Padron 1 Anthony Padron 10/19/13 Professor Leslie Wolcott ENC 1102 Annotated Bibliography Media is always changing, and

with it, so does the medium in which we receive are able to view that media. Film, television, and video games companies are always trying to find different and better ways to distribute their product, be it physically or through a different type of technology such as streaming, or digital downloads. Some formats seem to be more popular while others are dying. Rather than what we have seen in the past thirty years, which has always been physical, there are now emerging distribution forms that allow us to buy media without even leaving the house. Rather than the usual swapping out and upgrading that happened between betamax, VHS, and DVD, a large amount of consumers never moved on to Blu-ray. Distributors have hit a wall when it comes to getting their product out there. A lot of consumers did not make the switch to Blu-ray, which is why we see DVD sales still coming out strong. Digital downloads, sometimes directly from the studios and other times through another company such as Ultraviolet are doing very well. Another option for consumers is streaming such as that with Netflix. Now, they have options. Different analysts have different ideas about the dying and emerging formats. Some disagree that any change will occur, while others see it as constantly-changing. There dont seem to be numbers to back up the changes but it is visible and the sales

Padron 2 show that physical sales are slowing while digital rental networks are blowing up. It is obvious that film sales are never going to simply vanish. It is all a matter of figuring out how to get these products out and who wants them. There are more movies coming out today than ever before. It is just more difficult to succeed at the theatrical level, so more of these filmmakers go to video-on-demand services. It is less of a gamble, and allows more creativity and freedom, along with the actual possibility of having people view and purchase your product. Ault, Susanne. "From Disc Till Dawn." Variety. 02 09 2013: 44-49. Web. 10 Oct. 2013. Susanne Alt is a credible author because she writes for a credible source, Variety. She only writes about entertainment and this type of thing. She has multiple popular entertainment series. She is a senior reporter and has been in the video business for almost six years. The main argument and question is whether studios are going to be able to keep up with the changing technology in delivering their films to audiences outside of the regular theater release. Studios are still seeing a good way to make a profit from their video sales as EST, or early electronic sell-through. Even though traditional disc sales are going down, releasing pictures for digital download three weeks before the disc release is starting to be a profitable business. Some studios are holding back on the change, such as Disney and have been more resistant to change. But we are in a transitional period where everyone will eventually use some different method of releases films into homes, and there is no standard, necessarily. Every studio has different ideas for distribution. And the changing technology is affecting the way films are sold to consumers. This is in the annotated bibliography because it

Padron 3 is all about the changes in distribution. It is often said that films are no longer consumed the way they used to be. Nobody wants physical copies anymore. Just like music, the format will disappear. People would rather steal digital media than go out and buy it now. But with these combination sales and new ways to digitally distribute, the sales can be saved with the convenience of digital downloads. Perren, Alisia. "Rethinking Distribution for the Future of Media Industry Studies." Project Muse. CinemasJournal 52.No. 3 (2013): 165-171. Web. 10 Oct. 2013. <http://muse.jhu.edu/journals/cinema_journal/v052/52.3.perren.html>. This document by Alisia Perren is about the different ways in which distribution of films and media is not going to end. Alisia Perren is an associate professor in the Department of Radio-TV-Film at the University of Texas. The article basically is a discussion about the scholarly research being done to figure out what the best form of distribution would be. The main argument is that everyone is adjusting their business models and that distribution will not end, it is just in a state of research and development. It answers that discussion on the topic of distribution can prevent future piracy and can help to change and alter the space to make it new and profitable again. I am including this because it is about the study of these changes and a look into how the problem is being resolved. It is often said that film is a dying art form or that it will no longer be profitable. But just the way it was realized how to profit from music when its regular format was dying, we are in the middle of figuring a new way to sell and purchase films and other forms of media entertainment.

