Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/157755
|
| Title: | 塑造品牌社會認同的理想與現實：以A24為案例研究
Ambivalence in Branding Social Identity: A Case Study of A24 |
| Authors: | 顧宗怡
Ku, Alice |
| Contributors: | 李家驊
Lee, Chia-Hua
顧宗怡
Ku, Alice |
| Keywords: | A24
獨立電影
品牌文化,
品牌
社會認同
美國電影
A24
branding
brand culture
independent film
ambivalence
authenticity |
| Date: | 2025 |
| Issue Date: | 2025-07-01 14:44:08 (UTC+8) |
| Abstract: | 在品牌文化的影響下，美國獨立電影公司面臨著打造獲利品牌和與消費者建立有意義的關係的雙重目標。本論文以社會認同為視角，評估A24作為領先獨立電影製片人和發行人的品牌及其矛盾性，並探索其在品牌實踐中建構社會認同和展現矛盾性的方式。本論文運用批判性話語分析，檢視與A24相關的文本和副文本，例如電影、宣傳資料、產業/新聞出版物以及線上話語，探討在品牌化和新自由主義的背景下，如何運用社會認同、真實性和情感。此外，本論文也探討了構成社會認同的意識形態、價值觀和實踐，以及它們商品化的矛盾性。本論文發現，藝術價值（例如原創性、作者論和戲劇性展示）和政治價值（例如多元化、包容性和勞動改革）是A24品牌試圖塑造的社會認同特徵。這些特徵也都受到市場壓力的影響，包括提升品牌知名度、擴大受眾規模、建立品牌社群、創造票房收益以及注入高雅文化。研究結果強調了品牌化社會和文化實踐的潛在機會與風險。
Under brand culture, American independent film companies face the dichotomous objectives of building a profitable brand and developing meaningful relationships with consumers. Through a social identity lens, this thesis evaluates the brand and ambivalence of A24 as the leading independent film producer and distributor, identifying the means in which it constructs social identities and exhibits ambivalence in its brand practice. Using critical discourse analysis to examine relevant texts and paratexts, such as films, promotional material, trade/news publications, and online discourse, discussing and promoting A24, this thesis touches upon the utilization of social identity, authenticity, and affective sentiments in the face of branding and neoliberalism. It examines the ideologies, values, and practices integral to social identities and the contradictions of their commodification. This thesis finds that artistic values (i.e. originality, auteurism, and theatrical exhibition) and political values (i.e. diversity, inclusion, and labor reform) characterize the social identities that A24’s brand attempts to cultivate. These characteristics are also all subjected to market pressure in improving brand perception, growing audience size, building brand communities, making box office returns, and infusing high culture. The findings emphasize the potential opportunity and dangers of branding social and cultural practice. |
| Reference: | A24. (n.d.-a). Accountant, Cherry Lane Theatre. A24. Retrieved April 8, 2025, from
https://a24films.com/jobs/6621147
A24. (n.d.-b). A24 shop. A24. Retrieved May 9, 2025, from
https://shop.a24films.com/?srsltid=AfmBOorg36VIOG68Zr-X4w13iQ4ScQjORcqV8kyVfdAF4l
YdBBg3dzjT
A24. (n.d.-c). A’24 tee. A24. Retrieved May 9, 2025, from
https://shop.a24films.com/products/a24-tee?srsltid=AfmBOopJcwmFBcbof1m6I6L3gTuSU9Xw
2A-Y-_eLHRfNmq2CULGPNQoZ
A24. (n.d.-d). Movie tickets. A24. Retrieved April 23, 2025, from
https://aaa24.a24films.com/page/movie-tickets/
Aaker, D. A. (1991). Managing brand equity: Capitalizing on the value of a brand name. The Free Press.
Aaker, D. A. (1996). Measuring brand equity across products and markets. California Management
Review, 38(3), 102.
Aaker, D. (2003). The power of the branded differentiator. MIT Sloan Management Review, 45(1), 83-87.
Abad-Santos, A. (2023, September 20). Drew Barrymore tried to live, laugh, scab her way across the picket line. It didn’t work. Vox.
https://www.vox.com/culture/2023/9/19/23880858/drew-barrymore-show-writers-strike-backlash
-apology
Abrams, D., & Hogg, M. A. (1990). Social identifications: A social psychology of intergroup relations
and group processes. Taylor & Francis Group.
Abrams, R. (2014, April 24). Noah Sacco plugs into Gotham Creativity. Variety.
https://variety.com/2013/film/news/noah-sacco-plugs-into-gotham-creativity-1200410140/
Academy of Motion Pictures Arts and Sciences. (2024, January 23). 2024 Oscars nominations: See the
full list. https://newsletter.oscars.org/news/post/2024-oscars-nominations-full-list
Adkins, L. (2005). The new economy, property and personhood. Theory, Culture & Society, 22(1),
111-130. https://doi.org/10.1177/0263276405048437
Adkins, L., & Lury, C. (1999). The labour of identity: performing identities, performing economies.
Economy and Society, 28(4), 598-614. https://doi.org/10.1080/03085149900000020
Adorno, T. W. (1991). The culture industry: Selected essays on mass culture. Taylor & Francis Group.
AMA. (1948). Report of the definitions committee. Journal of Marketing, 13(2), 202-217.
Andersson, L. (2024). Walter Benjamin (1936) “The work of art in the age of mechanical reproduction”.
In S. Bengtsson, S. Ericson & F. Stiernstedt (Eds.), Classics in media theory (pp. 9-23).
https://doi.org/10.4324/9781003432272-2
Araújo, J., Pereira, I. V., & Santos, J. D. (2023). The effect of corporate social responsibility on brand
image and brand equity and its impact on consumer satisfaction. Administrative Sciences, 13(5), 118.
Arnold, B. (2023, October 28). Movies, TV shows, and productions affected by the SAG-AFTRA strike.
Vulture. https://www.vulture.com/article/sag-strike-movies-tv-shows-paused.html
Arnold, J. (2013, February 7). Sheen’s ‘Swan’ is one ugly duckling. NPR.
https://www.npr.org/2013/02/07/171291510/sheens-swan-is-one-ugly-duckling
Aster, A. & Phoenix, J. (2023, April 18). Nervous laughter with Joaquin Phoenix & Ari Aster. A24.
https://a24films.com/notes/2023/04/nervous-laughter-with-joaquin-phoenix-ari-aster
Banet-Weiser, S. (2012). Authentic™: The politics of ambivalence in a brand culture. New York
University Press. https://doi.org/10.18574/nyu/9780814739372.001.0001
Barnes, B. (2016, July 13). Fox set to pay out to unpaid interns after reaching settlement on Black Swan
case. The Guardian.
https://www.theguardian.com/film/2016/jul/13/fox-payout-unpaid-interns-settlement-black-swan-
case
Barnes, B. (2018, March 3). The little movie studio that could. The New York Times.
https://proxyone.lib.nccu.edu.tw/login?url=https://www.proquest.com/blogs-podcasts-websites/little-movie-studio-that-could/docview/2009847412/se-2
Baron, Z. (2017, May 9). How A24 is disrupting Hollywood. GQ.
https://www.gq.com/story/a24-studio-oral-history
Baudrillard, J. (1998). The consumer society: Myths and structures. Sage Publications Ltd.
Bauman, Z. (2000). Liquid modernity. Polity Press.
