Very good introduction and conclusion!

29f
“Reworking the adage that “all screenplays are also business plans,” John T. Caldwell observes that any screenplay being considered for production

“generates considerable attention and involvement at the earliest story sessions and producers’ meetings by personnel from the firm’s financing, marketing, coproduction, distribution, merchandizing, and new media departments or divisions. Such discussions and analysis seek to ensure that any new film or [television] series will create income-producing properties (reiterations of the original concept) that can be consumed via as many different human sensory channels as possible.” Caldwell, J ~ Production Culture, 2008, 232f

This vast expansion of the original film text suggests that the narratively contained world of the feature film is now the exception, as target audiences are encouraged to extend their consumption into other outlets beyond the initial theatrical screening. To be sure, this process of cross-promotion has existed for some time, whether through fast-food tie-ins or action figures; however, the process of incompleteness suggested by DVDs has helped to reconceptualize film narrative in ways that tie together the fictional world of a film with the economic goals of a studio.”
DVD was an earlier step to / a preparation of audiences for storytelling in an entarch.

57
“Thus, while digital effects provide filmmakers with new tools for telling stories, the true reinvention of cinema is taking place on the margins, often outside of Hollywood, where innovative filmmakers seek new ways to distribute their work.”

64
“[In 2007 each cinema] screen was watched by an average of one hundred people over the course of a single week, typically on weekend evenings.”

78
“less than 15 percent of feature revenues now comes from theatrical box office income” (Caldwell, J ~ Production Culture, 2008, p9).

85
“portable entertainment [iPod/iPhone] may offer new models of attention more associated with distraction and with extending the narrative world of a movie or television show beyond the confines of the larger screens.” The iPhone is not a new outlet for movies, but for extensions of movies. A step towards entarch.

86
“The idea that we’re all going to abandon the multiplex for the supermobile is nothing more than one generation’s fantasy of another.” (Longworth, K ~ Distribution Wars, 2007)

90f
“Blurring the boundaries between promotional and entertainment content, webisodes call for a new language for thinking about the definition of a film text and for thinking about our relationship to this material.”

91f
“digital media have also contributed to the dissolution of a vibrant, unified cinema culture, explaining that “when people prefer to identify themselves as members of ever-smaller cohorts – ethnic, political, demographic, regional, religious – the movies can no longer be the art of the middle.”” Gabler, N ~ The Movie Magic Is Gone, LA Times, 25.02.2007

92
“what might be called the era of “desktop distribution” has actually ushered in new models for the engaged film audiences that watch and discuss films in a variety of public and private contexts, even while providing new avenues for major media conglomerates to reach those same audiences.”

102
“independent filmmakers begin to find new platforms that may place less emphasis on theatrical premieres.”

123
“While crowdsourcing may very well help filmmakers build an audience, it can also shut down possibilities for others, particularly the middlebrow films that may depend upon a gradual, platformed release in order to manage expectations. These shifts have had particularly devastating implications for the major indie studios.”
“Good buzz spreads quickly, bad buzz even faster.” (http://weblogs.variety.com/thompsononhollywood/2008/06/laff-mark-gill.html)

148
“film blogs are perhaps the most significant evidence yet of a vibrant and engaged networked film audience.”

153
“These shorter videos should not be seen as a substitute for longer-form entertainment, whether movies or television, but instead complement, promote, and in many ways depend on the feature films and TV shows they parody.” He’s quoting Miller, Nancy; 2007; Minifesto for a new Age; Wired 15.3.

173
“whatever else digital cinema is doing, it is also quite clearly a means for expanding the sites where cinema can be commodified, for bringing movies to the widest possible audiences.”
“However, the reactions within the entertainment industry to these forms of fan activity cannot be separated from the industrial, social, and historical conditions that shape film exhibition, distribution, production, and consumption. While a number of media companies, including Viacom, have attempted to contain these fan productions, others, such as Fox Atomic, have sought to co-opt them by providing fans with material for creating their own videos.”

174
“the ongoing shift to digital exhibition challenges traditional economic models and exhibition protocols, altering not only the selection of movies available but also our relationship to film as a medium.”

174f
“film is defined not merely as a technological apparatus, but also as Lisa Gitelman reminds us, in terms of the social practices associated with it. Watching a movie in a theater, at home on a DVD player, or on the subway on an iPod enteils far more than the activity of looking at a screen, and in some cases the uses of new technologies, especially portable media players, upset normative definitions of public and private space, requiring people to develop new codes of etiquette to match the new technologies.” check out Gitelman

175
“this anytime, anywhere distribution model also has the effect of reshaping theatrical distribution model based on scarcity, in which there are only a limited number of screens available at any given time.”
“[Nicholas] Rombes observed that with the inclusion of extras on the DVD, audiences were given the perception that movies are infinitely malleable or expandable.” More recently, of course, film texts are expanded even further through additional scenes posted to the web, allowing viewers to broaden their experience of a film well beyond the initial textual boundaries, while also ensuring a seamless mix of entertainment, marketing, and branding. Or course, these supplemental do more than promote specific films; they also promote a specific relationship with the film industry itself, addressing us on DVDs in particular, as connoisseurs, as experts on film culture.”
“these textual materials present an important site for the ongoing definition and “self-theorization” of the production cultures associated with film and television.” see Caldwell

176f
“we are witnessing a vast expansion of DIY and ultra-low-budget film production, due in part to inexpensive production and distribution equipment, leading to a significant transformation of the practices associated with film exhibition. Thus, even though Hollywood blockbusters are breaking box office records, indies face the recognition that many films that had historically played in theaters would now be unlikely to receive theatrical exhibition, except perhaps at a few festival screenings.”

177
“Hollywood studios continue to produce massive blockbusters seen by millions of people, but the sheer volume of movies may have the effect of fragmenting audiences seen while providing individuals with precisely the films they would most enjoy.” He calls this “the loss of a common culture” p177.
“cinema remains defined primarily in terms of theatrical distribution.”

178
“In fact, while studio filmmakers and theater owners continued to criticize day-and-date-releasing, characterizing it in some cases as a threat to the very definition of film, a number of indie filmmakers have recognized it as a viable option for getting their films seen. These models have been successful in helping some low-budget filmmakers find a wider audience, but it remains unclear how these models will be used.”
“blogs in particular at least maintain the imagined experience of the communal experience of watching with a crowd.”

179
“cinema continues to play a vital cultural role, no matter when, where, or how we watch.”