Padron 4 Herbert, Daniel. "From Art House to Your House: The Distribution of Quality Cinema on Home Video."Canadian Journal of Film Studies. 20.2 (2011): 2-18. Print. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/pdfviewer/pdfviewer?sid=7a25d7 ec-b92e-45d4-8bfa-3b3a73cb80bf@sessionmgr115&vid=2&hid=103>. The main conversation here is that even though there has been a huge proliferation in ways to distribute and receive films, there will always be particular routes for particular types of cinema-lovers to take. The author, Daniel Herbert is an assistant director in Screen Arts and Cultures at the University of Michigan. His journals appear in Film Quarterly, Millenium Film Journal, and Quarterly Review of Film and Video. Herbert brings up the company, Criterion, whose sole aim is to distribute art-house films and films which they deem important in film history. Though some major studios bring up a point that distributors worst idea has to be selling-out to Netflix, where no consumer will ever put money towards their film, the author points out that there are numerous other streaming companies and websites that are not as popular as Netflix. They, just like Criterions Criterion Collection, have a specific point to their existence, and so attract a particular audience. (Herbert 14) Basically, the author is showing that no single company will necessarily take control over distribution as it has been implied. By being more selective about titles in their library, services such as Mubi will be able to compete with Netflix indirectly simply because they offer something different than anybody else does. Puente, Henry. "Marketing and Distribution Lessons from Hispanic Hollywood." Studies in Hispanic Cinemas. 9.1 (2012): 81-98. Web. 23 Oct. 2013.

Padron 5 <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/pdfviewer/pdfviewer?sid=6ee863 da-9e4e-431c-9765-f5fb401dad7d@sessionmgr198&vid=2&hid=112>. The author, Henry Puente is a communications professor at California State University Fullerton. This document looks into how U.S. Latino films were marketed and distributed in other countries by independent distributors. Relating to the From Art House to Your House article, this discusses the ways in which films are distributed to different groups of people. Just as they were marketed and word was spread in their initial release in a new country, films with different distribution plans and options such as streaming can do the same. Sales depending on the vendor. Some studios were attempting to sell tickets for mainstream and arthouse films in theaters where audiences were used to seeing Spanish exploitation films. As long as the aim is to distribute and the right film is being offered in the right place, it can sell. Studios eventually figured out that marketing in particular areas to particular audiences, be it art-house types who care about critic reviews, or general audiences who dont look at reviews as closely. Croft, Charlotte. "Cinema Distribution in the Age of Digital Projection." Post Script. 30.2 (2011): 82. Web. 23 Oct. 2013. <http://go.galegroup.com.ezproxy.net.ucf.edu/ps/retrieve.do?sgHitCountType=None&so rt=RELEVANCE&inPS=true&prodId=AONE&userGroupName=orla57816&tabID=T002& searchId=R3&resultListType=RESULT_LIST&contentSegment=&searchType=Advance dSearchFormtPosition=1&contentSet=GALE|A264173334&&docId=GALE|A26417333 4&docType=GALE&role=&docLevel=FULLTEXT>.

Padron 6 This essay is all about the adoption of digital cinema. A large part of why the change to digital cinema is such a rough one is because of piracy. Piracy costs Hollywood about two billion dollars annually. (Crofts) Digital distribution would cut down on costs for distributors while at the same time making it potentially easier for piracy. The key argument for digital is that it is easier to distribute than 35mm film, and also stands the test of time better. Digital projection offers a cleaner image than film does. Another key incentive is the cost saving in the manufacture and transportation of release prints. Once it is made digital, the chances of piracy increase tenfold. The technology meant to stop piracy could be misused by distributors to control exhibitors' programming. This is another major reason why distributors are so hesitant to switch to digital prints. Lobato, Ramon. "Rethinking Genre Studies Through Distribution Analysis: Issues in International Horror Movie Circuits ." New Review of Film and Television Studies. 9.2 (2011): 188-203. Web. 23 Oct. 2013. <http://linksource.ebsco.com.ezproxy.net.ucf.edu/FullText.aspx?linkout=http://ezproxy.n et.ucf.edu/login?url=http://www.tandfonline.com/openurl?genre=article&issn=17400309&date=20110601&volume=9&issue=2&spage=188>. This document is all about the idea that going from theater to direct-tovideo sales could affect the industry in different ways. Be it, making less money from theatrical runs or no theatrical runs at all. Distribution networks leave their traces on film texts and audience expectations. It seems as though there is more and more reason for distributors to skip over the theatrical experience altogether.

