que haya sido dictada en esta materia, si no que busca explicar de una manera sistemática y concreta los vacíos que se han encontrado en la actual formulación legal de esta obra derivada, con la finalidad de contribuir con soluciones y nuevos puntos de vista que den una respuesta integral a las abundantes cuestiones y retos que surgen.Fernando J. Ravelo Guillén es actualmente investigador en el Dep artamento de Derecho Privado de la Universidad Carlos III de Madrid. Es Doctor en Derecho por la UNED con mención internacional, al haber completado una etapa de investigación en la Universidad de Neuchâtel (Suiza). Además posee un título de Máster en Derecho de Empresa por la Universidad de Navarra y un Máster en Propiedad Intelectual por la Universidad de Maastricht (Países Bajos). [Texto de la editorial].

Building on recent research emphasizing how legitimacy depends on consensus among audiences about candidates' characteristics and activities, we examine the relationship between cultural producers' (candidates) position in the social structure and the consecration of their creative work by relevant audiences. We argue that the outcome of this process of evaluation in any cultural field, whether in art or science, is a function of (1) candidates' embeddedness within the field, and (2) the type of audience—that is, peers versus critics—evaluating candidates' work. Specifically, we hypothesize that peers are more likely to favor candidates who are highly embedded in the field, whereas critics will not show such favoritism. We find support for these hypotheses in the context of the Hollywood motion picture industry.

The paper advances a relational perspective to studying creativity at the individual level. Building on social network theory and techniques, we examine the role of social networks in shaping individuals' ability to generate a creative outcome. More specifically, we argue that individuals who occupy an intermediate position between the core and the periphery of their social system are in a favorable position to achieve creative results. In addition, the benefits accrued through an individual's intermediate core/periphery position can also be observed at the team level, when the same individual works in a team whose members come from both ends of the core/periphery continuum. We situate the analysis and test our hypotheses within the context of the Hollywood motion picture industry, which we trace over the period 1992–2003. The theoretical implications of the results are discussed.

This article uses actual word-of-mouth (WOM) information to examine the dynamic patterns of WOM and how it helps explain box office revenue. The WOM data were collected from the Yahoo Movies Web site. The results show that WOM activities are the most active during a movie's prerelease and opening week and that movie audiences tend to hold relatively high expectations before release but become more critical in the opening week. More important, WOM information offers significant explanatory power for both aggregate and weekly box office revenue, especially in the early weeks after a movie opens. However, most of this explanatory power comes from the volume of WOM and not from its valence, as measured by the percentages of positive and negative messages.

Through analyses of audience reception of U.S.-produced feature film projects from the period 2000-2003, I develop insight into the trade-off assumed in organizational ecology theory between an organization's niche width and its fitness. This assumption, termed the principle of allocation, holds that the greater the diversity in regions of resource space targeted by an organization, the lower the organization's capacity to perform well within them. Using data at both the professional critic and consumer levels, I demonstrate the empirical validity of this principle: films targeting more genres attract larger audiences but are less appealing to those audience members. Moreover, I find that audiences' perceptions of a film's fit with targeted genres drive this trade-off, as multi-genre films are difficult for audiences to make sense of, leading to poor fit with tastes and lowered appeal. These findings highlight the key role audiences' perceptions play in the trade-offs associated with different niche strategies.