Platinum labelers, a term first used by Columbia Pictures in the 1970s to describe the quality of films produced by independent studios, have long been the purview of film historians.
They are now a central part of the film industry’s strategy to keep the quality and popularity of its most successful films high.
With the rise of streaming platforms like Netflix, it has become increasingly difficult for those with a stake in a movie to stay up to date on what’s new, and to know whether the new films are worthy of their brand.
“The best films have become the most valuable because they have become a platform for brand recognition and, in many cases, the film itself,” says Brian Gorman, a professor at the University of Southern California’s Graduate School of Business.
Gorman has been studying film for more than a decade. “
For me, the best movies are the ones where you know you can trust the director and the director is paying attention and making the right choices, and that’s the best film.”
Gorman has been studying film for more than a decade.
He is the author of the forthcoming book The Rise of the Prestige: How Film and TV Companies Created the Brand Culture that Helped Them Win Oscars.
He also has a new book out called The Prestige’s Legacy: How Hollywood Made Money Off the Filmmaking of the 20th Century, and he says the rise and fall of the brand label in film is the result of several factors.
“In a lot of ways, the Prestiges were created by the film studios themselves,” Gorman says.
“It’s kind of like the movie studio was the one that created the Prestegies and they were the ones who made them.”
The rise of digital distribution and the proliferation of streaming services has created a “paradox of scarcity” for independent film makers, Gorman explains.
And that’s going to create an almost de facto scarcity of films. “
So now they’re going out and putting out movies that they didn’t think would be commercially viable.
A new wave of prestige films has emerged over the last few years, but Gorman points to the biggest breakthrough in recent memory. “
When you think about the prestige label, you’re seeing it created because the studios are not going to be able to produce any films that they think are good enough.”
A new wave of prestige films has emerged over the last few years, but Gorman points to the biggest breakthrough in recent memory.
In the fall of 2018, Warner Bros. began releasing films in English on Netflix, which was an early sign that Netflix’s audience had grown beyond the confines of traditional theaters.
“There’s something really interesting about the way Netflix has gone about this,” Gorton says.
The rise in popularity of streaming video has also given rise to a new kind of prestige brand: the “premium” label.
In 2017, the Hollywood Reporter magazine described the genre as “a new and innovative way to monetize film.”
The term refers to a film that costs more than the film it’s attached to and has been rated R. Critics have said the term has become shorthand for “good” and “bad” movies, while others have described it as a term for films that have “a lot of potential.”
Gortons research suggests that the term is often a marketing ploy.
“They’re marketing this idea of, ‘Hey, we’re going to make movies that people want to see,’ but it’s a marketing strategy that’s not really accurate,” Gorman says.
Some critics argue that the prestige labels don’t exist anymore.
“A lot of prestige cinema is very much dead,” says Gorman.
“People have stopped caring about prestige and want to focus on the next blockbuster or the next new thing.
But what we’re seeing in this decade is the rise in prestige in the media, the rise to new prestige.”
Gormon says he sees the rise as an extension of the same trends that have already led to a rise in the number of movies that are available on Netflix.
The demand for content is high, and the studios can make more money by releasing more of their movies on Netflix and other platforms.
“I think there’s been a huge change in the way the film world has been structured in the last 30 years, because of the proliferation and proliferation of digital,” Gollon says, adding that there is now an expectation that any film will be nominated for an Oscar.
The new wave Of the most recent decade, the studios have been trying to diversify their movies and release them on multiple platforms.
In 2018, Netflix announced that it was launching a new series called Orange is the New Black, a comedy about a high schooler who gets engaged to a girl he met online.
The show was one of a handful of shows that Netflix added to its streaming library.
Netflix has also