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The learning outcomes of this paper are as follows: to critically assess and analyse public and private funding options and determine which private option is best suited to a company (finance – decision-making). To calculate the internal rate of return (IRR) of a project (finance – analytical). To critically assess the underlying structures of traditional and new industries (Strategy/BMI – analytical). To analyse the challenges and disruption potential of intermediated industries (Strategy/BMI – analytical).

The Triggerfish case looks at how films are funded in South Africa. The company is currently funding films mostly through government channels, but CEO Stuart Forrest would prefer to independently and privately fund their projects. The case looks at what returns can be expected by investors in film through the “recoupment waterfall” – the means whereby the producers and investors of a film recoup their investments and earn returns. The investment horizons of select private lenders (bank, mezzanine financiers, risk financers and venture capital firms) and public funders are explored. The case also explores the impact that video-on-demand platforms, such as Netflix and Disney+, is having on the traditional models of filmmaking.

This teaching case is aimed at postgraduate business students such as Master’s degrees in Business Administration degrees, postgraduate diplomas, executive education or specialist Master’s degrees.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

This article examines the prevalence of Hollywood blockbuster films, specifically 300, as popular ethnographies that contribute greatly to North American society's perspectives on “truth.” Within this article it is argued that films like 300 have become significant forms of pedagogical persuasion in North America and have contributed greatly to the discrimination and miseducation regarding people of the Middle-East. The overt dehumanization and vilification of ancient Persia in 300 and the movie's not so subtle comparisons to current political contexts are considered in regard to not only the West's view of the Other, but the sense of Self of those of Middle-Eastern origin. This paper speaks of the failings of qualitative methodologies and studies in responding to and promoting multicultural and “just society” concepts in North America and notes that in comparison to the mediums we use in our classrooms to counter its production of the “true” master narrative everything else has fallen short.

Of all of the educational tools used in social studies education, by far the most critiqued is the standard basal textbook. If used properly, nevertheless, textbooks are not as problematic as critics claim and can be a useful tool in the teaching and learning of social studies and history. Based on the focus found in the Common Core Standards on informational texts, the practicality of using textbooks is especially true in today’s educational environment. This article was written with the goal of helping social studies teachers develop lessons that assist their students in meeting the requirements of the Common Core. One specific strategy is described to offer teachers an example of how to effectively use their textbook in a Common Core focused and social studies content-based activity. A sample lesson, based on an inquiry activity titled “Hollywood or History,” is provided.

Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

Stuart Scheingold's path-breaking The Politics of Rights ignited scholarly interest in the political mobilization of rights. The book was a challenge to the reigning popular and scholarly common sense regarding the supposedly self-executing nature of rights (what Scheingold called the “myth of rights”). Rights, Scheingold argued, could be resources for the pursuit of social change; but their realization in court doctrine and legislative output was not itself tantamount to meaningful social change. Thus embedded in The Politics of Rights is skepticism (or at least ambivalence) about the utility of rights politics for social movements. Scheingold was not ambivalent about the moral or normative value of rights themselves, although he did argue that the realization of rights was not by itself enough to overcome the manifold inequalities that structure modern life. The Politics of Rights, accordingly, is clear-eyed, but not cynical about rights advocacy. It is thus surprising, and keenly revealing, that Scheingold's final work – The Political Novel, which is ostensibly not about rights at all – points to mass cynicism, alienation, and the collapse of faith in governing institutions and logics as the animating elements of modern liberal democracies, including especially the United States. That rights are a vital part of the civic mythology whose collapse defines modern times suggests that the civil rights context of aspiration and struggle in which Scheingold, and nearly all of his followers (this author included), have conceived rights may be unnecessarily narrow. Rights may also be embedded, that is, in the modern condition of alienation, despair, and felt powerlessness. Inspired by Scheingold's investigation of how literature points to this modern condition of political estrangement, I offer an alternative backdrop for The Politics of Rights that is rooted in the bleak renderings of the American character found in much 1970's American popular and intellectual culture. Such a contextualization, I will argue, suggests that we envision The Political Novel as a companion piece to The Politics of Rights; together they illuminate both the mobilizing and demobilizing potential of the myth of rights.

This chapter considers the processes supporting dynamic agglomeration in the British broadcasting industry. It compares and contrasts the insights offered by cultural geography and more conventionally economic approaches. It finds that culture and institutions are fundamental to the constitution of production and exchange relationships and also that they solve fundamental economic problems of coordinating resources under conditions of uncertainty and limited information. Processes at a range of spatial scales are important, from highly local to global, and conventional economics casts some light on which firms are most active and successful in both domestic and international activities.

This study aims to identify and explain a possible gender pay gap in the creative industry. By using the salary information of Hollywood actors, this paper restricts the analysis to a relatively homogenous group of workers. In addition, actors' human capital endowments and past performance can be measured precisely. The factors that impact the salaries of movie stars are likely to influence the pay of other high-wage employees, such as athletes and executives.

This paper uses a rich panel data set including 178 female and male actors in 973 movies released between 1980 and 2019. Using a random-effects model and the Blinder–Oaxaca decomposition approach, this paper distinguishes between a fraction of the gender pay gap that can be explained and another fraction that cannot be explained. Hence, only the unexplained residual typically obtained by estimating two standard Mincer-type earnings functions is due to discriminatory pay practices.

This study reveals a pay difference between female and male actors. Gender-specific representation in leading roles and systematic differences in performance measures can explain this pay difference. While female actors' underrepresentation in leading roles reflects consumer tastes and, therefore, reflects discriminatory attitudes, no evidence can be found for direct pay discrimination in Hollywood's movie business.

To the best of the authors’ knowledge, this is the first Hollywood study to relying on a rich panel data set that includes various measures of the human capital characteristics of the different individual actors. This paper's theoretical contribution lies in applying classic labor economics reasoning to explain pay determination in Hollywood's movie business.

Since its emergence in the early twentieth century, cinema has acquired a cultural identity. As purveyor of light entertainment, the local movie palace sold escapism at a cheap price. It also acted as an important social apparatus that regulated everyday mannerisms and appearance. The purpose of this paper is to investigate the box office ledger of a UK picture house and to consider the role of the accounting document as a medium through which both local and broader social and historical norms can be reflected.

The paper primarily employs archival sources. It examines the box office ledger of the Edinburgh Playhouse cinema for the period 1929‐1973. This ledger is held within the National Archive of Scotland. Secondary sources are also drawn upon to provide a social and historical context to the study.

The analysis of the box office ledger illustrates the potential value of an accounting document as a source of social history. Not only does this single ledger mirror the defining moments in British cinema history, it also helps inform the conception of what constitutes accounting, shapes the perception of contemporary strategic management accounting rhetoric, and further an appreciation of the relationship between accounting and everyday life.

The entertainment industry has been largely ignored within accounting scholarship. Such neglect is lamentable given both the scale of the industry and its impact on contemporary culture. This paper is an attempt to redress this neglect by examining one component of the entertainment business, cinema, through the medium of an accounting document.