In the motion picture industry, a box-office bomb or box-office flop is a film, considered unsuccessful or unprofitable during its theatrical run. Although any film for which the production and marketing costs exceed the combined revenue after release is considered to have "bombed", the term is more used on major studio releases that are anticipated and hyped, regarding their cost, production, or marketing efforts when they are expensive to produce. Although this may occur in conjunction with mixed or poor reviews, critical reception does not result in a negative box-office performance. Films may underperform because of issues unrelated to the film itself; these issues relate to the timing of the film's release. This was one of the reasons for the commercial failure of Intolerance, D. W. Griffith's follow-up to The Birth of a Nation. Owing to production delays, the film was not released until late 1916, a time when the widespread anti-war sentiment it reflected had started to shift in favor of American entry into World War I.
Another example of external events sinking a film is the 2015 docudrama about FIFA entitled United Passions. It was released in theaters in the United States at the same time FIFA's leaders were under investigation for fraud and corruption, the film grossed only $918 at the US box office in its opening weekend. Other issues such as general economic malaise may cause less disposable income for potential filmgoers, resulting in fewer ticket sales. Many films that open during times of national crisis and just after disasters such as the 2001 September 11 attacks and Hurricane Harvey underperform at the box office. A large budget can cause a film to fail financially when it performs reasonably well at the box office. 1980's Heaven's Gate, for example, exceeded its planned production schedule by three months, causing its budget to inflate from $12 million to $44 million. The film only earned $3.5 million at the box office. For the 2005 film Sahara, its budget ballooned to $281.2 million for production and other expenses.
The film earned $119 million in theaters and $202.9 million overall with television and other subsidies included, resulting in a net loss of $78.3 million. In 2012, Disney reported losses of $200 million on John Carter; the film had made a considerable $234 million worldwide, but this was far short of its $250 million budget plus worldwide advertising. Films which are viewed as "flops" may recover income elsewhere. Several films have underperformed in their countries of origin, but have been sufficiently successful internationally to recoup losses or become financial successes. Films may recover money through international distribution, sales to television syndication, distribution outside of cinemas. Other films have succeeded long after cinema release by becoming cult films or being re-evaluated over time. High-profile films fitting this description include Blade Runner and The Shawshank Redemption, which both lost money at the box office but have since become popular. In extreme cases, a single film's lackluster performance may push a studio into financial losses, bankruptcy or closure.
Examples of this include: United Carolco Pictures. The underperformance of The Golden Compass was seen as a significant factor in influencing Warner Bros.' decision to take direct control of New Line Cinema. In 2001, Square Pictures released its first film, Final Fantasy: The Spirits Within, an animated motion picture inspired by the Final Fantasy series of video games, it failed to recover its $145 million cost. Following the film's struggles, Square Pictures ceased producing feature films. In 2011, Mars Needs Moms was the last film released by ImageMovers Digital before it got absorbed by ImageMovers to a loss of nearly $140 million – the largest box-office bomb of all time in nominal dollar terms. Despite this loss, the decision to close the production company had been made a year prior to the film's release; the 2006 independent movie Zyzzyx Road made just $30 at the US box office. The film, with a budget of $1.2 million and starring Tom Sizemore and Katherine Heigl, owes its tiny revenue to its limited box-office release – just six days in a single theater in Dallas for the purpose of meeting Screen Actors Guild requirements – rather than its ability to attract viewers.
According to co-star Leo Grillo, it sold six tickets. The British film Offending Angels had become notorious for taking in less than £100 at the box office, it had a £70,000 budget but was panned by critics including the BBC, who called it a "truly awful pile of garbage", Total Film, who called it "irredeemable". In 2011, the film The Worst Movie Ever! opened to just $11 at the US box office. It played in only one theater. List of biggest box-office bombs List of films considered the worst GetBack.com: Biggest Film Flops and Fiascoes Biggest Box-Office Bombs of All Time – Inside Movies Blog
The Loxene Golden Disc was an annual New Zealand music award. It ran from 1965 to 1972, it was superseded by the Recording Arts Talent Awards. The awards is the forerunner of the New Zealand Music Awards, it was created by the advertising agency of British multi-national company Reckitt & Colman, with support from the New Zealand Broadcasting Corporation, the New Zealand Federation of Phonographic Industries and the Australasian Performing Right Association, with the awards named after Reckitt & Colman's anti-dandruff shampoo, Loxene.10 finalist songs were selected annually by a panel, with the winner decided by a public vote. While only one prize was given, other awards were added, including categories for record cover, recording artist of the year, a producer award. From 1969, two awards were given - one to a solo artist, the other to a group however there was still one supreme award. In 1965 and 1966 compilation LPs with tracks by annual finalists were released by Viking Records, with the 1970, 1971 and 1972 LPs released by HMV on behalf of the industry.
