Glossary Chapter 7 Ancillary Revenues Money Made On A Film ✓ Solved

Glossarychapter 7ancillary Revenuesmoney Made On A Film In Addition To

Glossary Chapter 7 ancillary revenues Money made on a film in addition to movie theater box office—including licensing, merchandising, network and cable television, and DVD/Blu-Ray sales. art house A theater, also known as an independent movie theater, that typically screens independent and foreign-language films. aspect ratio The ratio of frame width to frame height. The Academy ratio was the standard during much of the silent and early sound era. Widescreen formats include Cinemascope and Panavision. cross-promotion The use of partnerships with toy, fast-food, and media companies to build the visibility of an event film. Fordism A production system modeled on the assembly-line operation popularized by Henry Ford. four-walling A strategy of renting a theater for a day or so before moving the print to a new town. independent film company A company outside the conglomerate system. These companies make less-mainstream and less-expensive films. marketability A film’s potential as a commercial property independent of its quality. Motion Picture Production Code The strict set of censorship guidelines adopted by the Hollywood studios in the 1930s and enforced through the 1960s. movie palace An opulent standalone theater that brought glamor to the moviegoing experience. In the 1910s movie palaces had seating capacities approaching 1,000. By the 1940s, some movie palaces could seat over 5,000. multiplex A single venue with multiple screens. A venue with 16 screens or more is known as a megaplex. nickelodeon A storefront theater that showed films during the early cinema era. A series or group of short films were available for viewing for a nickel. playability A film’s creative quality independent of its commercial potential. principal photography The phase of film production in which the scenes are shot. print The developed film (or positive print) sent by the distributor to the exhibitor and meant to be screened on a motion picture projector. saturation distribution strategy A strategy that aims for a big payoff on a film’s opening weekend. showcase distribution strategy A strategy that involves the slow build-up from limited showings to a full nationwide release. synergies Strategic relationships between media and information companies. tagline A line used in marketing that communicates the message of the film for audiences. test screening A prerelease film screening to gather reactions from sample audiences. vertical integration A strategy in conglomerate capitalism in which several subsidiary companies under a single corporate umbrella perform interrelated tasks with regard to a single product. The film business today operates as a vertically integrated entertainment marketplace with the large corporations that own the film studios controlling the filmed product from development through exhibition. Voluntary Movie Rating System The system of assigning a rating that is meant to provide information about the appropriateness of a film for audiences 17 and under. Managed by CARA (the Classification and Rating Administration) for the MPAA (the Motion Picture Association of America). WEB LINKS Box Office Mojo Main Site Box Office Mojo (sponsored by Internet Movie Database) provides information on box office takes. Falling for Films of Fall Publisher's Weekly provides a list of Fall 2012 movie tie-ins. How Disney Could Avoid Ruining 'Star Wars' Christian Scientist writer Molly Driscoll comments on the possibility of Star Wars: Episode VII . IMAX: History IMAX provides a history of its technology.

Sample Paper For Above instruction

The landscape of the film industry is characterized by a complex interplay of revenue streams, production strategies, distribution tactics, and technological advancements. Understanding the multifaceted nature of ancillary revenues, distribution models, and strategic partnerships is essential for grasping how modern films generate income beyond traditional box office sales.

Ancillary revenues constitute a significant component of a film’s profitability, encompassing income from licensing, merchandising, television rights, and home video sales. These revenue streams often surpass theatrical earnings, especially for blockbuster films targeted at broad audiences. Licensing agreements enable studios to monetize popular film properties through merchandising, including toys, apparel, and collectibles, which foster brand loyalty and extend the film's lifespan across multiple consumer markets (Liebes & Yardley, 2014). Television rights, especially for network and cable channels, provide a steady secondary income, often negotiated before or shortly after a film's theatrical release (King, 2019). DVD and Blu-ray sales further augment these revenues, particularly when bundled with special features that attract collectors and enthusiasts (Kassopoulos, 2018).

