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3 - Movie Macroeconomics

from Part II - Media-Dependent Entertainment

Published online by Cambridge University Press:  26 June 2020

Harold L. Vogel
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Summary

This chapter reviews the history, business cycles, markets, and assets that are important to the movie industry.

Keywords

Business cyclescapital raisingproduction basicsfilm librariesstudio assets
Type
Chapter
Information
Entertainment Industry Economics
A Guide for Financial Analysis
 , pp. 89 - 133
Publisher: Cambridge University Press
Print publication year: 2020

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References

Further Reading

Altman, D. (1992). Hollywood East: Louis B. Mayer and the Origins of the Studio System. New York: Carol Publishing (Birch Lane).Google Scholar
Balio, T. (1987). United Artists: The Company That Changed the Film Industry. Madison: University of Wisconsin Press.Google Scholar
Baughman, J. L. (1992). The Republic of Mass Culture: Journalism, Filmmaking and Broadcasting in America since 1941. Baltimore: Johns Hopkins University Press.Google Scholar
Berg, A. S. (1989). Goldwyn: A Biography. New York: Knopf (Berkley Publishing Group paperback, 1998).Google Scholar
Brownstein, R. (1990). The Power and the Glitter: The Hollywood–Washington Connection. New York: Pantheon Books (Vintage paperback, 1992).Google Scholar
Cieply, M., and Barboza, D. (2012). “In China, Foreign Films Meet Powerful Gatekeeper,” New York Times, April 30.Google Scholar
Cieply, M., and Barnes, P. W. (1986). “Movie and TV Mergers Point to Concentration of Power to Entertain,” Wall Street Journal, August 21.Google Scholar
Egan, J. (1983). “HBO Takes on Hollywood,” New York Magazine, June 13.Google Scholar
Fowler, G. A., and Mazurkewich, K. (2005). “How Mr. Kong Helped Turn China into a Film Power,” Wall Street Journal, September 14.Google Scholar
Friedrich, O. (1986). City of Nets: A Portrait of Hollywood in the 1940s. New York: Harper & Row.Google Scholar
Horne, G. (2001). Class Struggle in Hollywood 1930–1950: Moguls, Mobsters, Stars, Reds, and Trade Unionists. Austin: University of Texas Press.Google Scholar
Izod, J. (1988). Hollywood and the Box Office, 1895–1986. New York: Columbia University Press.Google Scholar
Kafka, P., and Newcomb, P. (2003). “Cash Me Out If You Can,” Forbes, 171(5)(March 3).Google Scholar
Klein, E. (1991). “A Yen for Hollywood: Hollywood vs. Japan,” Vanity Fair, 54(6)(September).Google Scholar
Landro, L. (1995). “Ego and Inexperience among Studio Buyers Add Up to Big Losses,” Wall Street Journal, April 10.Google Scholar
Lang, B. (2017). “A Change Agent in the Theater Business,” Variety, 5(March 28).Google Scholar
Lang, B., and Donnelly, M. (2019). “Inside Indie Movie Theaters’ Battle to Survive,” Variety, March 26.Google Scholar
Lang, B., and Frater, P. (2015). “Chinese B.O. Builds Recession-Proof Wall,” Variety, September 15.Google Scholar
Leonard, D. (2001). “Mr. Messier Is Ready for His Close-up,” Fortune, 144(4)(September 3).Google Scholar
Rose, F. (1998). “There’s No Business Like Show Business,” Fortune, 137(12)(June 22).Google Scholar
Schuker, L. A. E. (2011). “Double Feature: Dinner and a Movie,” Wall Street Journal, January 5.Google Scholar
Sherman, S. P. (1986a). “Ted Turner: Back from the Brink,” Fortune, 114(1)(July 7).Google Scholar
Sherman, S. P. (1986b). “Movie Theaters Head Back to the Future,” Fortune, 113(2)(January 20).Google Scholar
Sherman, S. P. (1984). “Coming Soon: Hollywood’s Epic Shakeout,” Fortune, 109(9)(April 30).Google Scholar
Thompson, K. (1986). Exporting Entertainment: America in the World Film Market, 1907–1934. London: British Film Institute.Google Scholar
Twitchell, J. B. (1992). Carnival Culture: The Trashing of Taste in America. New York: Columbia University Press.Google Scholar
Waterman, D. (2005). Hollywood’s Road to Riches. Cambridge, MA: Harvard University Press.Google Scholar

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