Padron 7 Certain distribution patterns, such as theatrical sales, lead to unoriginal films where generic and formulaic patterns are seen in various genres. This adds to the argument that theatrical film is dying. The article argues that without the pressure of needing to appease to moviegoers who pay top-dollar for their theater experience, more audiences are willing to skip the theater altogether in favor of new, ungeneric experiences at home. An example used in the article is that of horror movies. (Lobato 2) In the 80s, it became very popular for cheap horror films to add-in ideas from more successful films, only to ensure theatrical wide release. Films in that time had a lot of classroom scenes dealing with students, so that young audiences could relate better. This article takes a different angle at why digital and direct-to the home distribution is a viable alternative to the dying theater experience. It promotes growth in the industry and in the art of films. Hilderbrand, Lucas. "The Art of Distribution: Video on Demand." Film Quarterly. 64.2 (2010): 24-28. Web. 23 Oct. 2013. <https://docs.google.com/document/d/1md65mufj38_QkIYleDv8AKhsUmpAllsqGR2rTrf 8P28/edit> The author, Lucas Hilderbrand is an assistant professor of film and media studies at the University of California, Irvine. His article related arthouse film distribution to the growing trend of VOD (Video-on-Demand) and the fact that film releases are shifting from DVD to VOD, if not day-and-date releasing alongside each other. IFC Films has developed an approach to film distribution that allows those who wish to stream VOD, can do so weeks, even months before the

Padron 8 physical release of the film. Those willing to wait, still get to make their purchase in much the same way as before. Now, IFC Films releases their VOD films at the same time as theatrical releases. They generally cost the same amount but people are able to decide if they want to stream their films or go out to the theater to see them. DVD rentals are generally more of a money-maker than theater ticket sales. (Hilderbrand, 3) DVD sales also still surpass VOD, though now because there are so many other competitors entering the VOD market. VOD is simply more cost-effective. So even though DVD sales are still much higher than either theater or VOD, VOD still saves studios the most money and is consistently growing. For example, Netflix spends 90 cents on each DVD it mails out, while only 5 cents on each movie it streams. It also attracts the muchneeded competition among publishers and distribution studios. Lang, Brent. "Why VODs Popularity Is a Mixed Blessing for Indie Film." Wrap. (2013): 1. Web. 23 Oct. 2013. <http://www.thewrap.com/movies/article/has-vod-become-oversaturated-114201>. This article discussing the mixed blessing that is Video On Demand. Authors Brent Lang and Lucas Shaw are writers for The Wrap, doing pieces on media and movies. Lang and Shaw describe VOD as a constantly evolving medium for film distribution that has allowed independent filmmakers a way to get their product to consumers much easier than ever before. They also point out that among these positives, there are a few negatives to the popularity and use of VOD. Lately, the market has become saturated with titles that simply dont hold the same quality as those that the industry needs in order to prove that