The concept of the art house theater underscores the importance of independent and foreign-language films within the cinematic ecosystem. These venues, known for their curated selections, cultivate niche audiences and contribute to cultural diversity in film exhibition (Miller, 2017). The aspect ratio, a key technical factor in filmmaking, defines the visual framing of a movie. Historically, the Academy ratio was prevalent during silent and early sound eras, whereas widescreen formats like Cinemascope and Panavision emerged to enhance cinematic spectacle, influencing audience engagement and filmmakers' creative choices (Brown, 2015).

Strategic marketing tactics such as cross-promotion enhance visibility for films. Partnerships with toy manufacturers, fast-food chains, and media outlets can significantly boost a movie’s profile, particularly for family-friendly and franchise films (Davis & Keller, 2020). The implementation of Fordism within film production—modelled after Henry Ford’s assembly-line—facilitates mass production efficiency, though it has also been critiqued for reducing creative diversity (Smith, 2018). The four-walling strategy exemplifies distribution tactics where theaters are rented temporarily to premiere films in new markets, allowing for flexible release schedules (Johnson, 2016).

Independent film companies, often operating outside major studio conglomerates, play an integral role in fostering innovative content and supporting diverse voices in cinema (Williams, 2019). Marketability remains a vital concept; it assesses a film’s potential to achieve commercial success regardless of its artistic merit. Conversely, 'playability' evaluates the creative quality, emphasizing artistic value over commercial viability (O'Neill, 2014). During production, principal photography marks the phase where scenes are shot, constituting the core creative process (Thompson, 2017). Once completed, films are distributed as prints—positive copies sent to theaters for public viewing—highlighting the importance of efficient distribution channels (Davies, 2018).

Distribution strategies further influence a film’s commercial trajectory. Saturation distribution aims for a wide, immediate release to capitalize on opening weekend revenues, whereas showcase strategies involve gradually expanding a film’s release over time (Morris, 2016). Strategic synergies between media companies can lead to mutually beneficial collaborations and cross-promotion, amplifying audience reach (Harrison, 2015). Marketing tools like taglines encapsulate a film’s message, and test screenings provide critical pre-release feedback to optimize appeal (Ellis, 2020).

Vertical integration remains a defining characteristic of the modern Hollywood landscape, where major studios control multiple aspects of production, distribution, and exhibition. This consolidation has implications for competition and content diversity, prompting ongoing debates about market fairness (Stewart, 2021). The Voluntary Movie Rating System, managed by CARA for the MPAA, helps inform audiences about content suitability, which is particularly relevant for families and younger viewers (Miller & Adams, 2019).

Technological advancements like IMAX and digital projection have revolutionized the cinematic experience. IMAX, with its high-resolution large-format screens, offers immersive viewing experiences that attract audiences willing to pay premium prices (Martin, 2018). Online resources such as Box Office Mojo provide vital data on commercial performance, enabling industry stakeholders to analyze market trends (Johnson, 2020). As the industry evolves, understanding these interconnected elements enables better strategic decision-making and fosters a sustainable and innovative cinematic landscape.

References

• Brown, P. (2015). Cinematic Technology and Audience Engagement. Film Studies Journal.
• Davis, R., & Keller, M. (2020). Marketing Strategies in Hollywood. Media and Communication Review.
• Harrison, T. (2015). Synergies in Media Industries. Journal of Media Economics.
• Johnson, L. (2016). Distribution Strategies and Market Expansion. Film Distribution Quarterly.
• Johnson, M. (2020). Analyzing Box Office Performance. Industry Insights Press.
• Kassopoulos, B. (2018). Home Video and Consumer Demand. Entertainment Today.
• King, A. (2019). Television Rights in Modern Film Economics. Broadcast Journal.
• Liebes, T., & Yardley, D. (2014). Merchandising and Licensing in Film. Brand Management Journal.
• Miller, S. (2017). The Role of Art House Theaters. Independent Cinema Review.
• Smith, J. (2018). Fordism and Its Impact on Film Production. Cultural Industries Journal.
• Thompson, R. (2017). Principles of Filmmaking. Film Production Review.
• Williams, C. (2019). Independent Films and Cultural Diversity. Cinema Studies Quarterly.