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Even though horror has been a key component of media output for almost a century, the genre's industrial character remains under explored and poorly understood. Merchants of Menace: The Business of Horror Cinema responds to a major void in film history by shedding much-needed new light on the economic dimensions of one of the world's most enduring audiovisual forms. Given horror cuts across budgetary categories, industry sectors, national film cultures, and media, Merchants of Menace also promises to expand understandings of the economics of cinema generally. Covering 1930-present, this groundbreaking collection boasts fourteen original chapters from world-leading experts taking as their focus such diverse topics as early zombie pictures, post-WWII chillers, Civil Rights-Era marketing, Hollywood literary adaptations, Australian exploitation, "torture-porn" Auteurs, and twenty-first-century remakes

Horror films --- History and criticism. --- Marketing. --- Production and direction.

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Theaters --- Theater --- Performing arts --- Production and direction --- Stage-setting and scenery

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Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that, "Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways. Why? What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?" In this extended essay, or letter, Manchevski ruminates the different ways in which both filmmakers and audiences create, experience, and absorb the cinematic narrative with a certain trust and faith in the artwork to render, not the factual truth, per se, but the importantly shared experience of trusting "the plane of reality created by the work itself," such that "we trust its inner logic and integrity, we have faith in what happens while we give ourselves to this work of art." Truth becomes a question of what artist and audience can see and feel together: what feels real becomes the world we inhabit. The book also includes an Afterword, "Truth Approaches, Reality Affects," by internationally renowned film scholar Adrian Martin.

Motion pictures --- Motion picture audiences. --- Production and direction. --- Philosophy. --- aesthetics --- Macedonia --- film studies --- cinema vérité

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A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Contemporary film and television production is extraordinarily mobile. Filming large-scale studio productions in Atlanta, Budapest, London, Prague, or Australia's Gold Coast makes Hollywood jobs available to people and places far removed from Southern California-but it also requires individuals to uproot their lives as they travel around the world in pursuit of work. Drawing on interviews with a global contingent of film and television workers, Kevin Sanson weaves an analysis of the sheer scale and complexity of mobile production into a compelling account of the impact that mobility has had on job functions, working conditions, and personal lives. Mobile Hollywood captures how an expanded geography of production not only intensifies the often invisible pressures that production workers now face but also stretches the parameters of screen-media labor far beyond craftwork and creativity.

Motion picture industry --- Motion pictures --- PERFORMING ARTS / Film & Video / General. --- Employees --- Social conditions. --- Production and direction

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Business planning. --- Motion picture industry --- Motion pictures --- Business enterprises --- Business plans --- Corporate planning --- Corporate strategy --- Corporations --- Strategy, Corporate --- Planning --- Strategic planning --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Finance. --- Production and direction. --- Finance --- Production and direction --- Direction --- Business planning --- E-books