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Lecture 16

ETS 154 Lecture 16: Post-Theatrical Markets, Globalization & Independence (Week 9)
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Department
English Textual Studies
Course Code
ETS 154
Professor
L.Scheibel

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October 24, 2016
Post-Theatrical Markets, Globalization & Independence
(Week 9)
Stranger Than Paradise (Jim Jormusch, 1984)
Independent Film
-Shot in B&W with static camera and comprised of 67 long takes, each separated by black
leader
-Narrative follows 3 act structure, but how is it still different from classical narratives?
-Cost $100,000, grossed $2.5 mil at box-office (opened door for American Independent
Cinema of 80s and 90s
Global Interests
-Dialogue spoke in English and Hungarian, funds came from German backers, style
influence by European and Japanese filmmakers
-Eszter Balint (Eva) is Hungarian born performer
-Screened at International Film Festival (Netherlands), Sundance (Utah) and Cannes
(France)
Post Theatrical Markets
-Less than 20% film revenues have come from theatrical market since 1995- most profits are to
be made in the post-theatrical (ancillary) market:
Network TV since 1960s
US home video and pay-TV since early 1980s
Digital distribution via DVD and the Internet since the 90s (Blu-ray and online streaming
services today)
-The horizontal integration of the film industry and influence of ‘high concept’ practices have
made films only 1 part in a chain of goods to service as the ‘multipler of other tie-in products
that give films a post theatrical ‘afterlife’ and brand identity:
Books (including comic books/graphic novels)
!1
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find more resources at oneclass.com October 24, 2016 Post-Theatrical Markets, Globalization & Independence (Week 9) Stranger Than Paradise (Jim Jormusch, 1984) • Independent Film - Shot in B&W with static camera and comprised of 67 long takes, each separated by black leader - Narrative follows 3 act structure, but how is it still different from classical narratives? - Cost $100,000, grossed $2.5 mil at box-office (opened door forAmerican Independent Cinema of 80s and 90s • Global Interests - Dialogue spoke in English and Hungarian, funds came from German backers, style influence by European and Japanese filmmakers - Eszter Balint (Eva) is Hungarian born performer - Screened at International Film Festival (Netherlands), Sundance (Utah) and Cannes (France) Post Theatrical Markets - Less than 20% film revenues have come from theatrical market since 1995- most profits are to be made in the post-theatrical (ancillary) market: • Network TV since 1960s • US home video and pay-TV since early 1980s • Digital distribution via DVD and the Internet since the 90s (Blu-ray and online streaming services today) - The horizontal integration of the film industry and influence of ‘high concept’practices have made films only 1 part in a chain of goods to service as the ‘multipler’of other tie-in products that give films a post theatrical ‘afterlife’and brand identity: • Books (including comic books/graphic novels) !1 find more resources at oneclass.com find more resources at oneclass.com October 24, 2016 • TV sereis • soundtrack albums • Toys (including fast-food toys) • Clothing • Magazines • Theme park attractions • Games (video/board) Home Video - Between 1984-1989, development of home video tapes gave films an additional system of post-theatrical release video became largest source of Hollywood’s overseas revenue at end of decade - By 1990s, films were released for video rental several months after theatrical release then released at lower prices for ‘sell-though’to individual consumers several months later Global Markets & Production Contexts - International distribution is another way in which US films earn a profit outside of the US Theatrical Market (particurily Impottant: European market (’85) andAsia and Eastern European market (late ’90) - 90% revenue is overseas - As production moved outside of Hollywood studios and LAduring era of
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