The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies. / B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns. / This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s. / The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.

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This study explores the reasons for the rise in independent film's popularity, which have created a unique Hollywood phenomenon, the successful "mini-major" independent studio, dedicated to both art and commerce. Chapters cover the history of independent film, characteristics of both independent and mainstreamfilms with regards to financing, acquisition, distribution and marketing, trends within independent film in the late 1980s and 1990s, crucial distributors and landmark independent films, and key growth areas in the future for independent film.

The purpose of this study is (1) to examine mainstream studio films and their marketing (2) to examine independent films and their marketing (3) to explore the marketing challenges of independent films (4) to explore new developments in independent film and the emergence of crossover films (5) to explore the benefits of alliances between the major studios and independent film distributors (6) to examine the diminishing differences between major studio films and independent films.

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This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.

The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television. / For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation. / MT2017

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