Padron 9 VOD is viable for independent filmmakers. There are pages and pages of generic movies that are just being dumped into VOD. (Lang, Shaw) So even though VOD has allowed more filmmakers to get their product across, as time goes by, it is becoming harder to make their mark in their world. (Lang, Shaw) What these authors are saying seems to be that no matter how open the VOD market may be, it will eventually become over-saturated and evolve into the same type of market we see today and have seen - one where celebrities and other items of popular interest draw attention, rather than quality of the actual product. This is being annotated because it affects those who may wish to use VOD as a way to sell their product in the future. Knight, Julia. "ARCHIVING, DISTRIBUTION, AND EXPERIMENTAL MOVING IMAGE HISTORIES." Moving Image. 12.1 (2012): 65-86. Web. 23 Oct. 2013. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/detail?sid=aa5ccdb6-3e69-425f8de6da5005dfa503@sessionmgr114&vid=1&hid=122&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ == This essay is based on the distribution and archiving of experimental films. The author, Julia Knight is a professor of moving image at the University of Sunderland, in the United Kingdom. She talks about the positive impact of the internet on archiving film material, though still states that access to films continues to be extremely limited. She states that though access to experimental and more art-type films is broader now more than ever, there is still a small audience who demands it. This means it is still difficult to find such films. (Knight

Padron 10 68) The internet has broken down barriers between what is known as a distribution collection and an archive. Organizations of films can now be both. She says the internet and website such as Youtube are still limited because of what people choose to upload, rather than what exists. There has to be demand for moving images and different websites cant carry all of them - at least not at the moment. This connects to the same previous issue of other articles where no single site or organization is going to be able to meet everybodys streaming and downloading needs. Lobato, Ramon. "The Politics of Digital Distribution: Exclusionary Structures in Online Cinema." Studies of Australasian Cinema. 3.2 (2009): 167-178. Web. 23 Oct. 2013. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/pdfviewer/pdfviewer?sid=410ce1 20-4a4c-489d-9a71-cd12a3e18a19@sessionmgr113&vid=2&hid=122>. Ramon Lobato is a professor at Swineburg University of Technology. His article goes in-depth with multiple Video-On-Demand services and reflects on their current models. He states that it is important for consumers and filmmakers to realize that these new digital distribution networks wont necessarily help to diversify film culture. He states that many commenters in the industry envision a future where there is no middle-man; where filmmakers can deliver the good directly to their customers. Since so many films fail to make it to theaters or even rental chains and video stores, the problem is seemingly solved by the endless space that the internet and distribution sites have to house all of these missing films. Lobato states that legal work is what stops that from becoming true. There is a lot of legal work regarding distribution in different countries, films with

Padron 11 different soundtracks and artwork that belong to specific groups. (Lobato 174) He states that it wont be as easy as it may sound. There are countless bottlenecks and roadblocks that must be crossed before the future of digital video distribution will rule out piracy and allow all filmmakers to make money back from their product. Brand, Bill. "Artist as Archivist in the Digital Transition."Moving Image. (2006): 92-95. Web. 23 Oct. 2013. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/pdfviewer/pdfviewer?sid=3b1332 c1-a430-4a0b-9916-d7cde2f8d3b6@sessionmgr198&vid=2&hid=122>. Bill Brand is owner and operator of BB Optics which focuses on archival preservation of independent films. Now that we are moving from the film age to the digital age, there are many films which wont make their way to digital distribution platforms. This is because not enough effort is being put into them to preserve them or because there is no foreseeable interest for a popular distribution company such as Netflix to put these prints up for viewers to see. The obvious problem is that many films have not yet been transferred to a digital format. There are still artists and filmmakers from the past who do not necessarily want to have their work put out for people to view in a way that was not originally intended. This article is part of this group because it talks about the preservation of films and if digital distribution is even the right path for them. Valenti, Valentina. "In VOD We Trust: Navigating the Minefield of the Ever-Changing Distribution Platform." Documentary.org. (2012): n. page. Web. 23 Oct. 2013.

