| Papers [1-6] of 6 | Search results on "MIRAMAX FILMS": |
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Miramax Films, 1994.
(1994) Miramax Films examination including: executive summary, introduction, company description, analysis, recommendations, & appendix.
2,475 words (approx. 9.9 pages), 5 sources, £ 60.95
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From the Paper
" EXECUTIVE SUMMARY
Miramax Films is an independent film company that started more than 15 years ago with one film acquisition in release and that has developed into a major production entity for independent product. The company is now a subsidiary of Disney but operates as an independent entity within that company. This has created some tension because of the difference between Disney's conservative family image and the more daring product from Miramax, leading in at least one case to a protest against Disney by religious leaders who objected to a film about a sexually-obsessed Catholic priest. Miramax has produced the highly successful Pulp Fiction and has acquired a number of films that have been successful, notably The Crying Game. The marketing mix of the company is broad within the independent area, and it is.."
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Internet Download of Films, 2002.
A discussion of the issues involved in movie studios (Disney, Miramax) in making their first run films available for online downloading.
1,125 words (approx. 4.5 pages), 4 sources, £ 27.95
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Abstract
Discusses issues involved in movie studios (Disney, Miramax) making their first run films available for online downloading. Technology involved. Pay-per view basis. Copyright protection. Piracy issues & threat of the growth of movie pirating software. Competition between movie studios & cable industry.
From the Paper
"Issues Surrounding Releasing Films for Internet Download
Throughout the year 2000, several studios have been seeking partnerships with other studios to find ways to provide a wider selection of first-run movies. To date, two likely scenarios are emerging. One foresees Sony heading a group that would use emerging technologies that allow end-users to download movies for their personal library (Hofmeister A1). Another scenario envisions that studios such as Fox and Disney will explore streaming video technology for one-time viewing, alternately referred to as "video on demand" or a sort of pay-per-view system for downloadable films.
In the latter case, the studios even hope to link multiple Web sites or cross-license titles to make it easier for consumers to locate their favorite movies, even without knowing which..."
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Oscar Wilde's 'The Importance of Being Earnest', 2008.
This paper looks at the play and the 2002 Miramax film of 'The Importance of Being Earnest'.
1,728 words (approx. 6.9 pages), 2 sources, MLA, £ 38.95
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Abstract
This paper provides the writer's personal views regarding the play and film of "The Importance of Being Earnest". The writer notes that, while reading 'The Importance of Being Earnest' she wondered how it could possibly work as a movie. The writer then provides a critique and argues that the movie did not work particularly well. The writer points out that the cast was brilliant, the script is classic and witty and the budget was certainly adequate, but argues that the movie falls flat and then discusses where exactly it went wrong. The writer maintains that that the over-the-top fluffiness is exactly what Oscar Wilde would have wanted The writer concludes that both play and movie are worth experiencing, but only in that order.
From the Paper
"With a script like this, the fault must lie, at least in part, with the direction. If there was one thing done correctly in this film, however, it was the casting. The cast really was wonderful: from the characters they were chosen to play, to their individual performances, all the way to their work as an ensemble. In some instances, however, I felt they looked too deeply for something to do. Judi Dench is brilliant, but her character is rather simple: the archetypal stern mother. I just felt when reading it like it was a rather straight forward mother, looking to control the situation to better her daughter's future. I felt like Judi Dench was too good, and too much, to play this rather dry character. She is such a grounded actor I had trouble believing in her character's one track mind. I felt the same for Reese Witherspoon. Witherspoon has such a spark to her; I felt she was too much for the simple vulnerability of Cecily. The movie added in these fantasies of hers which I think in part were there to help a modern audience understand what the attraction to Algernon would be to Cecily. And it also acted as a vehicle to give Witherspoon more room to develop Cecily. But once again, for me, it really altered the character. It may be the way I read it."
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Matrimonial Mishap, 2005.
Analysis of the film "Muriel's Wedding", directed by P.J. Hogan and released by Miramax Films in 1994.
1,400 words (approx. 5.6 pages), 1 source, MLA, £ 32.95
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Abstract
Film analysis of "Muriel's Wedding" focusing on social commentary developed through the female lead, Toni Collette. The analysis progresses in time through the film, discussing Collette's interactions and relationships with her immediate family, close friends and a magazine-ordered husband. The focus of the paper is the development of Collette's seemingly vacant personal identity.
From the Paper
"Delicate bonds of friendship and support are commonly present among women and are frequently misunderstood by men at large. The film "Muriel's Wedding", directed by P.J. Hogan and released by Miramax Films in 1994, delivers an entertaining study on the intricacies of relationships between women. The female lead, Muriel Heslop, portrayed by Toni Collette, is a fascinating, dynamic character, who accidentally delivers complex statements on the emotional conditioning and familial influences born into women. Muriel's relationships with other women, including her mother, sister, friends, and her father's mistress, provide an entertaining chronicle of her coming of age and discovering the delight of emotional interdependence. Although the film is witty and comically light, its underlying themes are powerfully awakening and equally refreshing."
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Film Economics, 2005.
This paper looks at economics of the film business and discusses how it has changed over time.
3,375 words (approx. 13.5 pages), 9 sources, £ 92.95
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Abstract
This paper considers aspects of film business economics. The writer notes differences between studio films and independent films in terms of grosses and the relationship between opening weekend grosses and total grosses for a number of films. In this article, the writer uses Miramax as an example of an independent company showing a different pattern, as it opens films more slowly and makes money more slowly as well.
From the Paper
"The economics of the film business change over time, and much of what applied in the studio era is no longer applicable, and even what worked for the major companies in the 1970s is not applicable today. The business has become consolidated at the top, with the major studios dominating, while also opening the way for smaller companies at various times. The fact that film exhibition is now targeted more at multiplexes than at large stand-alone theaters has contributed to this change, given that exhibitors have more screens to fill. While they often do this by putting the same film on two or three screens at a time, they also rely on a larger number of films to keep patrons coming back week after week if not more often."
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Movie Industry, 1996.
History & evolution of motion picture studios. Major firms & leaders, economics, mergers, independents, marketing, theaters, examples (Paramount, Miramax).
3,375 words (approx. 13.5 pages), 8 sources, £ 82.95
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From the Paper
"At one time the term "movie studio" meant just that--a location where the company conducted its business, filmed its product, and performed the remainder of the tasks necessary to make a finished film. A studio may or may not also have had a distribution apparatus of its own, but it must have access to such an apparatus to get its films to the theaters. What a studio does not necessarily need today is the physical plant that once was so essential, for soundstage space can be rented and most films make use of real locales to a much greater extent and have little need of the back lot that used to be so important. The studio to be created here will require an office building of some size for the different departments, some of which can be housed in other buildings or even other parts of town when that..."
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