Bypassing a cinema near you : rise of machines means sequels go straight to DVD
Sydney Morning Herald (21/10/2005) p.7 Call No: DVD RESEARCH FOLDER; DVD RESEARCH FOLDER Author: Tadros, Edmund Subject: DVD, FILMS ON; SONY CORPORATION; DISTRIBUTION; SEQUELS Summary: Trend of studios 'cashing in' on a box-office success by making "low-cost home-viewing sequels. A number of films are mentioned, as well as the burgeoning DVD market in comparision with box office revenue. Notes: accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007). Quotations: -- Domenic Remond: Marketing Director Sony Pictures Home Entertainment - "It's for the rental market, for people who come in every week, and they need new product" - Budget's for straight-to-DVD sequels at Sony would "probably be about a quarter of the original's budget" - "when you run the numbers it makes more sense to us to take a strong product and take it direct to video"; -- List of Straight to Video sequels include a lot of Disney animation and newer flicks - Cruel Intentions 2, Cruel Intentions 3, Wild Things 2, Wild Things: Diamonds in the Rough, Urban Legends: Bloody Mary, American Pie Presents Band Camp More info
Cycles, sequels, spin-offs, remakes, and reboots : multiplicities in film and television / edited by Amanda Ann Klein and R. Barton Palmer
Austin, TX: University of Texas Press, 2016.
Call No: 753.81 CYC Author: Klein, Amanda Ann (ed.); Palmer, R. Barton (ed.) Edition: First edition Source: US Place: Austin, TX Publisher: University of Texas Press PubDate: 2016 PhysDes: vi, 357 pages : illustrations (black and white) ; 24 cm Subject: FILM; CRITICISM; REMAKES; SEQUELS Summary: "With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture.
The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study." -- BOOK BACK COVER BLURB Notes: Formerly CIP; Includes bibliographical references and index; Also published electronically ISBN: 9781477308172 Donation: Senses of cinema Contents: -- ch. 1 Introduction / Amanda Ann Klein and R. Barton Palmer -- ch. 2 The Kissing Cycle, Mashers, and (White) Women in the American City / Amanda Ann Klein -- ch. 3 Descended from Hercules: Masculine Anxiety in the Peplum / Robert Rushing -- ch. 4 The American Postwar Semidocumentary Cycle: Factual Dramatizations / R. Barton Palmer -- ch. 5 Cycle Consciousness and the White Audience in Black Film Writing: The 1949--1950 "Race Problem" Cycle and the African American Press / Steven Doles -- ch. 6 Vicious Cycle: Jaws and Revenge-of-Nature Films of the 1970s / Constantine Verevis -- ch. 7 Familiar Otherness: On the Contemporary Cross-Cultural Remake / Chelsey Crawford -- ch. 8 Anime's Dangerous Innocents: Millennial Anxieties, Gender Crises, and the Shojo Body as a Weapon / Elizabeth Birmingham -- ch. 9 It's Only a Film, Isn't It? Policy Paranoia Thrillers of the War on Terror / Vincent M. Gaine -- ch. 10 Doing Dumbledore: Actor-Character Bonding and Accretionary Performance / Murray Pomerance -- ch. 11 A Lagosian Lady Gaga: Cross-Cultural Identification in Nollywood's Anti-Biopic Cycle / Noah Tsika -- ch. 12 Re-solving Crimes: A Cycle of TV Detective Partnerships / Sarah Kornfield -- ch. 13 Smart TV: Showtime's "Bad Mommies" Cycle / Claire Perkins -- ch. 14 My Generation(s): Cycles, Branding, and Renewal in E4's Skins / Faye Woods -- ch. 15 Extended Attractions: Recut Trailers, Film Promotion, and Audience Desire / Kathleen Williams -- ch. 16 Retro-Remaking: The 1980s Film Cycle in Contemporary Hollywood Cinema / Kathleen Loock -- ch. 17 I Can't Lead This Vacation Anymore: Mumblecore's American Man / Amy Borden -- ch. 18 Serialized Killers: Prebooting Horror in Bates Motel and Hannibal / Andrew Scahill -- list of contributors -- index -- More info
Film sequels : theory and practice from Hollywood to Bollywood / by Carolyn Jess-Cooke
Edinburgh: Edinburgh University Press, 2009.
