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These differed from the Lumière operators and others in that they catered for the general, popular audiences, while the former were more upscale parts of theater programs, or a special program for the bourgeoisie (Musser 1990: 140, 299, 417-20).
The only postwar entry strategy that was successful in terms of survival was the direct acquisition of a Hollywood studio (Bakker 2000).
Jaws was released in 600 theaters simultaneously, and the big-budget films that followed came out in anywhere from 800 to 2,000 theaters nationwide on their opening weekends (Belton; Hanson & Garcia-Myers, 2000).
It would be extremely costly for European companies to re-enter international distribution, produce large portfolios, jump-start film quality, and establish a new brand of films – all at the same time (Bakker 2005).
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| Company name | Founded date | Revenue | Employee size | Job openings |
|---|---|---|---|---|
| Mississippi Public Broadcasting | 1970 | $56.0M | 150 | - |
| Video Production Company | - | $990,000 | 50 | - |
| DCTV | 1972 | $8.1M | 101 | - |
| StudioNow | 2006 | $3.6M | 75 | - |
| /Film | 2005 | $380,000 | 10 | 1 |
| RFD-TV | 1999 | $4.5M | 45 | - |
| Film Video Arts | - | $430,000 | 1 | - |
| RadicalMedia | 1993 | $6.1M | 100 | - |
| Center City Film & Video | - | $3.0M | 95 | - |
| Funny Or Die | 2007 | $36.0M | 75 | - |
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