By Frederick Wasser
A humorous factor occurred which will the films. rather than heading downtown to a first-run motion picture palace, or maybe to a suburban multiplex with the newest high-tech projection features, many people's first cease is now the local video shop. certainly, video leases and revenues this day generate extra source of revenue than both theatrical releases or tv reruns of movies.
This pathfinding e-book chronicles the increase of domestic video as a mass medium and the sweeping adjustments it has brought on during the movie because the mid-1970s. Frederick Wasser discusses Hollywood's preliminary hostility to domestic video, which studio heads feared may result in piracy and declining sales, and exhibits how, satirically, video revitalized the movie with large infusions of money that financed blockbuster video clips and large advertising campaigns to advertise them. He additionally tracks the fallout from the video revolution in every thing from adjustments in movie construction values to deal with the small display to the increase of media conglomerates and the lack of the variety as soon as supplied by means of smaller studios and self reliant distributors.
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Additional resources for Veni, Vidi, Video: The Hollywood Empire and the VCR (Texas Film and Media Studies Series)
Enue center. Nonetheless, feature ﬁlm marketing practices remained relatively untouched by the television release. Since the ﬁlms were leased for ﬂat fees and often in packages of several titles bundled together, the individual ﬁlm distributors had little economic incentive to be concerned about the share of the television audience that watched a speciﬁc ﬁlm. The window be- film distribution and home viewing before the vcr tween theatrical release and broadcast was several years. This furthered the lack of inﬂuence the TV market had on ﬁnancing and production practices.
The historic high point of this system was from 1946 to 1948, when it was estimated that the average attendance was ﬁve times every eight weeks. The system maximized revenues in the domestic market so that most movies earned proﬁts even before they were exported to other countries. For this reason, Hollywood’s priority was to capture the American audience. Distribution executives viewed the rest of the world as found money, although they did quite well with the global audience. Broadcasting: The Other Entertainment Medium The 1920s was a time of growth for other forms of commercial entertainment.
Zukor knew from his own experience that the most powerful position in mass culture was that of the distributor. The most powerful distributors in radio were the national networks such as NBC and CBS. Zukor arranged for Paramount to extend credit to CBS in exchange for a future merger of Paramount and CBS stock. The intervening depression drove Paramount stock down while CBS stock rose. The head of CBS, William Paley, was able to buy out of the agreement. The ﬁlm industry had been effectively frozen out of the radio distribution business.