Belk, R. W. (1988). Possessions and the extended self. Journal of Consumer Research, 15(2), 139-168.
https://doi.org/10.1086/209154
Benjamin, W. (1935). The Work of Art in the Age of Mechanical Reproduction, 1936. New York.
Benkler, Y. (2006). The wealth of networks: How social production transforms markets and freedom. Yale
University Press
Bergeson, S. (2024, July 30). A24 and AMC Theaters launch a ‘Teenage Dream’ film series. IndieWire.
https://www.indiewire.com/news/breaking-news/a24-amc-theaters-teenage-dream-film-series-123
5030560/
Bergeson, S. (2024, November 5). ‘Heretic’ directors credit A24 for being ‘incredibly artist-friendly’
amid generative AI debate. IndieWire.
https://www.indiewire.com/news/general-news/heretic-directors-a24-no-generative-ai-123506301
5/
Bergeson, S. (2025, February 21). ‘Moonlight’ and ‘Spring Breakers’ get first IMAX release from A24.
IndieWire.
https://www.indiewire.com/news/breaking-news/moonlight-spring-breakers-imax-a24-123509759
0/
Bergvall, S. (2006). Brand ecosystems: Multilevel brand interaction. In J.E. Schroeder & M.S. Morling
(Eds.), Brand culture (pp. 166-176). Routledge.
Bhattacharya, C. B., & Sen, S. (2003). Consumer–company identification: A framework for
understanding consumers’ relationships with companies. Journal of Marketing, 67(2), 76-88.
https://doi.org/10.1509/jmkg.67.2.76.18609
Biel, A. L. (1992). How brand image drives brand equity. Journal of Advertising Research, 32(6), 6-12.
Billard, T. J., & Moran, R. E. (2020). Networked political brands: consumption, community and political
expression in contemporary brand culture. Media, Culture & Society, 42(4), pp. 588-604.
https://doi.org/10.1177/0163443719867301
Biskind, P. (2004). Down and dirty pictures: Miramax, Sundance, and the rise of independent film. Simon
and Schuster.
Bourdieu, P. (1977). Cultural reproduction and social reproduction. In J. Karabel & A.H. Halsey (Eds.),
Power and ideology in education (pp. 487-511). Oxford University Press.
Branton, S. E., & Compton, C. A. (2021). There’s no such thing as a gay bar: Co-Sexuality and the
neoliberal branding of queer spaces. Management Communication Quarterly, 35(1), 69-95.
https://doi.org/10.1177/0893318920972113
Briggs, R. D. (2021). "A singular fusion of taste and edge": A24 and the indie sector in the 2010s
[Doctoral dissertation, University of Texas at Austin]. http://dx.doi.org/10.26153/tsw/14100
bri_guy_.(2025, January). The case of Sing Sing continues to perplex me.... [Comment
on the Reddit post “Did A24 fail Sing Sing? Reaction after missed SAG Ensemble nomination”].
Reddit.
https://www.reddit.com/r/A24/comments/1hy79c9/did_a24_fail_sing_sing_reaction_after_missed
_sag/
Brueggemann, S. (2024, April 14). Originality wins ‘Civil War,’ giving A24 and Alex Garland their
best-ever opening weekend. IndieWire.
https://www.indiewire.com/news/box-office/civil-war-a24-alex-garland-best-opening-weekend-1234974166/
Brueggemann, T. (2024, December 8). Post-Thanksgiving box office is usually the worst. This year, it’s
one of the best. IndieWire.
https://www.indiewire.com/news/box-office/moana-2-wicked-pusha-the-rule-part-2-box-office-12
35073886/
Burgess, J., & Green, J. (2009). The entrepreneurial vlogger: Participatory culture beyond the
professional-amateur divide. In P. Snickars & P. Vonderau (Eds.), The Youtube Reader, (pp. 89-107). Columbia University Press.
Burton, P. (2023, August 10). Why are A24 allowed to keep making movies amid strikes?. Far Out
Magazine. https://faroutmagazine.co.uk/a24-allowed-to-keep-making-movies-strikes/
Butler, J. (1988). Performative acts and gender constitution: An essay in phenomenology and
feminist theory. Theatre Journal, 40(4), 519-531.
Butler, J. (1999). Gender trouble: Feminism and the subversion of identity. Routledge.
Bulavka-Buzgalina, L. (2022). Culture in the space of late capitalism: The artist and the market. Critical
Sociology, 48(4-5), 645-658. https://doi.org/10.1177/08969205211073356
Carreno, A. M. (2025). From box office struggles to cultural icons: How A24 redefined success. Institute
for Change Leadership and Business Transformation. https://doi.org/10.5281/zenodo.14649040
Carroll, A. B. (1999). Corporate social responsibility: Evolution of a definitional construct. Business &
society, 38(3), 268-295. https://doi.org/10.1177/000765039903800303
Caves, R. (2000). Creative industries: Contact between art and commerce. Harvard University Press
Chapman, D. (2023, September 1). Which productions are continuing during the SAG-AFTRA strike?
‘Death of a Unicorn,’ ‘Beneath the Grass,’ and More. IndieWire.
https://www.indiewire.com/gallery/movies-filming-during-sag-aftra-strike-interim-agreement-wai
vers-strike-exemptions/
Chaput, C. (2018). Trumponomics, neoliberal branding, and the rhetorical circulation of affect. Advances
in the History of Rhetoric, 21(2), 194–209. https://doi.org/10.1080/15362426.2018.1474051
Childress, E. (2024, April 15). Weekend box office results: Civil War earns highest opening weekend for
A24. Rotten Tomatoes.
https://editorial.rottentomatoes.com/article/weekend-box-office-results-civil-war-earns-highest-op
ening-weekend-for-a24/
Chmielewski, D. (2023, March 13). Focus: Studio A24 captures Oscar spotlight with big wins for best
picture, acting. Reuters.
https://www.reuters.com/lifestyle/studio-a24-captures-oscar-spotlight-with-big-wins-best-picture-
acting-2023-03-13/
Cohen, L. (2003). A consumer’s republic: The politics of mass consumption in post-war America.
Vintage Books.
Cohen, N. S. (2015). Cultural work as a site of struggle: Freelancers and exploitation. tripleC, 10(2),
141-155.
Communication and Marketing Staff. (2023, May 18). Annenberg Inclusion Initiative unveils Inclusion
List in collaboration with Adobe Foundation. USC Annenberg.
https://annenberg.usc.edu/news/research/annenberg-inclusion-initiative-unveils-inclusion-list-collaboration-adobe-foundation
Concordia Studio. (2022). Boys State. Concordia Studio. Retrieved February 25, 2025, from
https://concordia.studio/boys-state/
Conley, B. M. (2012). The politics of hope: the Democratic Party and the institutionalisation of the
Obama brand in the 2010 mid-term. In J. Lees-Marshment (Ed.), Routledge handbook of political
marketing (pp. 124-135). Routledge.
Cook, D.A. (1998). Auteur cinema and the “film generation” in 1970s Hollywood. In J. Lewis (Ed.), The
new American cinema (pp. 11-37). Duke University Press.