Padron 12 <http://www.documentary.org/magazine/vod-we-trust-navigating-minefield-everchanging-distribution-platform>. Valentina Valenti is a freelance journalist and producer from Los Angeles who has worked for multiple publications such as Indiewire and ICG Magazine. Her article explains that VOD is an ever-growing, ever-changing platform that has new habits forming all the time. She describes VOD as the only way for independent filmmakers to get their product out there. The article suggests that filmmakers dont put all of their eggs in one basket. There are multiple forms of VOD that potential filmmakers need to be aware of. For example, she says that nobody should sell all of the rights to their film to one distribution company, because that leaves the film only one avenue of success, whereas putting it out on DVD, and live streaming, and digital rentals is the way to go. She says its been easy for distributors and studios to describe VOD as flawed, and that they are not good ways to make money. But the fact is, that these studios dont necessarily know how costs work and how subscriptions work on a rental and digital purchase. Valenti doesnt necessarily state what studios said this or back up that information very well, but it is understandable to think that this may be an excuse studios give. She says that for now, numbers are not readily available from specific VOD platforms like Amazon, Hulu, and Vudu, but that they are the key to a smart distribution strategy. (Valenti) Dawtrey, Adam. "AS DVD CRUMBLES, IS VOD SWEET?." Variety. 426.13 (2012): n. page. Web. 23 Oct. 2013. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/detail?sid=79971ac1-7c0d-4203-

Padron 13 8671538a003849fd@sessionmgr198&vid=7&hid=122&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ == Adam Dawtrey is a writer for Variety magazine. He focuses on media and film. In this article, he states that sales companies say they arent seeing significant sales from VOD to warrant converting over to this platform. Distribution company Cineart prefers to stick with a traditional theatrical release before then moving on to Video-on-Demand services. All of the studios say that though they arent necessarily seeing the numbers, that they nevertheless are interested even though revenues are not yet significant. Sales agents for Cineart say that they are beginning to see the bottom line of distributors like Netflix. Jim Frazee, an acquisitions officer at distributor Scanbox, says that VOD needs to be ten times larger than it currently is, to make up for the DVD market. Reynolds, Mark. "Strauss: VOD Poised for Real Growth."Multichannel News. 23 05 2013: 1. Web. 23 Oct. 2013. <http://web.ebscohost.com.ezproxy.net.ucf.edu/ehost/pdfviewer/pdfviewer?vid=6&sid=7 9971ac1-7c0d-4203-8671-538a003849fd@sessionmgr198&hid=122>. Mike Reynolds, a news editor from Multichannel News writes about Matt Strauss and his words about Video-on-Demand. Strauss is senior vice president of digital and emerging platforms at the MSO. He says that viewership on VOD programs and networks is accelerating. (Reynolds) Since VODs introduction there has been no decline. Along with wide-release films and independent films, television shows have become very popular. Viewing of entire seasons has

Padron 14 become very popular as well. The old format for releasing television episodes was to either have a couple of episodes available on-demand at a time, or have the consumers wait for the series to be released on DVD, or for the entire series to be added to networks such as Netflix. Strauss says that having every episode of a series available from the outset is a huge goal for his company and will become one for other providers as well. Video-on-demand is reaching out beyond independent filmmaking and is becoming a standard in peoples homes and will continue to be one as more and more companies put their shows up for immediate viewing. Abrams, Rachel. "VOD Definitely Not Offsetting Decline on DVD." Variety. 06 003 2013: n. page. Web. 23 Oct. 2013. <http://variety.com/2013/digital/news/vod-definitelynot-offsetting-decline-on-dvd-1200004637/>. Rachel Abrams is a financial news editor for Variety Magazine. Her article shows a conversation between Abrams and Eli Baker, a partner at fund Hemisphere Capital Management. Baker states that DVD does seem to be going away, but that it is difficult to pinpoint how much studios are making up for it, dollar for dollar. (Abrams) Dreamworks CFO Larry Wasserman tells Abrams that while ten years ago, VOD sales didnt help at all, now they can allow a good title to earn over ten million dollars. President of Endgame Entertainment, Doug Hansen says that there is much room for improvement on the marketing side of things. (Abrams) More specific marketing can allow this new digital model to get the product to the people who demand it most, rather than not directly advertising to the right people. Film distribution is just changing, like it always has been.

Padron 15 Distributors and movie companies just need to figure out exactly how to get the word out.