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Full-Text Articles in Film and Media Studies
Mediated Merchandise, Merchandisable Media: An Introduction, Elizabeth Affuso, Avi Santo
Mediated Merchandise, Merchandisable Media: An Introduction, Elizabeth Affuso, Avi Santo
Communication & Theatre Arts Faculty Publications
There are many reasons why film and media scholars ought to take merchandise seriously. That filmrelated merchandise is a lucrative part of the film business is only a starting point, but still a good place to start. In 2018, character and entertainment licensing accounted for 44.7% of retail sales of licensed merchandise, generating $121.53 billion in sales. [1] [#N1] This earned entertainment companies approximately $6.2 billion in royalties. [2] [#N2] Not surprisingly, five of the top ten licensors are entertainment companies, with Disney positioned at the top with $53 billion in merchandise sales. Universal Studios is ranked 4th ($7.3 billion), …
Coming Soon To A Chinese Theater Near You: Why China Matters Even To Hollywood, James N. Udden
Coming Soon To A Chinese Theater Near You: Why China Matters Even To Hollywood, James N. Udden
Friday Forum
In recent years, China has engaged in infrastructure projects on a scale and scope without historical precedent. Cinema in China is no exception. For roughly a century Hollywood has managed to dominate the world largely through the control of the largest exhibition market in the developed world, meaning the USA and Canada. Just a couple years ago, however, the Chinese exhibition sector surpassed North America as the world’s largest linguistically unified and developed film exhibition market. Find out why screenwriting classes in the USA now include courses on how to write for the Chinese market. Find out why even you …
“After Hollywood And Its Ever-Blue Skies, How Beautiful Paris Looks!”: Jacques Feyder Between France And America, 1928-1934, Barry Nevin
Articles
Although generally relegated by present-day historians to the footnotes of film history, Belgian director Jacques Feyder (1885–1948) strove to elevate the artistic standards of French film production throughout the 1920s and 1930s. His departure for Metro-Goldwyn-Mayer studios on the cusp of the transition to sound in France was viewed as a crisis, and his return was hailed as an event. Drawing on contemporary periodicals, this article answers two fundamental questions: Why did France's leading am bassador leave his adoptive homeland? And what factors motivated his return to France despite the country's notoriously anarchic mode of production? Core concerns include Feyder's …