Four wall distribution

visites-interactives Film and video terminology

In the film industry, four wall distribution (also known as four-walling ) [1] is a process through which a studio or distributor rents movie theaters for a period of time and receives all of the box office revenue. The walls of a movie theater give the term its name. Companies engaging in this practice were common in the United States during the late 1960s and 1970s; One of them was the Utah-based Sunn Classic Pictures .

Overview

Four wall distribution is after the walls of a movie theater. [2] In this process, a film company spends at least one or two weekends renting a movie from the facility’s owner, and paying for every seat. [3] [4] The company receives all of the box office revenue, while the theater keeps sales of popcorn and concessions. By contrast, ticket sales are shared between theaters and distributors on normal releases.

The use of the four-wall technique was largely uncommon, except during the late 1960s and 1970s when a host of US companies engaged in this method. [5] They are located in Utah, Oregon, Florida and Texas, but this practice has been used in major markets like New York City, Los Angeles, and Chicago. [2]

An early entrant in this field was American National Enterprises (ANE), which was set up in 1965 by Utah residents- Russel Niehart , Robert Crosier and Frank Olson. One of the distributor’s first releases was Alaskan Safari , a 1968 nature documentary whose viewership exceeded 5.5 million bosses over a five-year run. [6] [7] Rayland Jensen handled distribution of the film; in 1971, at the request of the employees of the Schick razor company , he and other ANE members established their own outlet, Sunn Classic Pictures . [2] [7]Like its predecessor, Sunn also specialized in four-walled releases, among them a 1973 re-issue of Chariots of the Gods ; 1974’s Life and Times of Grizzly Adams ; 1976’s In Search of Noah’s Ark ; and 1977’s The Lincoln Conspiracy . [8]

In addition to Sunn, various other companies like Doty-Dayton of Utah and Pacific International Enterprises of Oregon practice four-wall commitments. The process was also used by animation company Filmation for its 1974 release of Journey Back to Oz , via a partnership with Seymour Borde. [4] Also in 1974, the Walter Reade Theater in New York City held a four-wall run of Ladies and Gentlemen: The Rolling Stones , a film concert from Dragonaire Inc. [9] [10] Filmmaker Tom Laughlin used the four- technical wall for his movie, Billy Jack , Warner Bros.for improperly handling the movie. [11]

As recently as the 1990s and 2000s, examples of Four-Walled Releases included the films of Warren Miller ; 1992’s Brother’s Keeper , by Joe Berlinger and Bruce Sinofsky ; and the annual short-subject anthology Spike and Mike’s Festival of Animation . [5]

Filmmaker Joe Camp expressed concern over the four-wall movement and told Variety magazine in 1977: “It has become an industry-caused thing, but the G rated classification has to some degree become ‘if it’s G, it can not be for me ‘. ” Camp observed that four-walled companies had saturated the market for G-rated product; In response to the low-down quality of their films, he created the 1974 family film Benji . [12]

Four wall distribution has copyright implications; a film distributed through a wall distribution, and no other method, may classify as an unpublished work. Because of this, Deep Throat , a pornographic movie Exclusively distributed through oven-wall distribution During icts theatrical release, Did not Become officiellement published up to you It was released home video over a decade later; had the film been distributed traditionally, it would have been published in the public domain for lack of a copyright notice (such a notice has been included on all home video releases). [13]

See also

  • Roadshow theatrical release

References

  1. Jump up^ Austin, Bruce A. (1989). “The Film Industry and Audience Response”. Immediate Seating: A Look at Movie Audiences . Wadsworth Publishing. pp. 12-13. ISBN  0-534-09366-3 .
  2. ^ Jump up to:a b c Wasser, Frederick (Winter 1995). “Four Walling Exhibition: Regional Resistance to the Hollywood Film Industry”. Cinema Journal . University of Texas Press on behalf of the Society for Cinema & Media Studies. 34 (2): 51-65. ISSN  0009-7101 . JSTOR  1225836 .
  3. Jump up^ Goodell, Gregory (2003) [1982]. “The Distributors”. Independent Feature Film Production: A Complete Guide from Concept Through Distribution . St. Martin’s Griffin . p. 247. ISBN  0-312-30462-5 . Retrieved October 14,2010 .
  4. ^ Jump up to:a b Beck, Jerry (2005). “Journey Back to Oz”. The Animated Movie Guide . Chicago Reader Press. p. 132. ISBN  1-55652-591-5 .
  5. ^ Jump up to:a b Simens Dov S.-S. (2003). “Do It Yourself”. From Reel to Deal: Everything You Need to Create a Successful Independent Film . Warner Books . p. 384. ISBN  0-446-67462-1 . Retrieved October 14, 2010 .
  6. Jump up^ McLeod, Michael (2009). “Show Time”. Anatomy of a Beast: Obsession and Myth on the Trail of Bigfoot . University of California Press . p. 111.ISBN  978-0-520-25571-5 . Retrieved October 14, 2010 .
  7. ^ Jump up to:a b “Management Team” . Sunn Classic Pictures . Retrieved October 14, 2010 .
  8. Jump up^ “Movie gives new twist to Lincoln assassination” . The Day . New London, Connecticut . Associated Press (AP). May 23, 1977. p. 15 . Retrieved October 14, 2010 .
  9. Jump up^ “Will the Wall Survive Blasts?” (New York Intelligencer) . New York . New York Media LLC. 7 (15): 66. April 15, 1974 . Retrieved October 14,2010 .
  10. Jump up^ “Rolling Stones Excited Captured in New Movie” . Billboard . VNU / Nielsen Business Media . 86 (17): 17. April 27, 1974 . Retrieved October 14, 2010 .
  11. Jump up^ Jordan, Chris (2003). Movies and the Reagan Presidency: Success and Ethics . Westport, CT: Praeger Publishers. p. 30. ISBN  0-275-97967-9 .
  12. Jump up^ Holmlund, Chris; Wyatt, Justin, eds. (2005). “1970s distribution and marketing strategies”. Contemporary American Independent Film: From the Margins to the Mainstream . Psychology Press. pp. 238-239. ISBN  0-415-25486-8 . Retrieved October 14, 2010 .
  13. Jump up^ Gardner, Eriq (October 26, 2011). “How A Nasty Legal Fight Over ‘Deep Throat,’ ‘Debbie Does Dallas’ Was Settled” . The Hollywood Reporter . Retrieved August 20, 2014 .

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