Call No: 753.83 JES Author: Jess-Cooke, Carolyn Source: UK Place: Edinburgh Publisher: Edinburgh University Press PubDate: 2009 PhysDes: viii, 166 p. ; 24 cm Subject: SEQUELS; FILM; CRITICISM; ADAPTATIONS; HOLLYWOOD; THEORY; A.I: ARTIFICIAL INTELLIGENCE (US, Steven Spielberg, 2001) Summary: "The film sequel has been maligned in popular culture as a vampirish corporative exercise in profit-making and narrative regurgitation. Drawing upon a wide range of examples from early cinema to the twenty-first century, this volume reveals the increasing popularity of, and experimentation with, film sequels as a central dynamic of Hollywood cinema. Now creeping into world cinemas and independent film festivals, the sequel is persistently employed as a vehicle for cross-cultural dialogue and as a structure by which memories and cultural narratives can be circulated across geographical and historical locations. This book aims to account for some of the major critical contexts within which sequelisation operates by exploring sequel production beyond box office figures. Its account ranges from sequels in recent mainstream cinema, art-house and 'indie' sequels, non-Hollywood sequels, the effects of the domestic market on sequelisation, and the impact of the video game industry on Hollywood." --BACK COVER BLURB Notes: Includes bibliographical references and index ISBN: 9780748626045 Contents: -- preface -- acknowledgments -- Introduction: The age of the $equel: beyond the profit principle -- 1 Before and after the blockbuster: a brief history of the film sequel -- 2 Screaming, slashing, sequelling: what the sequel did to the horror movie -- 3 "It's all up to you!": sequelisation and user-generated content --4 Adventures in Indiewood: sequels in the independent film marketplace -- 5 Signifying Hollywood: sequels in the global economy -- 6 Sequelisation and secondary memory: Steven Spielberg's Artificial intelligence: A. I. (2001) -- references -- index -- More info
Hollywood chooses to err on the side of caution
Australian Financial Review (06/01/2007) p.4 Call No: DVD RESEARCH FOLDER; DVD RESEARCH FOLDER Author: Boland, Michaela Subject: BLOCKBUSTERS; SEQUELS; BOX OFFICE. AUSTRALIA; SHREK (US, Vicky Jenson & Andrew Adamson, 2001); SHREK 2 (US, Kelly Asbury & Andrew Adamson & Conrad Vernon, 2004); BOURNE IDENTITY, THE (US, Doug Liman, 2002); BOURNE SUPREMACY, THE (US, Paul Greengrass, 2004); SPIDER-MAN (US, Sam Raimi, 2002); SPIDER-MAN 2 (US, Sam Raimi, 2004) Summary: The importance of Sequels within the business that markets and selling tested product within a risky film industry and which will hopefully drag the kids away from gaming, mobile phones and whatever other entertainment pursuits have been engaging them and their wallets.
- A Rule of thumb suggests a sequel will gross about 10 to 20 per cent less than its predecessor; studios relish this security in an otherwise very uncertain business.
- To maintain integrity a sequel must feature some elements of the original, such as key cast and the calibre of the director (if not the same director). But some franchises have been so well released they built on the original audience
- Box Office numbers dropped 10 per cent in 2005 and bounced back in 2006, but not to the 907 million gross that Australian cinemas had achieved in 2004
Film Release patterns are integral to how much the film will generate in sales. (Summer Blockbusters, Releases for award nominations); accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007). Notes: -- accessed from: Factiva. Dow Jones Reuters Business Interactive LLC. RMIT University Library. (14 May 2007). Quotations: FILM SALES – DVD
Shrek 2 – Sold extremely well on DVD
FILMS SALES – CINEMA RELEASE
Shrek 2 – 50 Million/18 million more than Shrek 1
The Bourne Identity – 13 million in Australia
The Bourne Supremacy – 16 million
Spider-man 31 million in Australia
Spiderman 2 24.4 million More info
The Hollywood sequel : history & form, 1911 - 2010 / Stuart Henderson
Houndmills, Basingstoke, Hampshire New York, NY: Palgrave Macmillan on behalf of the British Film Institute, 2014.
Call No: 753.83(73) HEN Author: Henderson, Stuart Source: US/UK Place: Houndmills, Basingstoke, Hampshire New York, NY Publisher: Palgrave Macmillan on behalf of the British Film Institute PubDate: 2014 PhysDes: viii, 220 pages : illustrations ; 24 cm Subject: SEQUELS; INDUSTRY, FILM. USA; STARS; GENRES; NARRATIVE IN FILMS; INTERTEXUALITY; TARZAN IN FILMS Summary: "This illuminating study charts the changing role of the Hollywood film sequel over the past century. Considering a range of sequels in their industrial, historical and aesthetic contexts, from The Son of a Sheik (1926) to Toy Story 3 (2010), this book provides a comprehensive history of this critically-neglected yet commercially-dominant art form"-- Notes: A BFI book.
Includes bibliographical references (pages 204-207) and index ISBN: 9781844576524 Contents: 'Here we go again ... and again' : introducing the Hollywood sequel -- Early sequels, 1911-28 -- Sequels in the factory, 1929-54 -- The uncertainty principles, 1955-77 -- 4. The end is just the beginning, 1978-2010 -- No end in sight : the classical narrative paradigm and the sequel -- The McClane principle : intertextuality, stardom and character in the sequel -- A formula of formula : genre and the aequel -- Conclusion : the Hollywood sequel : a story complete in itself More info
Maze Runner: the scorch trials
Sunday Herald Sun [Arts & Entertainment] (13/09/2015) p.83 Call No: TITLE CLIPPINGS FILE; MAZE RUNNER: THE SCORCH TRIALS (US, Wes Ball, 2015) Author: Dent, Nick PhysDes: Clippings File Article Subject: SEQUELS; ACTION FILMS; SCIENCE IN FILMS; THRILLERS; BALL, WES; O'BRIEN, DYLAN; SCODELARIO, KAYA; GILLEN, AIDEN; CLARKSON, PATRICIA; MAZE RUNNER, THE (US, Wes Ball, 2014); MAZE RUNNER: THE SCORCH TRIALS (US, Wes Ball, 2015) Summary: Review and film critique of the movie 'Maze Runner: The Scorch Trials,' sequel of 'The Maze Runner,' including plot summary. Rating: 2.5 out of 5 stars More info
One good film deserves another : a pictorial survey of film sequels / Michael B. Druxman
New Jersey: A. S. Barnes, 1977.
