Since the earliest days of motion picture, product placement has been a part of the film industry. Product placement, or brand integration, is the inclusion of specific brands into a creative work. In recent years, product placement has been utilized in more and more feature films. Brand integration has the potential to help both the consumer products industry as well as the film industry. However, there is a high level of risk associated with the utilization of product placement. Through interviews with professionals in the film industry, I attempt to uncover details that make a product placement deal successful. The results of this research lead to certain strategies that can mitigate the risk associated with brand integration. Exclusive and transparent contracts will help make the product placement industry more efficient.
Midrash is a body of homiletic stories in the Jewish tradition told by Rabbinic sages to comment on the Old Testament. Written down in the second century, existing scholarship has explored many aspects of how midrash was used by these communities. However, by expanding and reimagining how midrash can be studied, we can argue there exists a midrash genre in film adaptation that is a part of this genre of commentary that extends through secular literature to the original writing of the Hebrew Bible. This can be proven by breaking down the functional structure of the homiletic midrash and mapping it through the work of Flannery O’Connor, specifically looking at how her first novel, Wise Blood and John Huston’s film adaptation of the same novel act within this extended midrash genre to comment on Southern Protestant Christianity from O’Connor’s vexed Catholic worldview. If film could be studied as an extension of religious creative exegesis, especially one consistent with the internal tradition found within the writing of sacred texts, then this reimagining of midrash could have many implications for how we understand and study religious reimagination and reinterpretation in the modern world, as well as opening the door to studying the creative exegesis happening right in front of us.
When a movie comes out it has ex post and ex ante factors. Ex ante factors describe the movie variables that exist before a movie is released. These include the size of the movie’s budget, how many theaters the movie opens up in, whether or not the movie is a sequel, how much buzz is surrounding the movie, what actors are appearing in the movie, when the movie comes out, what rating the movie has, and what genre the movie is. The ex post factors describe variables that exist after a movie is released. These include the awards a movie wins or is nominated for, how the movie is received by normal viewers, and how the movie is received by professional critics. The ex ante factors contribute to the hype that a movie has. A movie that has high ex ante factors is a lot of buzz surrounding it and is a likely big flashy movie that looks good. The ex post factors contribute to the quality of a movie. A movie with high ex post is recognized by the community to have artistic quality. I want to see whether ex post factors or ex ante factors are more important to a movie’s box office success. This will answer the question of whether it is more important for a movie to look or for it be good for the movie to be successful at the box office.
This paper delves into the way movies age and questions whether the decisions behind Netflix user ratings can be explained by characteristics of the movies themselves and the influence of popular opinion. Using a data set of just under 8 million user ratings on Netflix that apply to 300 movies, the hypothesis that time, movie characteristics, and measures of commercial success are statistically significant explanatory variables of the valence of individual Netflix ratings and lagged averages is tested through a 2SLS framework. All included variables are found to be significant, and the results suggest that time is a positive indicator for both dependent variables. Averages are found to be explained much more adequately by these factors than individual ratings. Popular opinion carries a sizeable amount of sway as well, and the results indicate that movies on Netflix do in fact age like a fine bottle of wine.
Dustin Lance Black, the Academy Award-winning screenwriter of the film "Milk," speaks on social movements in film and media with a focus on gay, lesbian, bisexual, and transgender inequality. Part of Notable Lectures & Performances series, Colorado College. Recorded April 2, 2010.