By Virginia Crisp
Movie Distribution within the electronic Age severely examines the evolution of the panorama of movie distribution in recent times. In doing so, it argues that the interlocking ecosystem(s) of media dissemination needs to be thought of holistically and culturally if we're to really comprehend the transnational flows of cultural texts.
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Additional info for Film Distribution in the Digital Age: Pirates and Professionals
3). Not only is culture at the forefront of such an economy, but it is also the individuals who hold such knowledge that become increasingly valued and respected. 44 Film Distribution in the Digital Age Traditionally accepted economic thinking says that increasing economic returns for investors involves the pursuit of self-interest through the exploitation of resources (human, natural and other resources) to supply the demands of the market. However, with the emergence of the knowledge society and the ‘knowledge worker’, human resources are no longer perceived as merely a passive asset that just performs routine tasks in the cycle of production and supply.
The acquisition process In order to investigate the nature of the acquisitions process within both Tartan and Third Window, three central questions will be posed: Firstly, who is ultimately responsible for acquisition decisions within these independent distribution companies? Secondly, how do the ﬁlms come to the attention of the distributors in the ﬁrst place? And ﬁnally, what aesthetic, commercial and ﬁnancial criteria contribute to judgements of quality and suitability of particular ﬁlms? Such questions allow us to consider in more detail the motivations of distributors and also the signiﬁcance of types of knowledge and expertise in shaping the acquisitions process.
Signiﬁcantly, Kravit suggests that distribution is the ‘heart of the PFD agreement’ (2006, p. 204), as this contract deﬁnes the allocation of gross receipts, that is, how the ﬁlm’s gross profits are divided amongst the interested parties. This agreement states the distributor’s fee for releasing the ﬁlm in various territories: typically 30% in the domestic market (Picker, 2006, p. 169), rising to 40–45% in overseas markets, with some exceptions (for example, the UK, where the fee is 35%, largely because subtitling and dubbing are not needed) (Kravit, 2006, p.