Call No: 753.83 DRU Author: Druxman, Michael B. Place: New Jersey Publisher: A. S. Barnes PubDate: 1977 PhysDes: 175 p. : ill. ; 29 cm Subject: SEQUELS; BOYS TOWN (US, Norman Taurog, 1938); TOPPER (US, Norman Z. McLeod, 1937); LITTLE FOXES, THE (US, William Wyler, 1941); MRS MINIVER (US, William Wyler, 1942); JOLSON STORY, THE (US, Alfred E. Green, 1946); BROKEN ARROW (US, Delmer Daves, 1950); KING SOLOMON'S MINES (US, Compton Bennett & Andrew Marton, 1950); CREATURE FROM THE BLACK LAGOON (US, Jack Arnold, 1954); PEYTON PLACE (US, Mark Robson, 1957); CURSE OF FRANKENSTEIN, THE (UK, Terence Fisher, 1957); ROOM AT THE TOP (UK, Jack Clayton, 1959); HARPER (US, Jack Smight, 1966); PLANET OF THE APES (US, Franklin J. Schaffner, 1967); FUNNY GIRL (US, William Wyler, 1968); THREE MUSKETEERS, THE (PN, Richard Lester, 1973); FRENCH CONNECTION, THE (US, William Friedkin, 1971); GODFATHER [...], THE (US, Francis Ford Coppola, 1972-) Notes: Includes filmographies ISBN: 0498018067 Contents: Motion pictures.
Cinema films Sequels to 1976 More info
subject clippings file
Call No: SUBJECT CLIPPINGS FILE PhysDes: Clippings Subject: SEQUELS More info
Short cuts : Seale in the frame
Canberra Times (21/07/2016) p.19 Call No: TITLE CLIPPINGS FILE in production; MAD MAX FURY ROAD SEQUELS in production Author: Maddox, Garry Subject: SEALE, JOHN; MAD MAX FURY ROAD SEQUELS in production Summary: Quotes from cinematographer John Seale about his masterclass for the Australian Academy of Cinema and Television Arts and how he mentioned the possibility of a new Mad Max film (depending on the location offset from the Federal Government) and a new Peter Weir film Notes: shorter article in The Age, title: Short cuts: Seale of approval for next Mad Max?, same date, p 216 More info
Storytelling in film and television / Kristin Thompson
Cambridge, Massachusetts: Harvard University Press, 2003.
Call No: 632.2 THO Author: Thompson, Kristin Edition: 1st ed. Source: USA Place: Cambridge, Massachusetts Publisher: Harvard University Press PubDate: 2003 PhysDes: 172 p ; 20cm + b&w ill. Subject: ADAPTATIONS; ADVERTISING; CHARACTERS ON TV; DRAMAS; INTERNET; SCRIPTWRITING; SYMBOLISM ON TV; NARRATIVE IN FILMS; NARRATIVE IN TV; SEQUELS; SERIALS; SITUATION COMEDY; SOAP OPERAS; MERCHANDISING; BORDWELL, DAVID; CLEESE, JOHN; FROST MARK; KAEL, PAULINE; LYNCH, DAVID; NEWCOMB, HORACE; WILLIAMS, RAYMOND; WODEHOUSE, P.G; AVENGERS, THE [TV] (UK, 1961-69); BAD GIRLS [TV] (UK, 1999-); BLUE VELVET (US, David Lynch, 1986); BOB NEWHART SHOW, THE [TV] (US, 1961-62); BUFFY THE VAMPIRE SLAYER [TV] (US, 1997-2004); HILL STREET BLUES [TV] (US, 1980-87); MURPHY BROWN [TV] (US, 1988-); ROYLE FAMILY, THE [TV] (UK, 1998-2000); SINGING DETECTIVE, THE [TV] (UK, Jon Amiel, 1986); SOPRANOS, THE [TV] (US, 1999); STAR WARS (US, George Lucas, 1977); YES MINISTER [TV] (UK, 1980-84) Summary: Author Kristin Thompson analyses the narrative workings of television and film, looking at the narrative techniques the two media share. Thomson then focuses on the specific challenges that series television presents and the tactics writers have devised to meet them – tactics that sustain interest and maintain sense across multiple plots and subplots and in spite of frequent interruptions as well as weeklong and seasonal breaks.
[Taken from back cover]. ISBN: 0674010876 More info
Sydney Confidential : sequels will have fans pumped to the Max
Daily Telegraph (07/10/2015) p.18 More info