Cosgrove, K. (2022). Donald Trump: The brand, the disjunctive leader, and brand ethics. In J. Gillies
(Ed.), Political marketing in the 2020 U.S. presidential election (pp. 105-123). Palgrave
Macmillan. https://doi.org/10.1007/978-3-030-86559-7_7
Couch, A., & McClintock, P. (2020, December 3). Warner Bros. smashes box office windows, will send
2021 slate to HBO Max and theaters. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters-4099819/
Couldry, N. (2010). Why voice matters: Culture and politics after neoliberalism. SAGE Publications.
https://doi.org/10.4135/978144626911
Cova, B., & White, T. (2010). Counter-brand and alter-brand communities: The impact of Web 2.0 on
tribal marketing approaches. Journal of Marketing Management, 26(3–4), 256–270.
https://doi.org/10.1080/02672570903566276
D’Alessandro, A. (2020, January 27). Apple & A24 snap up ‘Boys State’ documentary – Sundance.
Deadline.
https://deadline.com/2020/01/apple-a24-snap-up-boys-state-doc-for-10m-sundance-1202843009/
D’Alessandro, A. (2022, September 30). ‘Everything Everywhere All At Once’ crosses $70M U.S., $103M
worldwide, adding to totals of A24’s highest-grossing movie ever – update. Deadline.
https://deadline.com/2022/09/everything-everywhere-all-at-once-a24-box-office-record-2-123504
2399/
D’Alessandro, A. (2023, August 22).‘Priscilla’ gets SAG-AFTRA Interim Agreement ahead of Venice
Film Festival world premiere. Deadline.
https://deadline.com/2023/08/priscilla-sofia-coppola-sag-aftra-interim-agreement-1235525252/
D’Alessandro, A. (2025a, January 1). 2024 U.S. Box Office finals at $8.7 Billion: How the studios
stand. Deadline. https://deadline.com/2025/01/box-office-2024-studio-marketshare-1236244785/
D’Alessandro, A. (2025b, January 12). ‘The Brutalist’ nails limited expansion as A24 turns Brady
Corbet’s epic into event cinema – specialty box office. Deadline.
https://deadline.com/2025/01/indie-film-box-office-the-brutalist-a24-hard-truths-the-last-showgirl
-1236254954/
Da Silveira, C., Lages, C., & Simões, C. (2013). Reconceptualizing brand identity in a dynamic
environment. Journal of Business Research, 66(1), 28-36.
https://doi.org/10.1016/j.jbusres.2011.07.020
Davis, C. (2020, November 10). Steven Yeun drama ‘Minari’ sets limited theatrical release with
expansion to follow (exclusive). Variety.
https://variety.com/2020/film/awards/steven-yeun-minari-release-date-1234827448/
Davis, C. (2023, October 19). How Zac Efron, Greta Lee and more actors with SAG-AFTRA Interim
Agreements have Oscars advantage. Variety.
https://variety.com/2023/film/awards/sag-interim-agreements-oscars-advantage-actors-a24-neon-
1235758118/
Davis, C. (2025, February 27). How FilmNation became the indie powerhouse behind this year’s top
Oscar contenders. Variety.
https://variety.com/2025/film/news/filmnation-anora-conclave-oscars-best-picture-1236323217/
deadbymidnight2. (2023). But mainly because A24 agreed to SAGs conditions. Shows that other studios
are the inhuman and greedy. [Comment on Reddit post “A24 isn’t part of the AMPTP”. Reddit.
https://www.reddit.com/r/movies/comments/15aiai3/a24_isnt_part_of_the_amptp/
Debord, G. (2024). The society of the spectacle. PM Press.
Debruge, P. (2023, May 27). Cannes awards: ‘Anatomy of a Fall’ takes Palme d’Or, ‘The Zone of
Interest’ and ‘The Pot au Feu’ among winners. Variety.
https://variety.com/2023/film/news/cannes-film-festival-2023-palme-dor-prizes-awards-12356271
10/
De Chernatony, L. (2002). Would a brand smell any sweeter by a corporate name?. Corporate Reputation
Review, 5(2), 114-132. https://doi.org/10.1057/palgrave.crr.1540169
Del Barco, M. (2023, July 13). Hollywood actors go on strike, say it's time for studio execs to 'wake up'.
NPR. https://www.npr.org/2023/07/13/1187310535/hollywood-actors-strike-sag-aftra
Desta, Y. (2017, February 28). Is A24, the indie upstart with a fresh Best-Picture win, the next Miramax?.
Vanity Fair. https://www.vanityfair.com/hollywood/2017/02/a24-best-picture-miramax
De Valck, M. (2014). Film Festivals, Bourdieu, and the economization of culture. Canadian Journal of
Film Studies, 23(1), 74-89.
Dittmar, H. (1992). Perceived material wealth and first impressions. British Journal of Social Psychology,
31(4), 379-391. https://doi.org/10.1111/j.2044-8309.1992.tb00980.x
Dittmar, H. (2011). Material and consumer identities. In S. J. Schwartz, K. Luyckx, & V. L. Vignoles
(Eds.), Handbook of identity theory and research (pp. 745–769). Springer.
https://doi.org/10.1007/978-1-4419-7988-9_31
Donnelly, M. (2023, September 21). Zac Efron and Jeremy Allen White’s ‘Iron Claw’ locks up
SAG-AFTRA Interim Agreement. Variety.
https://variety.com/2023/film/news/iron-claw-efron-jeremy-allen-white-sag-interim-agreement-a2
4-1235731979/
Duffy, B. E., Ononye, A., & Sawey, M. (2024). The politics of vulnerability in the influencer economy.
European Journal of Cultural Studies, 27(3), 352-370.
Ebiri, B. (2013, February 8). Movie review: Charlie Sheen is the gaping hole at the center of A Glimpse
Inside the Mind of Charles Swan III. Vulture.
https://www.vulture.com/2013/02/movie-review-a-glimpse-inside-the-mind-of-charles-swan-iii.ht
ml
Ebiri, B. (2015, February 20). Hollywood, for the sake of biopics, stop making so many biopics. Vulture.
https://www.vulture.com/2015/02/stop-making-so-many-biopics.html
Ebiri, B. (2017, March 7). Critic’s notebook: Why ‘Get Out’ and ‘Moonlight’ are breakthroughs in Black
filmmaking. The Hollywood Reporter.
https://www.hollywoodreporter.com/news/general-news/why-get-moonlight-are-breakthroughs-bl
ack-filmmaking-critics-notebook-984129/
Ehrlich, D., Thompson, A., & Lattanzio, R. (2019, July 22). The 100 best movies of the decade.
IndieWire. https://www.indiewire.com/gallery/best-movies-of-2010s-decade/
Elliott, R. & Davies, A. (2006). Symbolic brands and authenticity of identity performance. In J. E.
Schroeder & M.S. Morling (Eds.), Brand culture (pp. 138-152). Routledge.
Elliott, R., & Wattanasuwan, K. (1998). Brands as symbolic resources for the construction of identity.
International Journal of Advertising, 17(2), 131–144.
https://doi.org/10.1080/02650487.1998.11104712
Ellmeier, A. (2003). Cultural entrepreneurialism: On the changing relationship between the arts, culture
and employment. International Journal of Cultural Policy, 9(1), 3-16.
https://doi.org/10.1080/1028663032000069158a\
Elsahn, Z., Callagher, L., Husted, K., Korber, S., & Siedlok, F. (2020). Are rigor and transparency
enough? Review and future directions for case studies in technology and innovation management.
R&D Management, 50(3), 309–328.
