Q2 - film industry Flashcards

(56 cards)

1
Q

Production

A

The entire process of making a film, from the initial idea through to the final edit.

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2
Q

Product placement

A

The inclusion of a product in a film for an agreed fee. Typical examples include cars, watches etc.

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3
Q

Pre-sold elements

A

Things which have been previously sold successfully that have a pre-existing fan-base e.g adaptions that use characters and stories from books/comics.

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4
Q

Franchise

A

A suite of products based around the same intellectual property. Franchise products feature some of the same characters and settings in a new product. E.g The batman franchise includes: comic books, films, TV series etc.

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5
Q

Guerilla filmmaking

A

Shooting a film with a small crew and cast, typically on a very low budget and with a lightweight kit. Uses locations rather than sets.

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6
Q

Digital stock

A

Memory cards and hard drives used for recording footage. Reusable and therefore marginal cost of shooting is zero, in stark contras to very espensive 35.. film stock or even more expensive 70mm film stock (used in IMAX cameras). Some independant filmmakers have taken advantage of digital stock to have far greater shooting ratios

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7
Q

Shooting ratios

A

The number of hours of footage shot in comparison to the duration of the finished film. When shooting on film stock a shooting ratio might be between 4:1 and 10:1 (shooting between 8 and 20 hours of footage to cut into a 2 hour movie).

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8
Q

Tapeless workflow

A

Digital shooting and editing, working without physical film.

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9
Q

Production budget

A

How much a film costs to make

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10
Q

Crowdsourcing

A

A collaborative method of production whereby many people contribute a small amount (of money, labour or ideas) to produce something together.

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11
Q

Crowdsourced finance

A

A way of raising a budget that attempts to attract many small investors to chip in to pay for a budget, often with something small in exchange such as a credit or piece of memorabilia

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12
Q

Above the line costs

A

The costs of key creative talent such as directors, actors and screenwriters. These costs are fixed.

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13
Q

Above the line costs

A

The costs of key creative talent such as directors, actors and screenwriters. These costs are fixed.

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14
Q

Below the line costs

A

All variable costs, including equipment, crew, accommodation, transport, sets, catering etc. These costs can change fr example if bad weather causes the shooting schedule to be extended.

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15
Q

Tent pole movies

A

Hollywood studios typically rely on a production system known as tent-pole programming. Studios will release one or more major summer blockbusters like “Wonder Woman” and expect it to be so phenomenally profitable that the outsized profits will support the studio’s investment in riskier properties (ie, the non-blockbusters), like “Magic Mike”, the 3D adaptation of “The Great Gatsby,” and other “prestige films”. Tent-pole movies involve the huge investment of budgets usually in excess of $100m in production and a similar or even greater amount in a marketing budget. They are designed to be a safe bet and as such often make use of A list

actors/directors and pre-sold elements - both of these aspects frequently coming together in prequels, sequels, remakes and reboots. Tentpole production strategy is supported by saturation marketing campaigns to build up hype and the widest possible release. Studios attempt to retain maximum control of many streams of revenue. They achieve this by distributing the film through their own distribution networks in many territories around the world, agreeing to a wide range of licensing deals (merchandising e.g. toys, costumes, food and drinks) and maximising opportunities at later stages of the value chain. All of these are designed to maximise revenue and guarantee a return on investment.

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16
Q

IMAX

A

Image Maximum. IMAX footage is shot on 70mm film stock that captures an incredible level of detail, alongside the cinematic texture of 35mm stock. There are three methods of exhibiting on IMAX screens – 70mm film prints (classic beautiful cinematic texture of film), digital film prints (not quite as sexy but a hell of a lot cheaper - essentially only costs are transfer costs as hardware can later be reused). Used in the most recently opened, much, much smaller IMAX screens such as Wimbledon and Kingston) and IMAX 3D (massive huge detailed image and also 3D).

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17
Q

CGI

A

(computer generated images) – images of characters, settings and scenes created on computers, rather than physically acted out and filmed (which is called ‘practical filming’). CGI is often integrated with live action to create special effects and stunts that could not be effectively or economically achieved with actors, stuntmen and pyrotechnics

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18
Q

Genre movie

A

A movie that predictably follows the conventional narrative structure of other movies within the genre

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19
Q

High concept movie

A

A movie with a straightforward plotline that can be easily marketed due to the ease of relating the concept to the target audience e.g Snakes on a plane

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20
Q

Social realism

A

one of the traditional genres of film made by British filmmakers. A form of filmmaking that attempts to portray realistic characters and situations as a means of exploring social issues, frequently social inequalities and the lives of the working classes. Also known as Kitchen Sink Dramas. Notable directors include Ken Loach and Mike Leigh.

