Download e-book for iPad: A Concise Handbook of Movie Industry Economics by Charles C. Moul

By Charles C. Moul

ISBN-10: 0521843847

ISBN-13: 9780521843843

This brief guide collects essays on all elements of the movie by way of best specialists in political economic system, economics, accounting, finance, and advertising and marketing. as well as bringing the reader an up to date standpoint on what's recognized and what has been finished, it comprises either new findings on numerous issues and instructions for extra examine. issues contain estimation of theatrical and ancillary call for, profitability reports, the answer of obvious paradoxes in studio govt habit, the interplay of the and executive, the affects of the newest adjustments in accounting criteria, and the function and value of participation contracts. New effects contain findings at the real nature of the seasonality of theatrical call for, the predictive strength of surveys established upon trailers, the effect of the Academy Awards, the efectiveness of previous historical past measures to gauge solid participants and administrators, and the substitutability of flicks throughout varied genres.

Table of Contents

1. Critiquing Hollywood: the political economic system of movies Janet Wasko
2. movie creation within the electronic age: what can we learn about the previous and the long run S. Abraham Ravid
3. motion picture accounting Harold L. Vogel
4. Theatrical releases and the launching of movies Charles C. Moul and Steven M. Shugan
5. the movies exhibition enterprise: severe concerns, perform, and learn Jehoshua Eliashberg
6. earnings out of the image: study matters and profit assets past the North American field workplace Charles B. Weinberg.

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Xml CB784-Moul 0 521 84384 7 April 22, 2005 18:19 Film Production in the Digital Age There are economies of scale in production as well. A live performance for five thousand people does not cost much more than a live performance for four thousand people and, for recorded and broadcast performances, the marginal cost per customer is virtually zero. Because the marginal cost of production is low, top talent may not charge much more per ticket than less talented performers. Thus, viewers get a “bargain” – much greater talent for only slightly more money.

65–66). Much of the work in edited collections on the film industry more or less explicitly follows an industrial model (see Balio [1976]; Kindem [1982]). ” It indicated, first, how media beyond film have been integrated into previously exclusively cinema studies but also the recognition of the importance of economic and industry issues. The conference description read as follows: Topics for panels and papers might include media industry issues concerning production, distribution and exhibition, regulatory parameters, the relationship between technological change and industrial structure, international industry comparisons, institutional/industrial issues concerning independent, and alternative media and studies in political economy of the mass media.

7) For the most part, the emphasis of media economics is on microeconomic issues rather than macroanalysis and focuses primarily on producers and consumers in media markets. Typically, the concern is how media industries and companies can succeed, prosper, or move forward. Whereas competition may be assessed, little emphasis is placed on questions of ownership or the implications of concentrated ownership and control. Again, these approaches emphasize description (or “what is”) rather than critique (or “what ought to be”).

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