EntertainmentCareers.Net . (2025). Internships. https://www.entertainmentcareers.net/jcat.asp?jcat=114
Erbland, K. (2020, August 19). ‘On the Rocks’ first trailer: Coppola, Murray, and Jones serve up a fizzy
love letter to New York. IndieWire.
https://www.indiewire.com/features/general/on-the-rocks-first-trailer-coppola-murray-jones-1234580946/
Escalas, J. E., & Bettman, J. R. (2005). Self-construal, reference groups, and brand meaning. Journal of
Consumer Research, 32(3), 378-389. https://doi.org/10.1086/497549
Evans, A. (2021, January 22). Steven Yeun’s Minari gets February on demand release date. ScreenRant.
https://screenrant.com/minari-movie-release-date-streaming-february-2021/
Fairclough, N. (1992). Discourse and text: Linguistic and intertextual analysis within discourse analysis. Discourse & Society, 3(2), 193-217.
Fairclough, N. (2013). Critical discourse analysis. In J. P. Gee & M. Handford (Eds.), The Routledge
handbook of discourse analysis (pp. 9–20). Routledge.
Fanning, J. (1999). Tell me a story: The future of branding. Irish Marketing Review, 12(2), 3-15.
Faughnder, R. (2024, April 16). After ‘Civil War’ and mainstream success, can indie darling A24 keep its
cool?. Los Angeles Times.
https://www.latimes.com/entertainment-arts/business/newsletter/2024-04-16/with-civil-war-indie-
darling-a24-mainstream-everything-everywhere-the-wide-shot
Featherstone, M. (1982). The body in consumer culture. Theory, culture & society, 1(2), 18-33.
https://doi.org/10.4135/9781446280546
Fenkel, D. (n.d.). David Fenkel. LinkedIn. Retrieved March 12, 2025, from
https://www.linkedin.com/in/davidfenkel/
Fernandez, J. A. (2012, August 20). New distribution company A24 launches in the lead-up to Toronto
Film Festival, looks to release 8-10 films per year. IndieWire.
https://www.indiewire.com/news/general-news/new-distribution-company-a24-launches-in-the-le
ad-up-to-toronto-film-festival-looks-to-release-8-10-films-per-year-45472/
Ferreira, V. S. (2016). Aesthetics of youth scenes: From arts of resistance to arts of existence. Young,
24(1), 66-81. https://doi.org/10.1177/1103308815595520.
Figiel, Joanna (2018). Unpaid work and internships within the cultural and
creative sectors: Policy, popular culture, and resistance. [Doctoral dissertation, University of
London]. City Research Online.
https://openaccess.city.ac.uk/id/eprint/22681/1/Figiel,%20Joanna.pdf
Finney, A. (2022, November 1). Private equity follows quality not quantity into fickle indie market.
Variety. https://variety.com/2022/film/spotlight/afm-7-1235420330/
Fiske, J. (2010). Television culture. Taylor & Francis Group.
Fog, K & et al. (2010). Storytelling: Branding in practice. Springer Berlin.
Ford, R. (2023, December 8). Celine Song’s past, present, and future. Vanity Fair.
https://www.vanityfair.com/hollywood/celine-songs-past-present-and-future-awards-insider
Fornäs, J. (2024). Stuart Hall (1973) ‘encoding and decoding’. In S. Bengtsson, S. Ericson & F.
Stiernstedt (Eds.), Classics in media theory (pp. 151-165).
https://doi.org/10.4324/9781003432272-12
Foucault, M. (2023). Discipline and punish. In T. McDonough (Ed.), Rethinking the subject (pp. 37–54).
Taylor & Francis. https://doi.org/10.4324/9780429497643-4
Fournier, S., Breazeale, M., & Fetscherin, M. (Eds.). (2012). Consumer-brand relationships: Theory and
practice (1st ed.). Routledge.
Friedman, M. (2002). Consumer boycotts: Effecting change through the marketplace and the media.
Routledge.
Fritz, K., Schoenmueller, V., & Bruhn, M. (2017). Authenticity in branding – exploring antecedents and
consequences of brand authenticity. European Journal of Marketing, 51(2), 324-348.
https://doi.org/10.1108/EJM-10-2014-0633
Fuster, J. (2023, March 12). Oscars: A24 becomes first studio to win top 6 awards in a single year.
TheWrap. https://www.thewrap.com/oscars-a24-record-sweep-top-categories/
Gaikwad, P. (2017). Including rigor and artistry in case study as a strategic qualitative methodology. The
Qualitative Report, 22(13), 3431-3446. https://nsuworks.nova.edu/tqr/vol22/iss13/4/
Gajewski, T. (2025, April 14). ‘Ari Aster’s chaotic ‘Eddington’ trailer connects Joaquin Phoenix, Pedro
Pascal, Emma Stone. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/eddington-trailer-ari-aster-a24-release-1
236189964/
Galupo, M. & Weprin, A. (2024, June 26). A24 raises significant new investment round, valuing company
at $3.5B. The Hollywood Reporter.
https://www.hollywoodreporter.com/business/business-news/a24-raises-significant-new-investme
nt-1235932430/
Gannon, V. and Prothero, A. (2022). Authenticity in material culture, consumption and branding. In M.
Heřmanová, M. Skey, T. Thurnell-Read (Eds.) Cultures of authenticity (pp.79-86). Emerald
Publishing Limited.
Gardner, B. B. & Levy, S. J. (1999). The product and the brand. In D. W. Rook (Eds.), Brands,
consumers, symbols and research: Sidney J. Levy on marketing (pp. 131-140). SAGE
Publications, Inc.
Gardner, E. (2014, November 6). How all those intern lawsuits are changing Hollywood. The Hollywood
Reporter.
https://www.hollywoodreporter.com/business/business-news/how-all-intern-lawsuits-are-746945/
Geertz, C. (1973). The interpretation of cultures. Basic Books, Inc.
Gerosa, A. (2024). The hipster economy: Taste and authenticity in modern capitalism. UCL Press.
https://doi.org/10.14324/111.9781800086067
Geurrasio, J. (2023, March 11). A24, the studio behind ‘Everything Everywhere All at Once,’ is the ‘cool
kid’ of Hollywood. Business Insider.
https://www.businessinsider.com/a24-cool-kids-of-hollywood-everything-everywhere-all-at-once-
2023-3
Gill, R. (2018). Discourse. In M. Kackman & M. C. Kearney (Eds.), The craft of criticism: Critical media
studies in practice (pp. 23-34). Routledge.
Glickman, L. B. (2009). Buying power: A history of consumer activism in America. Chicago University
Press.
Goldsmith, J. (2025, January 12). ‘The Brutalist’ nails limited expansion as A24 turns Brady Corbet’s
epic into event cinema – specialty box office. Deadline.
https://deadline.com/2025/01/indie-film-box-office-the-brutalist-a24-hard-truths-the-last-showgirl
-1236254954/
Goldstein, G. & The Associated Press. (2007, March 5). Guggenheim sets up film fund. The Hollywood
Reporter.
https://www.hollywoodreporter.com/business/business-news/guggenheim-sets-up-film-fund-1312
68/
Grobar, M. (2023, August 2). SAG-AFTRA Interim Agreements come under the spotlight: “It’s the Wild
West”. Deadline.
https://deadline.com/2023/08/sag-aftra-interim-agreements-spotlight-wild-west-1235453672/
Gularte, A. (2023, October, 30). Only a few A24 movies can film in these trying times. Vulture.
https://www.vulture.com/article/sag-aftra-independent-productions-exceptions.html
Hadida, A. L., Lampel, J., Walls, W. D., & Joshi, A. (2021). Hollywood studio filmmaking in the age of
Netflix: a tale of two institutional logics. Journal of Cultural Economics, 45, 213-238.
https://doi.org/10.1007/s10824-020-09379-z
Hall, S. (1989). Cultural identity and cinematic representation. Framework: The Journal of Cinema and
Media, 36, 68-81. https://www.jstor.org/stable/44111666
Hall, S. (1997). Representation: Cultural representations and signifying practices. SAGE Publications.
