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CAN TWO HEADS LEAD? THE ART VERSUS THE COMMERCE ORIENTED MANAGER IN FILM PROJECTS

By Joris Ebbers and Nachoem Wijnberg

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Film projects have a dual-leadership structure, based on a division of tasks between the director and the producer, with the former predominantly responsible for the artistic and the latter for the commercial aspects of the film. The 1st Assistant Director (1st AD), who is positioned hierarchically below and between these dual leaders, plays an important role in managing conflicts between art and commerce.

Continue reading “CAN TWO HEADS LEAD? THE ART VERSUS THE COMMERCE ORIENTED MANAGER IN FILM PROJECTS”

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FILM AND THE CITY: SYMBIOTIC ASSOCIATION BETWEEN RIO DE JANEIRO AND BRAZIL’S MOVIE INDUSTRY

By João Luiz de Figueiredo and Rodrigo Carvalho

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Creative activities tend to materialize within the landscape of large cities as agglomerations of specialized firms and skilled labour, which offer extremely innovative resources. Major cities have been the site of the vast expansion of commercial cultural production that has occurred in recent decades. They are the locus of a range of creative industries such as fashion, music, architecture, advertising, graphic arts, and film. Cultural industries are able to contribute to the evolution of cities while playing a crucial role in the social reproduction of economic systems that are essential elements in the formation of competitive advantages in a given territory. In Brazil, Rio de Janeiro created and benefited from the Brazilian’s film industry. Continue reading “FILM AND THE CITY: SYMBIOTIC ASSOCIATION BETWEEN RIO DE JANEIRO AND BRAZIL’S MOVIE INDUSTRY”

SOMEBODY MUST KNOW SOMETHING!

By John Sedgwick and Mike Pokorny

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William Goldman, the screenwriter of Butch Cassidy and the Sundance Kid, posited that ‘nobody knows anything’ about the financial risks associated with the film industry, elevated by the Harvard professor Richard Caves to the ‘nobody knows’ principle.  Our research suggests otherwise: analysis of the tremendous economic success of film studios over the past 100 years suggests to us that film making is not such a risky business and that somebody would seem to know something!

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