The television broadcast of the 1972 show won the 1973 Feltex Award for Best Light Entertainment. The final Loxene Golden Disc awards were presented in 1972. In 1973 the New Zealand Federation of Phonographic Industry created its own awards, the Recording Arts Talent Awards; the first Golden Discs ceremony was broadcast on radio, live from the White Heron Lodge in Wellington on 25 November 1965. An earlier television programme featured. Ray Columbus and the Invaders – "Till We Kissed" Dinah Lee – "I’ll Forgive You Then Forget You" Herma Keil – "Teardrops" The Yeomen – "Love Is A Very Funny Thing" Tony and the Initials – "Leah" The Chicks – "Hucklebuck" Tommy Adderley – "Like Dreamers Do' Paul Walden – "No Moa!" Bruno Lawrence – "Bruno Do That Thing" The Minors – "You’re Not There" The 1966 award was again held at the White Heron Lodge in Wellington, on 9 November 1966. The event was broadcast live on radio; the night before, the finalist performed on an hour-long television special. Maria Dallas – "Tumblin’ Down" Jay Epae – "Hold On Tight" Howard Morrison – "Don’t Let It Get You" Ray Columbus – "I Need You" The Gremlins – "The Coming Generation" The La De Das – "How is the Air Up There" The Yeomen – "Love is a Very Funny Thing" John Hore – "My Heart Skipped A Beat" Gwyne Owen – "In My Room" Ken Lemon – "Living In A House Full Of Love" The awards were held for the final time at the White Heron Lodge on 4 November 1967.
A television programme previewing the 10 finalists screened two days before the ceremony. Instead of the studio performances of previous years, the show used video clips of the artists performing their songs. Mr. Lee Grant – "Thanks to You" Herma Keil – "C’mon" The Gremlins – "Blast Off 1970" The La De Das –'Rosalie' Sandy Edmonds – "Daylight Saving Time" Larry’s Rebels – "Let’s Think of Something" The Avengers –'Everyone’s Gonna Wonder" The Underdogs – "Sittin’ in the Rain" Maria Dallas – "Handy Man" Ray Woolf and The Avengers – "Crystal Ball" In 1968 the awards ceremony moved to Auckland, with the Golden Disc presented at the Intercontinental Hot on 7 November 1968; the awards included a Cover of The Year award, but there is no record of who won this. The award were broadcast live on simulcast on NZBC radio stations. Allison Durbin – "I Have Loved Me a Man" The Shevelles – "Beat the Clock" Larry’s Rebels – "Halloween" Ray Columbus – "Happy in a Sad Kind of Way' The Hi-Revving Tongues – "Tropic of Capricorn' The Avengers –'Love Hate Revenge" The Simple Image – "Spinning Spinning Spinning" The Fourmyula – "Alice is There' The Chicks – "River Deep-Mountain High" Mr. Lee Grant – "Why or Where or When" The awards were again held at the Intercontinental Hotel in Auckland, on 15 October 1969.
Three news awards were introduction - secondary awards for the best group and best solo artist, as well as an award for the best producer. Golden Disc Award: The Hi-Revving Tongues – "Rain and Tears" Solo Award: Shane – "Saint Paul" Group Award: "The Hi-Revving Tongues – "Rain and Tears" Producer Award: Wayne Senior "The Hi-Revving Tongues – "Rain and Tears" Shane – "Saint Paul" Larry Morris – "The Hunt" The Rebels – "My Son John" Dedikation – "Wait For Me Mary-Anne' Mike Durney – "Why Can’t I Cry' The Avengers – "Out Of Sight Out Of Mind" The Chicks –'Miss You Baby" Hamilton County Bluegrass Band – "Barefoot Nellie" The Simple Image – "Michael and the Slipper Tree" AudioCulture
For the structural beam profile see: Structural channel C Channel was a Canadian premium television channel specialising in arts programming. It was one of Canada's first licensed "pay TV" channels when it began in 1983 but it ended in failure within five months. Toronto-based company Lively Arts Market Builders Inc. was one of several companies that received a license from the Canadian Radio-television and Telecommunications Commission to provide a subscription television service for Canadian cable companies. The company's offering, C Channel, would feature artistic content such as theatrical and ballet performances; this format was distinct from First Choice and Superchannel. C Channel, First Choice and Superchannel began their broadcasts on February 1, 1983. C Channel's President Edgar Cowan predicted 200,000 subscribers and financial equilibrium within a year. C Channel was required, as a condition of licence from the CRTC, to spend no less than 20% of its revenues and 50% of its expenditures on Canadian produced programming.
