This book explores the complex, multifaceted and contested subject of risk in the film business. How risk is understood and managed has a substantial impact upon which films are financed, produced and seen. Founded on substantial original research accessing the highest level of industry practitioners, this book examines the intertwined activity of independents, large media companies including major studios, the international marketplace, and related audio-visual sectors such as high-end television. The book shows how risk is generally framed, or even intuited, rather than calculated, and that this process occurs across a sliding scale of formality. This work goes beyond broad creative industries characterisations of a "risky sector" and concentrations on Box Office return modelling, to provide a missing middle. This means a coherent analytic coverage of business organisation and project construction to address the complex practicalities that mobilise strategic operations in relation to risk, often in unseen business-to-business contexts. Informed by economic sociology’s concepts addressing market assemblage and valuation, alongside applications of science and technology studies to media and communications, the book respects both the powerful roles of social and institutional actors, and affordances of new technologies in dealing with the persistent known unknown – the audience. Examining a persistent business issue in a new way, this book analyses top level industry practice through established mechanisms, and innovations like data analytics. The result is a book that will be essential reading for scholars with an interest in the film business as well as risk management more broadly.

Examining the independent film sector as a business on an international scale, author Angus Finney addresses the specific skills and knowledge required to successfully navigate the international film business. Finney describes and analyses the present structure of the film industry as a business, with a specific focus on the film (and entertainment) value chain and takes readers through the status of current digital technology, exploring ways in which this is changing the structure and opportunities offered by the industry in the future. The textbook provides information and advice on the different business and management skills and strategies that students and emerging practitioners will need to effectively engage with the industry in an international context. Case studies of films and TV, including Squid Game (2021), Parasite (2019), Game of Thrones (2011-2019) and The Best Exotic Marigold Hotel (2011), are supplemented by company case studies on Redbus, Renaissance, Pixar, with additional new chapters focusing on Netflix, TikTok and the Metaverse. This third edition of The International Film Business includes up-to-date information on the status of the international film industry during and post COVID-19; expanded content looking at the TV industry and streaming services; new case studies and dedicated sections on the Streaming Wars and the Chinese Film Industry and a new chapter looking at the changes in digital production in the context of the global and territorial film and TV industry. Written for students of Film Business and emerging practitioners, this book will take readers through the successes and failures of a variety of real film companies and projects and features exclusive interviews with leading practitioners in all sectors of the industry, from production to exhibition.

Movies expected to perform well can flop, whilst independent movies with low budgets can be wildly successful. In this text, De Vany casts his eye over all aspects of the business to present some intriguing conclusions.

A comprehensive overview of project risk management, providing guidance on implementing and improving project risk management systems in organizations This book provides a comprehensive overview of project risk management. Besides offering an easy-to-follow, yet systematic approach to project risk management, it also introduces topics which have an important bearing on how risks are managed but which are generally not found in other books, including risk knowledge management, cultural risk-shaping, project complexity, political risks, and strategic risk management. Many new concepts about risk management are introduced. Diagrams and tables, together with project examples and case studies, illustrate the authors’ precepts and ideas. Each chapter in Managing Project Risks begins with an introduction to its topic and ends with a summary. The book starts by providing an understanding and overview of risk and continues with coverage of projects and project stakeholders. Ensuing chapters look at project risk management processes, contexts and risk drivers, identification, assessment and evaluation, response and treatment options, and risk monitoring and control. One chapter focuses entirely on risk knowledge management. Others explore the cultural shaping of risk, political risk in projects, computer applications, and more. The book finishes by examining the current state and potential future of project risk management. In essence, this book: Effectively communicates a conceptual and philosophical understanding of risk Establishes the nature of projects and the stakeholders involved in them Presents a systematic and logically progressive approach to the processes of project risk management Demonstrates how to recognize the drivers of project risks and the factors which shape them Emphasizes the importance of capturing and exploiting project risk knowledge Provides guidance about implementing and building (or improving) project risk management systems in organizations Managing Project Risks will benefit practitioners and students of project management across a wide range of industries and professions.