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21
Q

Distribution and marketing

A

Making the film available to exhibitors (agreeing deals, producing digital ad physical copies), raising awareness and demand through marketing.

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22
Q

Horizontal integration

A

A company grows through merging or acquiring (buying) a competitor inthe same media area and at the same stage of the process. E.g. Disney (film production company) also bought out Pixar, LucasFilm and 21st Century Fox (which are also film production companies)

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23
Q

Vertically integrated

A

Describes a company that operates at more than one stage in the same industry. E.g. Warner Bros own a film studio at Leavesden, produce films and also distribute films globally.

24
Q

Conglomerate integration

A

Describes the process by which previously separate companies from different media areas combine through mergers and acquisitions to form huge global corporations that operate in several different media industries and in many different territories. E.g. AT&T has subsidiaries such as Warner Bros (film industry), CW Network (TV industry), DC Comics (publishing). NeverRealm Studioes (video game developers) etc. The whole company, including all of the subsidiaries is known as the parent company or a conglomerate.

25
Sister company
describes the relationship between two companies within the same conglomerate who can work together to achieve synergies.
26
cross media convergence
The term convergence describes things coming together. Whereas Technological Convergence describes technologies coming together, Cross Media Convergence describes different types of media forms coming together.
27
Cross-promotion
The use of one media product to market another. A classic example is the use of a hit record to help market the film (for example by including clips of the film in the video and stills from the film on the album artwork).
28
Synergy
describes the benefits derived by two or more companies when they work together – effective synergy relies on an overlap in terms of brand identity and target audience. Working together enables them to achieve more than if they worked apart. This is a kind of symbiotic relationship where they help each other and both benefit.
29
Tie-ins
agreements by the owners of a franchise to license other companies to use the characters and stories from a franchise, alongside the other company’s own products. This is generally coordinated with the build up to and release of a film. Tent-pole movies will often agree up to 20 or more deals with different companies including costumes, toys, food/drink, cars… Tie-ins provide additional revenues to the owners of the franchise either through an agreed fee, a split of the revenue derived from the additional products sold or a combination of both. Tie-ins also help cross-promote the film.
30
Technological convergence
the creation of devices that are capable of performing several different functions, e.g. a mobile phone can be used to make a voice call, video call, watch videos, as a stills camera, as a video camera, as an internet browser, as a social media hub, etc.
31
Hardware
Digital devices such as laptops, tablets, mobile phones and cameras.
32
Content
Different forms of media texts including videos, games, blogs etc.
33
Grass roots activity
Describes the many ways that fans produce their own texts based on an original text. Can be wholly original or reshape materials from the original. Includes mash ups, parodies, fanart, fan fiction etc. Very often a form of unauthorised circulation and a copyright infringement, though does not necessarily have a negative impact on the original product and may in fact be positive in some cases, adding to the buzz around a film and providing a space for the hardcore fans to reinforce and deepen their love for the franchise.
34
Astro-turfing
Describes grass roots activity that originates from and is orchestrated by the institution rather than coming from the fans themselves.
35
Digital prints
Copies of a finished film that are supplied to an exhibitor via an encrypted hard drive or through the Internet rather than a physical film reel. The hard drives are electronically encoded so that they can only be played in the licensed theatre for the period of time agreed. Returned to distributor after agreement elapses and reused for other films. Cost is essentially just transfer and transportation in contrast to 35mm prints that cost around £1k each. Digital prints have enabled independent films to get much wider releases. Since 2011 every Odeon screen in the UK has been equipped with a digital projector – these were partly funded through the UK Film Council’s ‘Digital Screen Network’.
36
Marketing
Raising awareness and demand for a film among audiences
37
Word of mouth
Awareness of a product that is generated by one person telling another, either in person or via a media platform like a blog or twitter.
38
Digital distribution
Distributing a product via electronic files.
39
Saturation market campaign
