Enhanced descriptions from Syndetics:

The International Film Business examines the independent film sector as a business, and addresses the specific skills and knowledge it demands. It describes both the present state of the industry, the significant digital and social media developments that are continuing to take place, and what changes these might effect.

The International Film Business :

describes and analyses the present structure of the film industry as a business, with a specific focus on the film value chain discusses and analyses current digital technology and how it potentially may change the structure and opportunities offered by the industry in the future provides information and advice on the different business and management skills and strategies includes case studies on a variety of films including The Guard (2011), The King's Speech (2010), The Best Exotic Marigold Hotel (2012), Cloverfield (2008), Pobby & Dingan (aka Opal Dream , 2005), Confessions of a Dangerous Mind (2002), The Reckoning (2002)and The Mother (2003), and company case studies on Pixar, Renaissance, Redbus and Zentropa. Further case studies on films that failed to go into production include Neil LaBute's Vapor and Terry Gilliam's Good Omens.

Taking an entrepreneurial perspective on what future opportunities will be available to prepared and informed students and emerging practitioners, this text includes case studies that take students through the successes and failures of a variety of real film companies and projects and features exclusive interviews with leading practitioners in all sectors of the industry, from production to exhibition.

Table of contents provided by Syndetics

• List of illustrations (p. ix)
• Introduction (p. xi)
• Acknowledgements (p. xiii)
• Part 1 The film value chain (p. 1)
• 1 Global film: a changing world (p. 3)
• 2 The film value chain model and current restructuring (p. 15)
• 3 Film development (p. 27)
• 4 Green lighting films (p. 42)
• 5 Sales and markets (p. 50)
• 6 Film producer-distributor partnerships (p. 68)
• 7 Film finance (p. 83)
• 8 Co-production (p. 102)
• 9 Exhibition and the changing cinema experience (p. 111)
• Part 2 Users and the changing digital market (p. 121)
• 10 Users, consumer behaviour and market research (p. 123)
• 11 Traditional film marketing (p. 131)
• 12 Digital production (p. 146)
• 13 Digital distribution (p. 155)
• 14 Film marketing through the Internet (p. 164)
• Part 3 Business and management strategies (p. 173)
• 15 Business strategy (p. 175)
• 16 Enterpreneurs and investors in the film industry (p. 182)
• 17 The challenge of creative management (p. 191)
• 18 Project management (p. 209)
• 19 Business models 2.0 (p. 222)
• 20 Case study: interview with Simon Franks, Redbus Group (p. 234)
• 21 Conclusion (p. 246)
• Glossary (p. 250)
• Notes (p. 263)
• Bibliography (p. 272)
• Index (p. 276)

Reviews provided by Syndetics

CHOICE Review

This book fails to deliver on its title's promise. Though it is an informative treatment of the film business, it almost completely ignores any territory outside the US and Western Europe. The vast majority of the book is devoted to describing the nature of the film business with mentions of UK producers and distributors and longer case studies of European produced or co-produced films. The book fails to include any insight into markets in Africa, South America, or Asia. Considering that China is one of Hollywood's favorite audiences--films are marketed in China with additional scenes and actors to cater to Chinese audiences, and films released in China have huge box office receipts--the lack of any mention of this staggering market is a glaring weakness of this book. Though of some use as a reference for understanding how films are produced from a business perspective, this is not a book for anyone who wants to understand the international market for film. Summing Up: Not recommended. --Alvin Dantes, Florida International University