Originally published at notes on cinema James McMahon This paper investigates the timing of labour strikes in Hollywood. The occurrence of strikes, such as the WGA and SAG-AFTRA strikes in 2023, can make sense when we have the hindsight to piece together the historical details of what created rifts between labour and management. But was […]
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Originally published at notes on cinema James McMahon Around the time of this post, SAG-AFTRA and the Alliance of Motion Picture and Television Producers (AMPTP) produced a tentative agreement in their 2023 negotiations. The SAG-AFTRA National Board approved the tentative agreement, and recommends for the ratification of the 2023 TV/Theatrical contracts. – J When the […]
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Originally published at notes on cinema James McMahon Missed Part 1? You should start here. Author’s note: Around the time of this post, the WGA and the Alliance of Motion Picture and Television Producers (AMPTP) produced a tentative agreement in their 2023 negotiations. The WGA Negotiating Committee, the WGAW Board and WGAE Council all voted […]
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Originally published at notes on cinema James McMahon On May 2, 2023, the Writers Guild of America (WGA) went on strike after failing to reach an acceptable agreement with the Alliance of Motion Picture and Television Producers (AMPTP), the trade association that negotiates for the film and television interests of the major Hollywood studios. While […]
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Abstract This paper builds an empirical and theoretical model to analyze how the financial goal of risk reduction changed the insides of Hollywood’s star system. For the moviegoer looking at Hollywood cinema from the outside, the function of the star system has remained the same since the 1920s: to have recognizable actors attract large audiences […]
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Originally published at Economics from the Top Down Blair Fix Over the last year, I’ve watched with horror and amusement as health agencies around the world flip-flopped their advice on how to deal with COVID. My horror comes from knowing this flip-flopping breeds mistrust in science. But I am (morbidly) amused because I know that […]
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Originally published at notes on cinema James McMahon Rotten Tomatoes (RT) found a way to get every last drop from the well of convenience. Film criticism is already pressured, tacitly by convention, or explicitly by editors and bosses, to give bite-size scores with thumbs (up or down), stars (out of 4 or 5), letter grades […]
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Originally published at notes on cinema James McMahon Like other streaming services, Netflix does not make its user data public. To date, there are two exceptions to this privacy. Netflix released a large dataset of anonymized user activity when it offered a one million dollar prize for the best AI model that could predict user […]
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Originally published at notes on cinema James McMahon On the question of who judges the quality of a film, it is easy to start with a notion that the ultimate judge of a film’s quality is the individual moviegoer. As individual moviegoers, this is often what we think we are doing: we have the autonomy […]
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Abstract In the March 2021 issue of Harper’s, Scorsese wrote an essay to pay tribute to Federico Fellini, the Italian director who directed such great films as La Strada, 8 1/2, La Dolce Vita, Nights of Cabiria and Satyricon. Scorsese writing on Fellini is definitely newsworthy for cinephiles who want to know about Fellini’s beginnings […]
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Abstract In Hollywood, the goals of art and business are entangled. Directors, writers, actors, and idealistic producers aspire to make the best films possible. These aspirations often interact with the dominant firms that control Hollywood film distribution. This control of distribution is crucial as it enables the firms and other large businesses involved, such as […]
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Originally published at notes on cinema James McMahon We ended the last post with a scenario of someone dreaming of their film going all the way to the Academy Awards. But I also waved away any dreamy smoke that clouds our imaginations about this outcome. As was shown in Figure 5, which is pictured below, […]
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Originally published at notes on cinema James McMahon Sitting through the Academy Awards ceremony can be frustrating if you watch a lot of films. The breadth of your viewings has given you the perspective to see how some very good films are either receiving small numbers of nominations or are outright ignored across all categories. […]
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Abstract This paper builds an empirical and theoretical model to analyze how the financial goal of risk reduction changed the insides of Hollywood’s star system. For the moviegoer looking at Hollywood cinema from the outside, the function of the star system has remained the same since the 1920s: to have recognizable actors attract large audiences […]
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Originally published at notes on cinema James McMahon A survey of academic writing on the business of culture will show that authors seldomly restrain themselves from making predictions or giving recommendations to the hypothetical economic actor. This offering of future-oriented arguments to an audience should not be surprising. The disciplines of economics, business, management studies […]
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Originally published at notes on cinema James McMahon I have been fortunate enough to teach university classes on politics and film. I am certain few students in these classes could guess how stressful it was to assemble a list of films for each semester. The films I showed in class or assigned as homework have […]
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Originally published at notes on cinema James McMahon Your movie turned out the be a flop? “Nobody knows anything”. You mistakenly believed consumers wanted to see a movie set in the 1920s? “Nobody knows anything”. You thought your casting decisions were going to be loved by all? “Nobody knows anything”. “Nobody knows anything”–this was the […]
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Abstract This dissertation combines an interest in political economy, political theory and cinema to offer an answer about the pace of the Hollywood film business and its general modes of behaviour. More specifically, this dissertation seeks to find out how the largest Hollywood firms attempt to control social creativity such that the art of filmmaking […]
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Abstract This paper investigates the historical development of risk in the Hollywood film business. Using opening theatres as a proxy for future expectations, the paper demonstrates how, from 1981 to 2011, Hollywood has improved its ability to predict the financial rankings of its films. More specifically, the Hollywood film business has become better at predicting […]
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