Harris-Bridson, D. & Travers, B. (2020, March 4). Apple and Netflix cancel on SXSW as coronavirus
no-shows grow. IndieWire.
https://www.indiewire.com/features/general/apple-cancels-sxsw-coronavirus-judd-apatow-12022
15546/
Hartley, J. (2004). What is a case study? In C. Cassell & G. Symon (Eds.), Essential guide to qualitative
methods in organizational research (pp. 323–333). SAGE Publications.
https://doi.org/10.4135/9781446280119.n26:contentReference[oaicite:4]{index=4}
Harvey, D. (2005). Brief history of neoliberalism. Oxford University Press.
Hipes, P. (2020, February 1). Sundance Film Festival awards: ‘Minari’ scores double top honors – the
complete winners list. Deadline.
https://deadline.com/2020/02/sundance-film-festival-awards-2020-winners-1202848900/
Hipes, P. (2023, November 7). SAG-AFTRA Interim Agreements: Full list of movies and TV series
Deadline.
https://deadline.com/feature/sag-aftra-interim-agreements-list-movies-tv-series-1235446661/
Hogg, M. A., Terry, D. J., & White, K. M. (1995). A tale of two theories: A critical comparison of identity
theory with social identity theory. Social Psychology Quarterly, 58(4), 255-269.
https://doi.org/10.2307/2787127
Holt, D. B. (2004). How brands become icons: The principles of cultural branding. Harvard Business
School Press.
Hornaday, A. (2012, August 17). The on-demand indie film revolution. The Washington Post.
https://www.washingtonpost.com/lifestyle/style/the-on-demand-indie-film-revolution/2012/08/16/
6bf426d6-e57a-11e1-8f62-58260e3940a0_story.html
Hu, B. (2023). A24 and the Asian American prestige film. Film Quarterly, 77(2), 20-31.
https://doi.org/10.1525/fq.2023.77.2.20
James, C. (2024, April 11). How Alex Garland's Civil War offers a warning about the US political divide.
BBC.
https://www.bbc.com/culture/article/20240411-how-alex-garlands-civil-war-offers-a-warning-abo
ut-the-us-political-divide
Jenkins, H., & Deuze, M. (2008). Convergence culture. Convergence, 14(1), 5-12.
Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: Creating value and meaning in a networked
culture. New York University Press
Johnson, P. A. (2021). Ambivalence and contradiction in digital distribution: How corporate branding and
marketing dilute the lived experiences in Ramy. In O.O. Banjo (Ed.), Immigrant generations,
media representations, and audiences. Palgrave Macmillan.
https://doi.org/10.1007/978-3-030-75311-5_7
Jonas, K., & Ziegler, R. (2007). Attitudinal ambivalence. In M. Hewstone, H. Schut, J. de Wit, K. van den
Bos, & M. Stroebe (Eds.), The scope of social psychology: Theory and applications (pp. 41-54).
Psychology Press.
Jones, N. (2022, August 24). The cult of A24. Vulture. Retrieved January 11, 2025, from
https://www.vulture.com/article/a24-movies-cult.html
Jones, T. (2024, July 5). A guide to X, Pearl, and MaXXXine: All about the X trilogy universe.
Entertainment Weekly. https://ew.com/how-to-watch-ti-west-x-trilogy-in-order-8672218
Kampers, L. (2023). 'Cool' cinema sells: Examining the role of indie film company A24 in the
contemporary neoliberal US film industry. [Master’s thesis, Stockholm University].
https://www.diva-portal.org/smash/get/diva2:1772074/FULLTEXT01.pdf
Kang, I. (2019, July 18). The Farewell director Lulu Wang on why she stuck so close to her real-life
lie. Slate. https://slate.com/culture/2019/07/the-farewell-director-lulu-wang-interview.html
Kapferer, J.N. (1992). Strategic brand management: New approaches to creating and evaluating brand
equity. Kogan Page.
Kaufman, A. C. (2012, June 11). Weinstein Co.-owned Radius-TWC names two new EVPs. TheWrap.
https://www.thewrap.com/weinstein-co-owned-radius-twc-names-two-new-evps-43741/
Kay, J. (2016, September 10). Production focus: Barry Jenkins’s Moonlight. Screen Daily.
https://www.screendaily.com/features/production-focus-barry-jenkinss-moonlight/5109293.article
Kay, J. (2023, May 31). A24’s ‘The Whale’ nearing $60m at global box office (exclusive). Screen Daily.
https://www.screendaily.com/news/a24s-the-whale-nearing-60m-at-global-box-office-exclusive/5
182703.article
Kay, J. (2024, May 8). A24’s ‘Civil War’ crosses $100m at global box office (exclusive). Screen Daily.
https://www.screendaily.com/news/a24s-civil-war-crosses-100m-at-global-box-office-exclusive/5
193126.article
Keegan, R. (2023, September 4). Julia Louis-Dreyfus on her dramatic turn in ‘Tuesday,’ strike anxieties
and what she’s learned from older women. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/julia-louis-dreyfus-interview-tuesday-a2
4-actors-strike-1235581649/
Keegan, R. (2023, August 31).How Julia Louis-Dreyfus, Emma Stone and other SAG members are
navigating Telluride. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/julia-louis-dreyfus-emma-stone-sag-me
mbers-navigate-telluride-1235579704/
Keller, K. L. (1993). Conceptualizing, measuring, and managing customer-based brand equity. Journal of
Marketing, 57(1), 1-22. https://doi.org/10.2307/1252054
Kilday, G. (2012, October 3). Nicolette Aizenberg joins A24 as head of publicity. The Hollywood
Reporter.
https://www.hollywoodreporter.com/movies/movie-news/nicolette-aizenberg-a24-publicity-37625
4/
Kim Murphy, J. (2024, April 13). Box office: ‘Civil War’ ignites with $10.7 million opening day. Variety.
https://variety.com/2024/film/box-office/civil-war-opening-day-a24-1235969404/
Kim Murphy, J. (2025, February 19). ‘Bring Her Back’ trailer: Sally Hawkins is a bloody foster mom in
‘Talk to Me’ directors’ new horror film at A24. Variety.
https://variety.com/2025/film/trailers/bring-her-back-trailer-a24-talk-to-me-directors-1236312573
/
Kit, B. (2022, September 12). Sofia Coppola, Cailee Spaeny, A24 team for Priscilla Presley biopic. The
Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/sofia-coppola-cailee-spaeny-a24-priscill
a-presley-biopic-1235217915/
Klein, N. (2000). No logo: Taking aim at the brand bullies. Vintage Canada.
Kleine III, R. E., Kleine, S. S., & Kernan, J. B. (1993). Mundane consumption and the self: A
social‐identity perspective. Journal of Consumer Psychology, 2(3), 209-235.
