As is stated in the article, the company used to have a major competitive advantage in terms of movie selection, where, “…customers could browse through thousands of titles…” (Hitt 106). Now, the entire scope of the market has changed and Blockbuster was much too slow to respond. The recent moves that it has made will surely generate profits, but not enough to sustain the company in the long run, seeing as there is nothing that differentiates Blockbuster’s services from that of its competitors. In order to fully gain lost market share back, the company would have to create some sort of highly innovative way of viewing or renting movies that none of its competitors has already thought of; It would have to be something that is rare, difficult to imitate, not easily substituted, and able to generate above-average returns. Unfortunately, at this point it looks as if none of this will come into fruition because Blockbuster has essentially decided to latch on to other companies, creating a sort of symbiotic relationship where the company feeds off of the success of its competitors.
Many examples come from the entertainment side where if a movie makes a lot in the box office then it is a good movie, if a book gets off the shelves quickly then it is a good book, or if an album gets sales then it is a good album. However the entertainment side is not the only thing this pertains to, if an idea or a quick scam, like a shake weight, gets a roll on some sales then people start buying more and more thinking that it is a genius idea. This is how America come to believe things, if it makes money, sells quickly, or widely popular, then it must be
‘Titanic is often seen as economic triumph, and is of little aesthetic, social or technological interest to the film historian’ With the distinction of being the top gross box-office hit of all time, with gross revenues of over $600,000,000[i], there is little argument against director James Cameron’s 1997 ‘blockbuster’ Titanic being an economic triumph. However, many critics were scathing of the movie. Kenneth Turan, film critic of the Los Angeles Time, dismissed it as ‘a witless counterfeit of Hollywood’s Golden Age…’[ii]. This essay shall evaluate the argument of the title by considering the movie from the perspective of various approaches to film history in turn. Aesthetic, social and technological.
Wali Ghafar July 9, 2012 English 1D Movie Critique Jurassic Park (Movie Critique) For most critics and audiences, Jurassic Park has been considered one the most groundbreaking films of our lifetime. This is due to the fact that the special effects surpassed the expectations of movie goers and movie critics, as well as holding a more realistic plot that seems believable to the audience. Most films portray a fantasy storyline that is completely unrealistic, such as the Terminator or Event Horizon. But, then again, they are meant for entertainment. Jurassic Park holds a plot that is more representative of reality and still engages the audience through suspense and terror.
Despite the mixed responses, the film succeeded in drawing the attention of many. Bollywood has become the popular term used to refer to the Hindi-speaking film industry based out of India. Contrary to popular belief, the term does refer to the entire film industry in India. More specifically, it is identifying a certain region of the country and is based more on the language. Bollywood films are usually musicals and incorporate a lot of exciting music and dance.
IMAX faced two critical questions: would IMAX lose its differentiation if it exhibited too many Hollywood movies and should IMAX be sold to a larger studio such as Sony, Disney, or Time-Warner? I think IMAX wouldn’t lose its differentiation and shouldn’t be sold to a larger studio. We can start our case with SWOT analysis. The strengths for IMAX include its film technology, partnership with theaters and strong brand name. IMAX films are printed on films that are 10 times larger than the 35 mm films that were used in traditional multiplexes and were projected on screens that were eight stories high and 120 feet wider.
The blockbuster movie is typically understood to be a work of film in theater or television which gains notoriety and popular appeal to such an extent that audience attendance and overall gross profits of the movie far exceed standard expectations of the time. The blockbuster movie generally surpasses the accepted standard set by similar films and becomes most notable for its popularity as well as its box office profits One key ingredient of a movie's ability to become a blockbuster hit is the concept of mass appeal. For a movie to find ultimate success, it must appeal to a wide spectrum of both male and female movie-goers as well as both young and old audiences. Movie studios typically attempt to combine elements of action and adventure with comedic aspects or a romantic story line within the plot to attract as many people as possible . According to Ph.D. research sociologist Brian Uzzi of Northwestern University, movie buzz can often help a film become a blockbuster hit.
Warhol’s contributions to film, music, and art revolutionized the underground world and were soon exposed to mainstream pop culture, thus making these categories vital in the amalgamation of underground and pop culture. Although he is probably least recognized for his role as a director, Warhol was quite successful in filmmaking during the 1960s, directing more than sixty films within that decade. The jump from painting to directing was not a random move, but a plan strategically thought out. The value of Warhol’s pieces were rising steadily, but they were still low: Bockris (2003. p.224.)
Asian film has had an increasing presence on the stage of global cinema, with many films finding success via Hollywood remakes because of direct genre correlations, as with Ringu (Hideo Nakata, 1998)/The Ring (Gore Verbinski, 2002), and others finding success in their own right, based both on the merits of the films themselves, the novelty they bring American audiences, and the difficulty which many of the more culturally specific films, such as House of Flying Daggers (Zhang Yimou, 2004), would face in being translated. Ringu, as a genre film, “was already Hollywoodised before it was remade as The Ring” , and this combination of familiar form with fresh mythology and horror techniques played a central role in the film’s success. The fact that Ringu came from a Japan familiar with Americanized ways of life and horror tropes made the film accessible to Western audiences. Of course, genre films must have some fresh content in addition to continuity, and “East Asia’s rich supernatural tradition” and the “certain aura in Japanese ghost fiction…[which] tend to allow the aura to linger…or to literally haunt the audience rather than shock and thrill them” provide ample novelty. House of Flying Daggers, lacking a Western genre equivalent and referencing very specific Chinese cultural tropes, found global success anyway because of the artistry of the film, certainly, but also because of a Western predilection for exotic portrayals of ‘the Orient’.
“Mary Poppins is a film rich in detail, but its universal appeal is due to the fact that it blends so many elements together.”3 This movie “became an instant, blockbuster hit, with thirteen Academy Award nominations.”4 Such awards were Best Actress Oscar, Best Film Editing Oscar, Best Music Scoring Oscar, Best Song Oscar, and Best Special Visual Effects Oscar. This movie is now over fifty years old and many agree that the history of cinema would not be the same without it. Walt Disney’s Mary Poppins is still a masterpiece today due to the extraordinary hard work of Walt Disney, the wonderful storyline implemented with the use of live action with interludes of animation, and the impeccable acting skills of Julie Andrews. As a young boy, Walt Disney absolutely adored drawing and did so, practically every chance he could. “Walt’s drawings sometimes got him in trouble in school, he would rather doodle than complete his school work.