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How do people access movies today?What are the most popular and powerful channels for media distribution on a global scale?How are film industries changing in the face of media convergence and digitisation?.

Innovation in technology means that almost anyone can make an independent film these days. Although this may be good news for aspiring filmmakers, it also means that the oversupply of independent films on the market has caused acquisition prices to dramatically decrease. As a result, producers and investors rarely recover their initial investment in the films they make. But don't be discouraged! Use this book to learn the realities of the market in advance and map out a winning distribution plan. This comprehensive manual for filmmakers and producers dedicated to film distribution and the marketplace could mean the difference between getting your film out to the public and keeping it \"in the can.\" Learn how to sell your movie to a studio, a cable network, a video distributor, or an international buyer. Self-distribution and other alternatives to traditional distribution are also considered. In addition, you'll hear some success stories from producers and hear exactly what buyers are seeking. Stacey Parks has worked with hundreds of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be. Let her show you how you can take control of your filmmaking career and start getting your work seen by audiences with a few little-known distribution secrets.

Tracing the international consumption, distribution, and cultural importance of silent film serials in the 1910s and 1920s, Canjels provides an exciting new understanding of the cultural dimension and the cultural transformation and circulation of media forms. Specifically, he demonstrates that the serial film form goes far beyond the well-known American two-reel serial—the cliffhanger. Throughout the book, Canjels focuses on the biggest producers of serials, America, France, and Germany, while imported serials, such as those in the Netherlands, are also examined. This research offers new views on the serial work of well known directors as D.W. Griffith, Abel Gance, Erich von Stroheim, and Fritz Lang, while foregrounding the importance of lesser known directors such as Louis Feuillade or Joe May. In the early twentieth-century, serial productions were constantly undergoing change and were not merely distributed in their original form upon import. As adjusted serials were present in large quantities or confronted different social spaces, nationalistic feelings and views stimulated by the unrest of World War I and the expanding American film industry could be incorporated and attached to the serial form. Serial productions were not only adaptable to local discourses, they could actively stimulate and interact as well, influencing reception and further film production. By examining the distribution, reception, and cultural contexts of American and European serials in various countries, this cross-cultural research makes both local and global observations. Canjels thus offers a highly relevant case study of transnational, transcultural and transmedia relations. Rudmer Canjels is a film scholar and lecturer interested in silent film, fan culture, transmedia storytelling, and documentary film. He has published on the international distribution and cultural transformations of silent film serials ( Distributing Silent Film Serials , Routledge, 2011) and industry sponsored films ( A History of Royal Dutch Shell and Films that Work ). Currently he is researching the use of industrial film in Nigeria as it became an independent country in 1960. I. Film Seriality and Its Serial Uses: Transition and Beyond 1. Seriality Unbound 2. Monopolizing Episodic Adventuress II. Localizing Serials: Translating Spectacle and Daily Life Beyond 3. American Mysteries in France 4. German Spectacle from Within 5. Adjusting Seriality in the Netherlands III. Confronting Seriality in Europe and America 6. Consuming New World Views: American Serials in Germany 7. Minds that Cannont Condense: European Serials in America 8. Overshooting inAmerica IV. Another Time 9. Adjusting Forms and Diminishing Uses Distributing Silent Film Serials makes a \"substantial contribution to new cinema histories,\" it is filled with \"potent points of comparison between different national traditions,\" giving \"fascinating insights,\" and leading \"to a rethinking of the significance of seriality in the broader context of film history.\"- Joe Kemper, Early Popular Visual Culture \"This book provides new insights ino the serial productions of both well-known [such as Abel Gance, Erich von Stroheim or Fritz Lang] and more obscure directors. […] Distributing Silent Film Serials is supplemented by thorough notes, a well-chosen bibliography, and a useful appendix, listing serial films, chronologically arranged under importing country and by earliest known premier date. The text is complemented by many interesting photographs, posters and advertisements […]. It is packed […] with interesting anecdotes and solid information, and serves as a welcome addition to the burgeoning body of important literature elucidating the history of silent cinema.\"- Jeffrey Mifflin, Historical Journal of Film, Radio and Television \"Distributing Silent Film Serials is part of the \"important studies of exhibition [that] have recently emerged from what has been called the ‘new cinema history.’ \"- Jessica L. Whitehead, Early Popular Visual Culture

Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution—creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: • Gary Newman, Chairman, 20th Century Fox Television • Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios • Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment • Ted Sarandos, Chief Content Officer, Netflix • Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl • Dick Wolf, Executive Producer and Creator, Law & Order

\"The first collection to consolidate authoritative research into the burgeoning field of 'live cinema', the creation of live events around a particular film screening\"-- Provided by publisher.

While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the third edition of his comprehensive guidebook, Marketing to Moviegoers: A Handbook of Strategies and Tactics, veteran film and TV journalist Robert Marich plumbs the depths of the methods used by studios to market their films to consumers. Updates to the third edition include a chapter on marketing movies using digital media; an insightful discussion of the use of music in film trailers; new and expanded materials on marketing targeted toward affinity groups and awards; fresh analysis of booking contracts between theaters and distributors; a brief history of indie film marketing; and explorations of the overlooked potential of the drive-in theater and the revival of third-party-financed movie campaigns. While many books have been written on the business-to-business aspect of film promotion, Marich's volume is one of the few that focuses on the techniques used to sell motion pictures to those in a position to truly make or break a film - the public. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all professionals and students in today's rapidly evolving film industry.