Kohn, E. (2017, March 8). Beyond A24: How hip new distributors are targeting millennial tastemakers
with bold films. IndieWire.
https://www.indiewire.com/features/general/a24-neon-blumhouse-moonlight-get-out-colossal-dist
ribution-1201791026/
Kohn, E. (2020, June 29). ‘First Cow’ will head to VOD, and Kelly Reichardt reconsiders her film’s
resonance – exclusive. IndieWire.
https://www.indiewire.com/features/general/first-cow-vod-release-kelly-reichardt-1234570299/
Kotz, D. M. (2002). Globalization and neoliberalism. Rethinking Marxism, 14(2), 64-79.
Kotz, D. M., & McDonough, T. (2010). Global neoliberalism and the contemporary social structure of
accumulation. In T. McDonough, M. Reich, & D. M. Kotz (Eds.), Contemporary capitalism and
its crises: Social structure of accumulation theory for the 21st century (pp. 93-120). Cambridge
University Press.
Kramer, R. (2019). Graffiti and street art: Creative practices amid “corporatization” and “corporate
appropriation.” In J. H. A. McDonald & A. B. R. Johnson (Eds.), Copyright in street art and
graffiti: A country-by-country legal analysis (pp. 26–40). Edward Elgar Publishing.
Kroll, J. (2019, January 15). Sofia Coppola and Bill Murray reteam on Apple and A24’s first
co-production. Variety.
https://variety.com/2019/digital/news/sofia-coppola-bill-murray-apple-and-a24s-first-co-producti
on-1203108630/
Kwan, D., & Scheinert, D. (2022, April 8). Miracle work: A note from Daniels. A24.
https://a24films.com/notes/2022/04/miracle-work-a-note-from-daniels
La Force, T. (2019, July 11). How to create a Chinese feast, inspired by Lulu Wang’s ‘The Farewell’.
The New York Times.
https://www.nytimes.com/2019/07/11/t-magazine/entertainment/lulu-wang-the-farewell-chinese-f
east.html
Lang, B. (2018, November 15). Apple taps A24 to produce slate of films. Variety.
https://variety.com/2018/film/news/apple-a24-films-1203029800/
Lang, B. (2024, March 10). ‘Oppenheimer’ reigns at Oscars with seven wins, including Best Picture and
Director: Full winners list. Variety.
https://variety.com/2024/film/awards/oscar-winners-2024-list-1235932341/
Lang, B. & Donnelly, M. (2023, March 14). A24 scores Oscars sweep, even as its secretive founders shun
the spotlight. Variety.
https://variety.com/2023/film/awards/a24-oscars-everything-everywhere-all-at-once-secretive-fou
nders-the-whale-1235553835/
Lang, B., & Moreau, J. (2025, January 23). Oscar nominations: ‘Emilia Perez,’ ‘Wicked,’ and ‘The
Brutalist’ join the race. Variety.
https://variety.com/2025/film/news/oscar-nominations-emilia-perez-wicked-the-brutalist-1236282
041/
Lang, B. & Siegel, T. (2025, March 5). Inside ‘Anora’s’ Oscar victory: How scrappy indie Neon pulled off
its second best picture win in 5 Years. Variety.
https://variety.com/2025/film/news/anora-oscar-win-neon-awards-strategy-sex-worker-screenings
-thongs-1236327977/
Lasn, K. (2000). Culture jam: How to reverse America's suicidal consumer binge—and why we must.
William Morrow Paperbacks.
Lattanzio, R. (2020a, February 1). Sundance 2020 award winners: ‘Minari’ and ‘Boys State’ take Grand
Jury Prizes. IndieWire.
https://www.indiewire.com/awards/industry/sundance-2020-award-winners-1202207873/
Lattanzio, R. (2020b, June 30). ‘Boys State’ trailer: Texan teens stage a political coup in this
documentary Oscar contender. IndieWire.
https://www.indiewire.com/features/general/boys-state-trailer-1234570403/
LeahM324. (2019). The only biopic (which isn’t really a biopic) that I’ve seen that was told in a different
fashion and was. [Comment on Reddit post “What could biopics do differently to not seem so “by
the numbers” and generic?”. Reddit.
https://www.reddit.com/r/movies/comments/d9yl6s/what_could_biopics_do_differently_to_not_seem_so/
Lee, R. L. (2005). Bauman, liquid modernity and dilemmas of development. Thesis Eleven, 83(1), 61-77.
https://doi.org/10.1177/0725513605057137
Lee, S. (2023, July 18). From blowing up toasters to a seven-figure A24 deal. Vulture.
https://www.vulture.com/2023/07/from-blowing-up-toasters-to-a-seven-figure-a24-deal.html
Lerer, L. (2024, April 21). How the movie ‘Civil War’ echoes real political anxieties. The New York
Times. https://www.nytimes.com/2024/04/21/us/politics/civil-war-movie-politics.html
Li, S. (2019, July 14). When a lie becomes your breakout film. The Atlantic.
https://www.theatlantic.com/entertainment/archive/2019/07/lulu-wang-director-farewell-welcome
s-your-tears/593806/
Lodge, G. (2023, March 11). ‘A24 finds the zeitgeist and sets the trend’: how a small indie producer came
to dominate the Oscars. The Guardian.
https://www.theguardian.com/film/2023/mar/11/a24-oscars-indie-producer-everything-everywher
e-all-at-once
Los Angeles Times Staff. (2023a, October 19). Writers’ strike: What happened, how it ended and its
impact on Hollywood. Los Angeles Times.
https://www.latimes.com/entertainment-arts/business/story/2023-05-01/writers-strike-what-to-know-wga-guild-hollywood-productions
Los Angeles Times Staff. (2023b, November 10). Actors’ strike ends: The SAG-AFTRA deal, what
happened and what’s next. Los Angeles Times.
https://www.latimes.com/entertainment-arts/business/story/2023-06-29/what-to-know-sag-aftra-st
rike-actors-hollywood
Lury, C. (2004). Brands: The logos of the global economy. Routledge.
Maas, J. (2025, February 25). Ayo Edebiri to write and in talks to star in ‘Barney’ live-action movie from
A24, Mattel and Daniel Kaluuya. Variety.
https://variety.com/2025/film/news/barney-movie-ayo-edebiri-a24-mattel-daniel-kaluuya-123631
9324/
MacDonald, J. (2021, March 15). Korean American immigrant story ‘Minari’ receives Oscar
Nominations. Forbes.
https://www.forbes.com/sites/joanmacdonald/2021/03/15/korean-american-immigrant-story-mina
ri-receives-oscar-nominations/
Mackintosh, T. (2023, September 17). Drew Barrymore apology: Star halts talk show until writers strike
ends. BBC News. https://www.bbc.com/news/entertainment-arts-66838556
Maddaus, G. (2023, July 18). SAG-AFTRA approves 39 indie projects to shoot during strike, including
two A24 films. Variety.
https://variety.com/2023/film/news/sag-aftra-independent-projects-waivers-1235673546/
Maddaus, G. (2023, July 30). SAG-AFTRA defends indie productions as ‘vital’ part of strike strategy.
Variety.
https://variety.com/2023/biz/news/sag-aftra-interim-agreements-defend-pushback-1235683130/
Malone, A. (2020). And the loser is: A history of Oscar oversights. Vernon Press.