The channel had planned to spend C$4 million in production during its initial seven months of broadcasting. C Channel held a two-night preview of its programming on January 20–21, cablecast on most cable systems, such as Greater Winnipeg Cablevision, not able to carry the real service due to the dispute with the Manitoba Telephone System.. On the first night there were only two programs, beginning at 8 p.m.: Swan Lake, performed by the Royal Ballet at the Royal Opera House in London, England. The other was a film released in 1980, The Last Metro. One of the programs featured was a Bach-themed concert performed by flautist James Galway and violinist Kyung-wha Chung, while jazz enthusiasts could watch performances from the Montreal International Jazz Festival. Stereo audio broadcasts using available cable FM channels were permitted by the CRTC on February 11, 1983. C Channel activated its stereo audio feed when it received this approval. One of its marquee presentations was the Royal Shakespeare Company's 8½ hour production of The Life and Adventures of Nicholas Nickleby acquired from Britain's Channel 4.
The program ran on March 13, 1983 from 1 p.m. to midnight with breaks for lunch and dinner. C Channel broadcast 8 hours per day, beginning at 7 p.m. with the children's programming block and ended 11 p.m. or midnight. The station planned to expand the schedule by May 1983 with an earlier daily on-air time with the broadcast day ending 3:30 a.m. C Channel president Ed Cowan had hoped to implement a 24-hour schedule that year; the three Canadian premium channels, at a steep $16 per channel per subscriber at a time when a basic cable subscription was $10–12, appealed to only to a small percentage of the many existing Canadian cable TV subscribers. C Channel's cultural offerings, similar to the type of programming seen on PBS and CBC Television, failed to attract the expected number of subscribers. In April 1983, station president Ed Cowan admitted that "we always knew we were under financed", noting that C$5 million in financing was raised, when double that capital amount was deemed "safe". During the round of private financing in December 1982, share prices were cut to $3 each from $10 in order to sell.
On June 17, 1983, the broadcaster was in receivership with C$9 million in debtequivalent to $36.74 in 2018 and gained only 27,000 subscribers where 60,000–100,000 were expected, well short of its break point of 175,000 subscribers. As a result, C Channel's broadcasts ceased on June 30, 1983. Following the receivership, the production facility and other studio assets were sold to Crossroads Christian Communications, planning to establish a national faith-based television service. C Channel's demise was one part of a troubled start to Canada's subscription television industry; the remaining premium movie channels were forced to restructure into regional monopolies for survival. About 10 years a second attempt at launching an arts-oriented cable network in Canada was made when the CRTC heard an application by CHUM Limited of Toronto for a Canadian version of the Bravo television network, in operation in the United States since December 1980. Bravo! signed on January 1, 1995 and was more successful and continues to broadcast, though it has shifted towards more popular fare at the expense of its fine-arts programming.
Unlike C Channel, Bravo! does not charge an individual fee for service, but rather is included in various "bundles" or "tiers" offered by the country's cable and satellite service providers. Woodrow, R. Brian. "The Introduction of Pay-TV in Canada: Issues and implications". Institute for Research on Public Policy. ISBN 0920380670, 978-0920380673 Raboy, Marc. "Missed Opportunities: The Story of Canada's Broadcasting Policy". McGill-Queens. ISBN 0773507752, 978-0773507753
Michele Deconet was a violinist and maker of string instruments. Born in Kehl, he worked as a travelling violinist in Italy, he settled in Venice where he resided until his death. Deconet was born in Kehl, near Strasbourg, in 1713 to Pietro Deconet; as an adolescent, Deconet joined military service thinking it would provide him an opportunity to travel and satisfy his curiosity of the world. It is thought. However, after only two years as a soldier, Deconet left Paris to make a long and trying journey to Venice. In 1732, at the age of 19, he worked his way from Paris to Venice as that of a traveling musician, stopping in villages throughout the French and Italian countryside. Though he continued to travel on, he chose Venice as his base of operations in years. After arriving in Venice, Deconet married Anna Chiaparota, she died the same year on November 10. Ignoring the usual rules of mourning, Deconet remarried soon after in 1744, his new wife was 20-year-old Paola Stecherle, a woman who made a living cooking in small restaurants around Venice.
