Search results

You are looking at 1 - 10 of 38 items for :

  • "film distribution" x
  • Refine by access: All content x
Clear All
An Analysis of Cinenovas Management Committee Meeting Minutes, 1991–97
Julia Knight

Cinenova was relaunched in 1991 from the pre-existing womens distributor, Circles, which had operated throughout the 1980s. In keeping with their founders feminist politics, both Circles and Cinenova were run via a non-hierarchical management structure and focused on the distribution, promotion and exhibition of films and videos made by, for and about women. As the funding and economic climate became harsher during the 1990s this organisational model was severely tested, as Cinenova‘s workers were forced to try and survive on a more commercially viable basis. This article uses Cinenova‘s management committee meeting minutes of 1991–97 to explore how its management practices impacted on its operation and effectiveness.

Film Studies
Abstract only
Film Renters in Manchester, 1910-1920
Richard Brown

Although film renting began in Britain in London, the rapid spread of cinemas after 1910 meant that there was a demand for distribution closer to the sites of exhibition. As a long-established trading centre, Manchester was well placed to become the hub for Northern distribution, and local trade directories list distributors from 1912 onwards. These clustered at first near Victoria Station, but soon moved to Deansgate, as independent distributors began to outnumber branch offices of the major companies. The life-expectancy of these was short, and the First Worlds War affected their business, but they remain an important and under-researched aspect of the early British cinema business.

Film Studies
Abstract only
Cecil Court and the Emergence of the British Film Industry
Simon Brown

Cecil Court is a small pedestrian passageway in the London Borough of Westminster. Under its more famous name of Flicker Alley, it is also the mythic birthplace and romantic heart of the early British film industry. This essay sets aside romantic myths and adopts the economic theory,of agglomeration, using the film businesses moving in and out of Cecil Court as a case study to demonstrate the changing patterns within the industry. In doing so it charts the growth patterns and expansion of the British film industry from 1897 to 1911. It shows its development from its origins,in equipment manufacture, through to production and finally to rental and cinema building and outfitting, marking the transition from its small-scale artisan-led beginnings into a large and complex network of distinct but interlocking film businesses.

Film Studies
Abstract only
Stephanie Dennison and Lisa Shaw

, including the creation of a state film distribution agency, a sizeable increase in the national film quota, the proliferation of ‘quota quickies’ and a loosening of censorship restrictions. The chapter is divided into two sections. The first section looks at three very popular cinematic sub-genres which provided a continuation of the chanchada tradition in Brazilian filmmaking: the films of Amàcio Mazzaropi

in Popular cinema in Brazil, 1930–2001
Guy Austin

scenario to be approved or to receive any form of technical assistance from the industry. Meanwhile the ONCIC maintained a monopoly on film distribution from the mid-1960s to the late 1980s, a situation that resulted in the Hollywood boycott of Algerian screens between 1967 and 1973. ONCIC productions in the 1960s and 1970s included Le Vent des Aurès , Les Hors la loi, Chronique des années de braise, Omar Gatlato and William

in Algerian national cinema
Elisabeth Schimpfössl and Timothy Monteath

with the advantages granted by any other intense childhood exposure to exclusive and prestigious practices, knowledge and social environments. Although we did add this category to the overall figure, we cautiously suggest that entrepreneurial activities among the parental generation tend to contradict the idea of being ‘self-made’. Such advantage applies to a most heterogeneous mix of people, from the media tycoon Richard Desmond (position 48), whose father briefly managed a film distribution company, to Anil Agarwal (position 60), whose father was a small-time scrap

in How the other half lives
A history of Korean cinema
Hyangjin Lee

the entire number of the films they showed. 12 In spite of the increasing number of theatres and audiences, the actual conditions of Korean film production during the colonial period were thus inhospitable for developing a systematic film industry in Korea. Consequently, the Korean film industry was always dominated by the imported film distribution business conducted by foreign proprietors, and the Korean audiences were no

in Contemporary Korean cinema
The ‘post-Hollywood’ Besson
Rosanna Maule

1980s and then of Unifrance, the state’s promotional agency for French films abroad) to reinstate France in the domestic and international circuits of film distribution. Moreover, he is the only filmmaker identified with the cinéma du look to overcome the crisis that this type of cinema faced in the early 1990s. 7 Although firmly rejecting any affiliation with Europe’s ‘high art’ or ‘intellectual’ film

in The films of Luc Besson
Abstract only
Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

profession, legal and illegal film distribution and the medium of film itself. By structuring its plot around the concepts of the gaze and perception, with specific instances of seeing, watching, performing, filming, projecting and reproducing often appearing in the context of power and control, Coming Soon is haunted by several metaphorical ‘ghosts’ quite as potent as the literal one

in Globalgothic
Murray Pomerance

distributors, here for the first time in the history of modern film distribution, to forbid audiences entrance to the cinema after the screenings had commenced. However, for a contemporary audience, most of whom would be familiar with at least the publicity blurb of the story of Psycho , and many of whom would have no particular associations with the name of Anne Heche (who had had only a major role in

in Monstrous adaptations