Malterud, K. (2001). Qualitative research: Standards, challenges, and guidelines. The Lancet, 358,
483–488. https://doi.org/10.1016/S0140-6736(01)05627-6
Markus, H., & Nurius, P. (1986). Possible selves. American Psychologist, 41(9), 954–969.
https://doi.org/10.1037/0003-066X.41.9.954
Marwick, A. E. (2013). Status update: Celebrity, publicity, and branding in the social media age. Yale
University Press.
Marx, K. (2024). Capital: Critique of political economy, Volume 1 (P. Reitter & P. North, Eds.; P. Reitter,
Trans.). Princeton University Press.
McAlexander, J. H., Schouten, J. W., & Koenig, H. F. (2002). Building brand community. Journal of
Marketing, 66(1), 38-54. https://doi.org/10.1509/jmkg.66.1.38.18451
McCarthy, E. D. (2009). Emotional performances as dramas of authenticity. In P. Vannini & P. Williams
(Eds.), Authenticity in culture, self, and society (pp. 241–255). Ashgate Publishing.
McClintock, P. (2013, March 17). ‘Spring Breakers’ scores top limited opening of 2013, but big challenge
lies ahead. Variety.
https://variety.com/2025/film/news/moonlight-spring-breakers-imax-theaters-buy-tickets-123631
4569/
McClintock, P. (2023, January 24). Oscars: Indie outfit A24 dazzles with a company-best 18 nominations.
The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/2023-oscars-a24-record-nominations-12
35308354/
McClintock, P. (2024, April 14). Box office: Alex Garland’s ‘Civil War’ opens no. 1 with history-making
$25.7M for A24. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-news/civil-war-box-office-opening-12358736
25/
McGuigan, J. (2014). The neoliberal self. Culture Unbound, 6(1), 223–240.
https://doi.org/10.3384/cu.2000.1525.146223
McNary, D. (2012, August 20). Katz, Fenkel, Hodges launch A24. Variety.
https://variety.com/2012/film/news/katz-fenkel-hodges-launch-a24-1118058061/
McNary, D. (2016, February 16). Berlin: Colin Farrell-Rachel Weisz comedy ‘The Lobster’ moves to A24
from Alchemy. Variety.
https://variety.com/2016/film/news/colin-farrell-rachel-weisz-lobster-a24-1201707547/
McRobbie, A. (2009). Reflections on precarious work in the cultural sector. In B. Lange, A. Kalandides,
B. Stöber, & I. Wellmann (Eds.), Governance der kreativwirtschaft: Diagnosen und
handlungsoptionen (pp. 123–138). https://doi.org/10.1515/9783839409961-007
Mendez, J. (2024, January 28). A24’s ‘A Lover’s Series’ hits AMC Theaters in February. NBC Los
Angeles.
https://www.nbclosangeles.com/news/local/a24s-a-lovers-series-hits-amc-theaters-in-february/33
23260/
Merriam, S. B. (1988). Case study research in education: A qualitative approach. Jossey-Bass.
Moor, L. (2008). Branding consultants as cultural intermediaries. The Sociological Review, 56(3),
408-428. https://doi.org/10.1111/j.1467-954X.2008.00797.x
Moore, R. (2004). Postmodernism and punk subculture: Cultures of authenticity and deconstruction. The
Communication Review, 7(3), 305–327. https://doi.org/10.1080/10714420490492238.
Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18.
https://doi.org/10.1093/screen/16.3.6
Muñiz Jr., A. M., & O'Guinn, T. C. (2001). Brand community. Journal of Consumer Research, 27(4),
412-432. https://doi.org/10.1086/319618
Muñiz, Jr., A. M., & Schau, H. J. (2007). Vigilante marketing and consumer-created communications.
Journal of Advertising, 36(3), 35-50. https://doi.org/10.2753/JOA0091-3367360303
Needham, C., & Smith, G. (2015). Introduction: Political branding. Journal of Political Marketing,
14(1–2), 1–6. https://doi.org/10.1080/15377857.2014.990828
Newby, R. (2024, April 12). Why ‘Civil War’ is making audiences so uncomfortable. The Hollywood
Reporter.
https://www.hollywoodreporter.com/movies/movie-features/civil-war-movie-liberals-1235873335
/
Nolfi, J. (2021, February 2). Steven Yeun’s Minari lands pre-Oscars streaming release date. Entertainment
Weekly. https://ew.com/movies/minari-release-date-streaming/
AstroDunce. (2022). n.c. [Comment on the Reddit post “A24’s Asian American Experiences Trilogy”].
Reddit.
https://www.reddit.com/r/A24/comments/u9okmm/a24s_asian_american_experience_trilogy/
Newman, B.I. (2006). Branding and political marketing in the United States. In A. Strebinger, W.
Mayerhofer, H. Kurz (Eds.). Werbe- und markenforschung: Meilensteine – state of the art –
perspektiven (pp. 197–212). Gabler Verlag. https://doi.org/10.1007/978-3-8349-9069-3_8
Oakes, P. & Turner, J.C. (1986). Distinctiveness and the salience of social category memberships: Is there
an automatic perceptual bias towards novelty?. European Journal of Social Psychology, 16(4),
325-344. https://doi-org.proxy.library.upenn.edu/10.1002/ejsp.2420160403open_in_new
Oganesyan, N. (2021, March 15). Oscars 2021: The complete nominations list. Variety.
https://variety.com/2021/film/news/2021-oscars-nominations-list-nominees-1234928711/
Papaoikonomou, E., Cascon-Pereira, R., & Ryan, G. (2016). Constructing and communicating an ethical
consumer identity: A Social Identity Approach. Journal of Consumer Culture, 16(1), 209-231.
https://doi.org/10.1177/1469540514521080
Perren, A. (2012). Indie, Inc.: Miramax and the transformation of Hollywood. University of Texas Press.
Petty, R. D. (2016). A history of brand identity protection and brand marketing. In D. W. Jones & M.
Tadajewski (Eds.), The Routledge companion to marketing history (pp. 97–114). Routledge.
Potter, A. (2010). Authenticity hoax: How we get lost finding ourselves. HarperCollins.
Ramachandran, N. (2025, January 30). Nicole Kidman’s ‘Babygirl’ crosses $50 million at global box
office for A24, riding wave of cultural impact (exclusive). Variety.
https://variety.com/2025/film/box-office/nicole-kidman-babygirl-a24-cultural-impact-123629087
9/
Ramos, D.-R. (2019, July 11). ‘‘The Farewell’s Lulu Wang talks bringing humor to grief and exploring
Chinese identity. Deadline.
https://deadline.com/2019/07/the-farewell-lulu-wang-interview-awkwafina-tzi-ma-diana-lin-a24-
1202645126/
Ramos, D.-R. (2020a, March 8). ‘First Cow’ marks career-high opening for Kelly Reichardt, ‘Emma’
charms with massive expansion – specialty box office. Deadline.
https://deadline.com/2020/03/first-cow-a24-kelly-reichardt-emma-focus-featuresspecialty-box-off
ice-1202876985/
Ramos, D.-R. (2020b, August 19). ‘On The Rocks’ trailer: Bill Murray and Rashida Jones go on an
unlikely father-daughter adventure in Sofia Coppola dramedy. Deadline.
https://deadline.com/video/on-the-rocks-trailer-bill-murray-rashida-jones-sofia-coppola-apple-a24
/
Ramos, D.-R. (2020c, December 11). ‘Minari’ debuts with qualifying run; ‘Wild Mountain Thyme’,
‘Farewell Amor’ and ‘Wander Darkly’ make theatrical premieres – specialty preview. Deadline.
