电影明星和电影业发展

wwc008love

1.3.1 电影业发展
　　大概讲的是电影明星和电影业发展的关系。阅读太烂，只记得大概了。超过一瓶。
　　第一段说学者们原本认为电影明星的出现和什么什么是什么关系，好像提到了观众需求，然后作者指出了个例子反驳这种观点，认为电影明星的出现是由于电影产业技术的发展什么的。
　　第二段就都讲电影技术的发展了，生词很多就没看懂，大概说原来摄像机怎样怎么样，拍出来的效果不好，人也很模糊很小什么的，说那时候电影之间的区别度不大(这里考了细节题)。后来电影技术就发展了，就怎么怎么好了，拍出来的图像可以看得清楚人了，然后filmmaker就赚了很多钱，也可以把钱投资在培养电影明星上了。
　　第三段先是有一个entrepreneur讲什么什么大概是说电影明星和制片商什么关系吧，后来又说啥子制片商怎么垄断，怎么赚钱，具体记不太清了。其中提到一个vertical什么的概念，没搞明白。感觉整段讲电影行业下游是咋运作的。然后才能赚钱培养电影明星。
　　段一：电影明星的成名从表面来看是人们的追捧造成的。However，其实在深层里面是跟电影业的发展和公司business的演变有关。
　　段二：在以前，电影质量不好，电影演员的影响就不重要，因为根本看不清脸神马的。所以这个时候的filmmaker竞争就比较激烈了。因为电影制造过程中的各个环节都要很好的distribution。涉及到了technology的什么什么。(这里有细节题，问以前电影业的特点，我选的一个什么technology的创新，不是很确定)
　　段三：但是有个电影制造商**说，其实是可以通过控制电影明星的影响来怎么怎么地的，但是risk很高。
　　【补充一下剧情：
　　电影界一开始是什么样子的JJ都说的很清楚了。后来，发明了Patent pool, 制片商们用这种pool把摄影机的什么什么license出去，然后按拍的胶片每一英尺(a foot, 一度以为是脚呢，汗)多少钱收租金。
　　这种patent pool 立刻让原本竞争激烈的电影界改变了，垄断商开始出现，竞争没那么激烈了。这些赚足了钱的制片商们才开始怎么怎么发展，提高电影质量，电影更加narrative了，也有明星了。
　　后来JJ说“于是一个企业家M某，冒着违纪的风险，怎么怎么样” 其实不对，那个人是觉得patent pool赚钱仍然不够爽，因此break the patent pool, 从而创造出一种新的盈利模式：总结起来就是纵向合并vertical merge。制片商、电影院的一条龙服务都勾结起来，一起创造明星啊，控制价格啊，所以更加赚了。
　　一道题：在Patentpool的hayday，可以推断出以下哪项?
　　我选一样长度的电影会给制片商带来一样的revenue(因为foot的问题)】
　　新增补充：摘自9楼 感谢dreamistrue童鞋!
　　网上搜的Patent Pool
　　It was in 1902 that the phonograph record reached maturity, with the great pooling of patents that combined the advantages of all the systems and allowed the entire industry to benefit equally. But even then the cylinder record was far from dead. During the period of Berliner’s continued experimenting, the original two-cylinder systems had developed and multiplied commercially into a considerable business. New companies with impressive names were formed, merged, or were bought out, or died - names that to most of us today are entirely familiar. The "North American Phonograph Company" for a time combined sales of both the Edison phonograph and the Bell-Tainter graphophone, since the similarity of the two machines continued. In 1896 Edison, who was a businessman and financier when he had a mind to be, bought back the whole cylinder business for himself, forming the "National Phonograph Company" (corporation names then, as now, ran to impressive adjectives!), and began for the first time to take an interest in music for recording purposes, his earlier interest having been largely in speech, the dictating-machine aspect. (Berliner, however, had a good musical ear and had been inclined toward music from the very beginning of his experiments.)
　　Edison had solved the clockwork problem more easily than Berliner, for the mechanical problems were simpler with the cylinder type of movement. But one immense obstacle persisted for several years: duplication of cylinder records. The simple plating and stamping process used with the Berliner disks could not be adapted to the more complicated shape of the cylinder, though frantic experiments continued. while Berliner turned out duplicated quantities of his noisy zinc-etched records, the better-sounding wax-engraved cylinders were still being made and sold individually via the old sing-it-and-sing-it-again process, a handful at a time!
　　Intense efforts to do something about this disastrous situation led first to a makeshift pantograph system of copying, which allowed three or four cylinders to be engraved simultaneously. It figured in an amusing incident when an artist who was being paid to do his piece a dozen or so times over, making a single record each time, happened to notice a large tray filled with cylinders being carried away, all labeled with his own just-recorded selection. The economy-minded manufacturer had thought to use the new duplicator undetected, to multiply his too-meager profits to the artist’s expense.
　　But this was a stopgap. Not until after the turn of the century did the cylinder makers finally surmount the technical difficulties of plating and pressing a cylinder record, thus making cylinder duplication possible - though too late - on a par with Berliner’s disk duplication. But still the cylinder had flourished.

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