Large scale marketing campaigns that incorporate a wide variety of events and extend across multiple platforms. These are designed to build a high level of awareness and demand amongst a mass audience. These campaigns often including billboards, posters, theatrical and TV trailers, online advertising, websites, magazine and newspaper adverts, print, radio and TV appearances by cast and director, tie-ins with related products such as books, soundtracks, video games, toys, costumes, food and drink items (fast food and fizzy drinks), car manufacturers, mobile phone companies, competitions, etc.
40
Transmedia storytelling
The telling of stories across several media platforms. E.g. between the Batman Begins and The Dark Knight films, the video game Arkham Asylum continued the story of how the Joker took control of the asylum to again threaten Gotham. Transmedia storytelling extends fictional worlds and allows fans to drill down into the complexity of the stories and characters. It also enables institutions to flog a load of additional products and ensure hardcore fans are kept enthralled by the franchise during gaps between movie instalments.
41
World-building
Developing the universe of the franchise across different media products, for example by introducing new locations, new characters, new pieces of the timeline. Used to deepen the interest and passion of fans and add new ones on different platforms. This helps to build the long term value of the franchise that the studio can exploit over the mid to long term.
42
Exhibition/ exchange /consumption
the point at which the audience sees the film (legally or illegally)
43
ROI (return on investment)
The ratio of profit to cost. E.g. Monsters cost approx. $0.5m to produce and took approx. $4m at the global box office. Therefore profits were approx. $3.5m (revenue minus cost). It made 7 times as much profit as the original investment. Therefore the ROI was approx. 700%.
44
Release strategy
The strategy determined by the distributor for where and when the product will be exhibited to the public. E.g. frontloading, coordinated worldwide release (blanket release), limited release etc. Also includes the day, and month the film is released. For potential blockbusters this will usually be to coincide with the Summer, Easter or Christmas school holidays. Rom coms might aim for Valentine’s Day. For independent movies they may deliberately try to avoid the peak times of year to give themselves more visibility by entering a less crowded market. Tank432 released near to Halloween (low budget British horror).
45
Frontloading
A classic marketing and release strategy employed by Hollywood to pack as many screens as possible in the opening weekend, requires a wide theatrical release. Marketing campaigns often involve a drip, drip of information over a long period of time, building up as the release nears to whip up hype, buzz and basically get the target audience drooling over the prospect of seeing the film at the earliest opportunity. This strategy reduces risk of making a loss on the movie as monies spent on the film are recouped quickly, often within the first weekend. Essentially the distributor reduces the risk that unfavourable reviews and word of mouth could significantly damage the box office takings.
46
Output deals
The agreement between a distributor and exhibitor which covers a bundle of products. E.g. major film distributors such as Paramount typically sell to UK TV stations in bundles of ten movies at a time, crowding out the market for independent movies.
47
The value chain
The different stages and media through which a film generates revenue, typically starting with a cinematic release. E.g. cinema > Blu-ray/DVD/Video on demand>digital download>subscription TV>free to air TV
48
Worldwide box office
Value of total cinema ticket sales in the whole world
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Domestic box office
Value of total cinema tickets in the USA and Canada.
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International box office
Value of total cinema ticket sales everywhere outside of USA and canada.
51
Opening weekend
Combined total that a film takes in a specified territory on the first Friday, Saturday and Sunday at cinemas. Some films release on Wednesdays or Thursdays to extend this opening weekend.
52
Piracy
A negative term that describes the activity of circulating a product without permission of the copyright holders. Widespread activity engaged in on a host of peer-to-peer (P2P) networks/file-sharing sites that most 17 and 18 year old students can name…
53
Unauthorised circulation.
More neutral term to describe the different ways in which products are moved around by audiences without the copyright holder’s permission.
54
Immersive experience
The feeling an audience experiences when they are surrounded by the film as if it is all around them. Can be generated through use of IMAX screens that are enormous enough to fill the field of vision and are also curved to fill the audience’s peripheral vision. Can also be created through use of 3D/4D where a lifelike perspective is aimed for, blurring the line between the theatre and the screen so that the audience feels a spatial relation to the diegetic world.
55
Mainstream
A mass market product that is aimed at the widest possible number of potential consumers.
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Niche
A niche product is aimes at a smaller specified group within the market e.g LGBTQ+ audience, low budget British horror fans.