Rynek kina artystycznego w Nowym Hollywood

Publikacja została sfinansowana ze środków Narodowego Programu Rozwoju Humanistyki w ramach projektu nr 12H 11 0004 8

Up All Night: The Shifting Roles of Home Media Formats as Transmedia Storytelling

In this age of convergence, where media platforms and industries are becoming increasingly connected and intertwined, ‘transmedia’ has become a buzzword that scholars and industry alike have come to perceive as the media production strategy of the future. When scholars theorise transmedia storytelling, they typically prioritise film, TV, videogames and websites. DVDs and Blu-Rays—physical formats that occupy a vital role in extending and repurposing media content across new terrains—are often overlooked. This chapter will question what specific roles they play in extending stories across media platforms. This chapter explores the specific case studies of Doctor Who and the Marvel Cinematic Universe

United Artists

Established in 1919 by Hollywood’s top talent United Artists has had anillustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists’ centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives ranging from Joseph Schenck to Paula Wagner and Tom Cruise, and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven’s Gate, Cruising and Hot Tub Time Machine). My own contribution to this 304 page volume (apart from co-editing it) is the following chapter: Peter Krämer, “’One of the United Artists’: Buster Keaton, Joseph Schenck and UA”, United Artists, ed. Peter Krämer, Gary Needham, Yannis Tzioumakis and Tino Balio, London: Routledge, 2020, pp. 19-3

Film consumer decision-making: the Philadelphia story, 1935–36

This article uses consumer research conducted in the early 1940s to interrogate and interpret a new dataset of daily box-office returns for 22 cinemas in the city of Philadelphia over 33 weeks traversing 1935–36. Our findings attempt to contextualize the observation made by the 1940s market investigators that just under half of cinema audiences were non-selective. It does this by a detailed analysis of the system of film distribution in which films were distributed in a hierarchical manner, from first-run through to fourth-run cinemas. Through an analysis of the variation in the performance of films at each level of the distribution hierarchy, and the impact that this variation had on the distribution of film revenues, we conclude that the impact of non-selective audiences on film outcomes was limited, irrespective of the relative importance of this audience component. We conclude by comparing and contrasting risk environments of the 1930s and contemporary film industries