Hollywood is facing unprecedented challenges – and is changing rapidly and radically as a result. In this major new study of the contemporary film industry, leading film historian Tino Balio explores the impact of the Internet, declining DVD sales and changing consumer spending habits on the way Hollywood conducts its business. Today, the major studios play an insignificant role in the bottom lines of their conglomerate parents and have fled to safety, relying on big-budget tentpoles, franchises and family films to reach their target audiences. Comprehensive, compelling and filled with engaging case studies (TimeWarner, DreamWorks SKG, Spider Man, The Lord of the Rings, IMAX, Netflix, Miramax, Sony Pictures Classics, Lionsgate and Sundance), Hollywood in the New Millennium is a must-read for all students of film studies, cinema studies, media studies, communication studies, and radio and television.

This book charts the development of the multiplex cinema as the pre-eminent form of film exhibition across the world. Going from its origins in the USA in the 1960s to its expansion overseas from the mid-1980s across Europe, Australia and other parts of Asia-Pacific, the book considers the emergence of a series of initially regional, then national and then international exhibition circuits. However, more than a consideration of US overseas expansion on the part of companies, this book examines the hegemony of the multiplex as a cultural and business form, arguing for its significance as a phenomenon that has transcended national and global boundaries and which has become the predominant venue for film viewing. Implicit in this analysis is a recognition of the domination of US media multi-nationals and Hollywood cinema, and the development of the multiplex cinema as symbolic of the extension and maintenance of the USA’s cultural and economic power. With case studies ranging from European countries such as Belgium, France, Germany and The Netherlands, to Pacific-Asian countries such as Australia, China, Japan and South Korea, this book is the first to explore the development of multiplexes on a global scale.

East Asian Screen Industries is a guide to the film industries of Japan, South Korea, Taiwan, Hong Kong and the PRC. The authors examine how local production has responded to global trends and explore the effects of widespread de-regulation and China's accession to the World Trade Organisation.

Subscription video on demand (SVOD) represents the fastest-growing means to consume films and series. Although market leaders Netflix and Amazon Prime have received much scholarly attention for the way that they use algorithms and big data to connect users to content, there is another significant, relatively unexamined model: curation-style services such as BFI Player, IFC Unlimited, the Criterion Channel or MUBI — the latter, which forms the focus of this book, claims to be the world's most subscribed independent video on demand service. These platforms take advantage of common anxieties about algorithms, cultural surplus and filter bubbles to promote discovery, human-generated recommendations and quality over quantity of content. Deploying an original, holistic methodology that includes analysis of technological affordances, marketing rhetoric, business models, interviews with company executives and a qualiquantitative audience study, this book critically analyses MUBI as a way to understand this particular mode of content aggregation, cultural recommendation, choice architecture and community building. Curation services address a real, but decidedly circumscribed gap in the market. Ultimately, MUBI offers film, media and business scholars an instructive example of the fate of art cinema and media diversity in a digital culture increasingly dominated by a few giant tech companies.

When John Major launched the UK’s National Lottery in 1994 he christened it “the people’s Lottery” and handed it to the mythical stewardship of the Everyman. But when the proceeds began to be distributed to worthy causes, including the British film industry, this populist rhetoric came under increasing strain. If Lottery funding is used to produce the type of British films which the public want to see, such as romantic comedies, then many question whether the market deserves such subsidy. Short films and low budget, experimental cinema – which often require state support – tend to go unwatched by large swathes of the Lottery ticket-buying public. This book explores the debates which were sparked by the arrival of “the people’s pictures”, and places them in historical context by examining their many precedents. Is public patronage a boon or a burden for filmmakers? And how do institutional cultures or political buzzwords affect the finished films? Case studies include the popular hits Billy Elliot (2000) and Shooting Fish (1997); art-house releases such as Love Is The Devil (1998) and Gallivant (1997); short films by Lynne Ramsey and David MacKenzie; and artists’ film and video work by Bill Viola and Tracey Emin.

Arriving in Hollywood in 1950 to launch her American film career, Jean Simmons (1929-2010) had already appeared in 18 British films and was best known for her portrayal of Ophelia in Laurence Olivier's Hamlet. She soon became a favorite female face working with some of filmmaking's greats and acted opposite many Hollywood A-listers. Two of her most popular films--Guys and Dolls (1955) and Spartacus (1960)--were international box-office hits, and in her seven decades-long career she collected numerous awards and honors including a Golden Globe, an Emmy, and two Oscar nominations as Best Actress. Despite the accomplishments and accolades, radiant beauty, and stunning versatility, Simmons is considered by many to be an underrated artist, too often handed more comfortable leading female roles than those that could've elevated her to the level of super stardom experienced by some of her peers. This, the first full-length biography of Simmons, fills a gap in film and performing arts studies, and includes extensive notes and photographs.

When the videocassette recorder was launched on the consumer market in the mid-1970s, it transformed home entertainment. Bringing together complementary but also competing interests from the consumer electronics industry and the film, television and other copyright industries, video created a new sector of media business. Two decades later, DVD reinvented video media for the digital age. DVD provided consumers with an innovative form of entertainment technology and almost instantaneously became the catalyst for a huge boom in the video market. Although the VCR and DVD created major markets for video hardware and software, the video business has been continually shaped by industry conflicts and tensions. Repeatedly the video market has become divided when faced with the introduction of competing formats. Easy reproduction of films and other works on cassette or disc made video software a lucrative market for the copyright industries but also intensified struggles to combat the effects of commercial piracy. 'Video and DVD Industries' examines the business of video entertainment and provides the first study looking at DVD from an industrial perspective. Detailing divisions in the video business, the book outlines industry battles over incompatible formats, from the Betamax/VHS war, to competing laserdisc systems, alternatives such as video compact disc or Digital Video Express, and the introduction of HDDVD and Blu-ray high-definition systems. Chapters also look at the formation of international markets in the globalization of video media, the contradictory responses of the Hollywood studios to video and DVD, and the legal and technological measures taken to control industrialized video piracy.