The Hays Code 1930

Laws which he made regarding films that apply to Dracula:
Murder
White people having a relationship with Black people is forbidden
scenes of passion
etc

IMAX Hollywood aspect ratio

As The Dark Knight continues to break box office records I thought it might be worthwhile to examine one of the key features of the film’s success: IMAX. The film’s IMAX treatment has been getting some press lately, but I’ve read nothing that really situates the technology (or The Dark Knight‘s use of it) with the history of the format. Christopher Nolan’s second Batman film is, indeed, a cinematic achievement for incorporating –for the first time in Hollywood– the IMAX process into the visual structure of the film. Of the many accolades the film will likely continue to garner, this is one worth exploring further. Here are some thoughts on IMAX in The Dark Knight, its relationship to Hollywood, and its future.

The IMAX format originated as an experimental projection system for EXPO ’67 in Montreal, Canada. In 1970 the first IMAX system and film was presented at the Fuji Pavilion at EXPO ’70 in Osaka, Japan. Since then there has been no shortage of discussion in trying to link the large format process with commercial filmmaking. In the early 1980s, as the company expanded its theater and distribution network to include more locations in North America and around the world, technologically conscious filmmakers expressed interest in shooting with the system. Most notably, Francis Coppola, Steven Spielberg, and George Lucas pledged their support of IMAX technology as a viable out-of-home theatrical experience.

UK Film Council - Digital Screen Network

Digital Screen Network

The average Hollywood blockbuster opens on 300-plus screens across the UK; most independent films, restored classics, documentaries and foreign language films still struggle to reach over ten per cent of those screens.

Digital screening cuts the cost of releasing films (a digital copy costs around one tenth of a 35mm print). That's why UK Film Council (now BFI) and the Arts Council England created the Digital Screen Network – a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
Cinemas in the network have already screened non-mainstream films including Control, This is England, Good Night and Good Luck and the Oscar®-winning The Lives of Others, as well as classics like Meet me in St Loius, The Wizard of Oz and Casablanca.
Digital Screen Network cinemas hosted the UK Film Council and BBC Two's Summer of British Films season - a sell out tour running from July to September 2007 featuring British classics such as Goldfinger, Brief Encounter, Billy Liar, Henry V, The Wicker Man, The Dam Busters and Withnail and I.

The Bourne Identity

The regulations worked well for the film, setting it at a 12A. The 12A rating was new at the time, so the regulations was fresh and exciting. It was aimed at people over the age of twelve, however people under the age of 12 could watch with parental guidance. This helped the film and made it successful.

The blair witch project

Budget: $20,000–$750,000
Gross: $248,639,099
Production: Filmed in 1998 and lasted for 8 days. Film crew left the actors in the woods and gave hints to their next location by Milk Crates so the film was more improvised.
Development: 19 hours of film cut down to 90 minutes.
Exhibition: Opening Weekend (27 screens) $1.5million

Bullet Boy Marketing Campaign

The film was released on 8th April 2005, opening on 75 prints UK wide, in a combination of established independent cinemas and multiplexes concentrated in greater London and other major urban centres.
The poster design aims to convey the look, subject and tone of the film, supported by key press quotes, while also foregrounding the major presence of Walters.
The ad campaign, too, aimed for diverse audiences, interested in film and music, urban black and white. The campaign included advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated.
Towards the end of its first six months of theatrical release, the film had grossed an impressive £450,000 at the UK box office, most of this achieved in carefully selected urban multiplexes rather than specialised cinemas. It was anticipated that the substantial audiences and awareness generated for the theatrical release would ensure success for the DVD release of the film, six months after the theatrical opening.

http://film.guardian.co.uk/News_Story/Critic_Review/Guardian_review/0,4267,1454424,00.html
http://www.viewlondon.co.uk/films/bullet-boy-film-review-9050.html
http://www.rottentomatoes.com/m/bullet_boy/

Gladiator - Marketing Campaign

Trailer- http://www.youtube.com/watch?v=IvTT29cavKo
Advertised by blogs, posters, classic lines ''Are you not entertained?'', merchandise.