Before wedding Deconet, she lived with a butcher in San Marcuola in Venice. A witness to the marriage, Giuseppe Salbego, was a good friend of Deconet, he stated at the wedding, “I have known him for four or five years because he lives in San Giovanni in Bragara where he has lived since his first wife’s death – seven or eight months. I have met with him since his widowhood and I know he has not other marriage obligations or promises.”Soon after the wedding, the couple moved to San Zeminian to an apartment. It is here, he had many more children after moving house to Bragora. Antonio and Giuseppe would become violinist like their father. Deconet was traveling outside of Venice, therefore it is not plausible that he held an apprenticeship. Apprenticeships would not have paid enough to support his family. All documents in reference to Deconet list him as a sonadore, which means "player". Deconet most took bought violins with him on his travels and resold them at fairs and markets, where he would play and showcase his talent.
This theory could explain the varying labels, some handwritten, that he or his buyers would place upon the instruments to remember its origins and garner publicity. Analysis of instruments attributed to Deconet seem to confirm this theory. All of "his" instruments are of Venetian making, but there are huge differences in style and workmanship. Limited instruments with his label between 1750 and 1760 reveal a probable privileged source of violins from some Venetian maker, interested in profit; the changes of style of the instruments can be explained by changes of sources for the instruments, as they are incoherent for the usual artisan development changes. His instruments have features that are typical of Venetian violin makers of the time, such as Pietro Guarnieri and Giorgio Serafin. Violins made in workshops were the work of the maestro, but made by the many workers. Instruments made by the workers were of the same quality, but much cheaper. Cheaper instruments led to Deconet making a profit.
While Deconet lived in Bragara, he lived next to Domenico Garlato, "a violin maker with a workshop in his home and three sons," and Giacomo Codeghin, "a violin maker without a family living in Calle della Morte." It is likely that Deconet bought instruments for resale from these violin makers. Pio Stefano, "Liuteri and Sonadori, Venice 1750 -1870" Ed. Venice research 2002, ISBN 9788890725210
Thomas Francis Darcy was an American political cartoonist. While working at Newsday, he won the 1970 Pulitzer Prize for Editorial Cartooning. Thomas was born in the Brooklyn borough of New York City and served in the U. S. Navy from 1951 to 1953, he attended the Terry Art Institute in Florida from 1953 to 1954 and graduated from the Cartoonists and Illustrators School in New York in 1956, where he studied under Jack Markow and Burne Hogarth. He started at Newsday in 1956 in the advertising department and became a cartoonist for the paper the following year, he left for the Phoenix Gazette in 1959, but he was too liberal for that newspaper, so the next year he headed back east to become an art director for the advertising agency Lenhart & Altschuler. He returned to editorial cartooning with brief stints at the Houston Post and the Philadelphia Bulletin. Publisher Bill Moyers brought Darcy back to Newsday, where he would remain until his retirement 1997. Moyers gave him the "latitude". According to the New York Times, he "was the first in a new wave of editorial cartoonists, who abandoned stylized cartooning and went straight for the jugular."
He said that his work was "not for the amusement of the comfortable" and that "If it's big and struts through the door, hit it hard." In the World Encyclopedia of Cartoons, Rick Marschall compared Darcy to Herblock and Paul Conrad, noting his bold lines and his use of "facial expressions and emotions to advantage in depicting his characters."His Pulitzer submissions concerned the Vietnam War and inner-city problems. He drew a cartoon featuring an L-shaped coffin over which a general exclaims "Good news, we've turned the corner in Vietnam!" In other cartoons, Darcy featured President Richard Nixon grabbing the White House columns as if they were jail bars, captioned "Prisoner of War," and another featuring two robed street prophets about to collide, carrying signs reading "Doomsday Is Coming!" and "The Mideast Is Here!" In addition to the Pulitzer, Darcy won the Thomas Nast Award from the Overseas Press Club in 1970 and 1972 and a National Headliner Award. In 1977, Darcy left editorial cartooning and created a weekly page of social commentary and reporting called "Tom Darcy on Long Island".
He said "After Nixon and civil rights, what's left to attack? I had too much of the sixties and seventies." In 1986, he was one of nine Pulitzer winners and over fifty cartoonists to participate in a collective protest, publishing cartoons against war-oriented toys during the Christmas shopping season. 1970 Pulitzer Prizes
The Canning Season is a young adult novel by American-Canadian author Polly Horvath. It was first published in 2003 by Farrar and Giroux. 2003 National Book Award for Young People's Literature 2004 American Library Association Young Adult Canadian Book of the Year A 2003 Horn Book Fanfare Best Book of the Year for Fiction A Kirkus Reviews Editor's Choice and Starred Review A 2004 American Library Association Best Book for Young Adults A 2003 Publishers Weekly Best Book of the Year in Fiction A 2003 School Library Journal Best Book of the Year A Chicago Tribune Best Book of 2003 A Washington Post Best Book of 2003