https://deadline.com/2020/12/a24-minari-bleecker-street-debuts-romance-wild-mountain-thyme-f
arewell-amor-and-wander-darkly-premiere-specialty-preview-1234652161/
Rathna, D. (2023). Art and counterculture: Shaping identity through expression and engagement. Art and
Society, 2(4), 40-48. https://doi.org/10.56397/AS.2023.08.06
Ritman, A. (2024, December 2). Mubi launching global publishing arm, sets first book release for 2025
(exclusive). Deadline.
https://variety.com/2024/film/global/mubi-publishing-arm-book-editions-1236225946/
Ritman, A. (2025a, January 20). ‘The Brutalist’ sparks backlash after editor reveals use of AI in dialogue
and buildings, but says it’s ‘nothing that hasn’t been done before’. Variety.
https://variety.com/2025/film/global/the-brutalist-ai-dialogue-drawings-backlash-1236279361/
Ritman, A. (2025b, March 5). Celine Song’s ‘Materialists,’ starring Dakota Johnson, Chris Evans and
Pedro Pascal, sets June release date. Variety.
https://variety.com/2025/film/global/celine-song-materialists-release-date-a24-1236327001/
Rubin, R. (2022, December 11). ‘Box office: Brendan Fraser’s ‘The Whale’ scores biggest arthouse
opening of the year. Variety.
https://variety.com/2022/film/news/the-whale-brendan-fraser-box-office-opening-weekend-12354
56964/
Rubin, R. (2023, January 14). Brendan Fraser’s ‘The Whale’ passes $10 million at domestic box office.
Variety.
https://variety.com/2023/film/news/the-whale-box-office-crosses-10-million-brendan-fraser-hit-1
235488798/#article-comments
Rubin, R. (2025, March 26).Barry Jenkins to direct Zendaya in Ronnie Spector biopic ‘Be My Baby’ for
A24. Variety.
https://variety.com/2025/film/news/barry-jenkins-direct-zendaya-ronnie-spector-biopic-a24-1236
348428/
Robb, D. (2023, July 13). SAG-AFTRA issues strike rules with walkout set to begin at midnight. Deadline.
https://deadline.com/2023/07/actors-strike-rules-set-sag-aftra-1235437689/
Robinson, K. (2024, Jun 7). How A24 is building an indie music empire, one soundtrack at a time.
Billboard.
https://www.billboard.com/culture/tv-film/a24-music-movie-soundtracks-indie-label-1235702477
/
Rose, S. (2017, November 20). From Ex Machina to Moonlight: How A24 disrupted Hollywood. The
Guardian.
https://www.theguardian.com/film/2017/nov/20/ex-machina-moonlight-how-a24-disrupted-holly
wood
Roxborough, S. (2022, November 2). How Ti West’s ‘X’ trilogy shook up the indie business. The
Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-features/ti-west-x-trilogy-indie-film-business-
1235253198/
Russonello, G. & Victor, D. (2017, February 17). The best-picture mixup: It was ‘La La Land,’ until it
was ‘Moonlight’. The New York Times.
https://www.nytimes.com/2017/02/27/movies/oscars-best-picture-transcript.html
SAG-AFTRA. (2023, September 22). SAG-AFTRA guidance on interim agreements. SAG-AFTRA.
https://www.sagaftrastrike.org/post/sag-aftra-guidance-on-interim-agreements
Sardoč, M. (2020). The rebranding of neoliberalism. Educational Philosophy and Theory, 54(11),
1727–1731. https://doi.org/10.1080/00131857.2020.1823212
Scammell, M. (2007). Political brands and consumer citizens: The rebranding of Tony Blair. The Annals
of the American Academy of Political and Social Science, 611(1), 176-192.
https://doi.org/https://doi.org/10.1177/0002716206299149
Schatz, T. (2013). Conglomerate Hollywood and American independent film. In G. King, C. Molloy, & Y.
Tzioumakis (Eds.), American independent cinema: Indie, indiewood and beyond (pp. 127–139).
Routledge. https://doi.org/10.4324/9780203143704-16
Schroeder, J. E. (2006). Aesthetics awry: The painter of lightTM and the commodification of artistic
values. Consumption Markets & Culture, 9(2), 87–99.
https://doi.org/10.1080/10253860600633366
Schau, H. J., Muñiz Jr, A. M., & Arnould, E. J. (2009). How brand community practices create value.
Journal of Marketing, 73(5), 30-51.
Scott, R. (2024, July 8). MaXXXine sends off the X horror trilogy on a box office high note. Slash Film.
https://www.slashfilm.com/1618016/maxxxine-x-horror-trilogy-box-office-high-note/
Sewell, W. H. (2005). The concept(s) of culture. In G. M. Spiegel (Ed.), Practicing history: New
directions in historical writing after the linguistic turn (pp. 76–95). Routledge.
Shanfeld, E. (2024, October 22). A24’s ‘Heretic’ will make these movie theaters smell like blueberry pie
during one pivotal scene (exclusive). Variety.
https://variety.com/2024/film/news/heretic-movie-screenings-blueberry-pie-smell-how-to-buy-tic
kets-1236185044/
Shanfeld, E. (2025a, February 21). ‘A24’s ‘Moonlight’ and ‘Spring Breakers’ coming to IMAX theaters
for one night only. Variety.
https://variety.com/2025/film/news/moonlight-spring-breakers-imax-theaters-buy-tickets-123631
4569/
Shanfeld, E. (2025b, March 19). A24’s ‘Warfare’ launches IMAX run with early screenings. Variety.
https://variety.com/2025/film/news/warfare-imax-tickets-1236341890/
Sharf, Z. (2019, July 1). ‘The Farewell’: Lulu Wang turned down a nearly $15 million streaming deal for
A24. IndieWire.
https://www.indiewire.com/features/general/the-farewell-lulu-wang-turned-down-15-million-strea
ming-deal-1202154814/
Mahdawi, A. (2025, March 13). ‘Guess what? You don’t matter’: What Trump’s war on DEI means for
every American who’s not a straight white man. The Guardian.
https://www.theguardian.com/us-news/2025/mar/13/trump-war-dei-american-straight-white-man-
diversity-equity-inclusion
Shaw, D., & Shiu, E. (2002). The role of ethical obligation and self‐identity in ethical consumer choice.
International Journal of Consumer Studies, 26(2), 109-116.
Sirgy, M. J. (1982). Self-concept in consumer behavior: A critical review. Journal of Consumer Research,
9(3), 287-300.
Song, C. (2023, June 22). Space and time: A note from Celine Song. A24.
https://a24films.com/notes/2023/06/a-note-from-celine-song
Spangler, T. (2013, November 21). Amazon gets Scarlett Johansson’s ‘Under the Skin’ and other films in
exclusive A24 Pact. Variety.
https://variety.com/2013/digital/news/amazon-gets-scarlett-johanssons-under-the-skin-and-other-f
ilms-in-exclusive-a24-pact-1200864243/
Steward, A. (2013, December 5). A24 hires distribution veteran Heath Shapiro. Variety.
https://variety.com/2013/film/news/a24-hires-distribution-veteran-heath-shapiro-1200922566/
Sturken, M., & Cartwright, L. (2016). Practices of looking: An introduction to visual culture. Oxford
University Press.
Sun, R. (2022, November 4). Making of ‘Everything Everywhere All at Once’: How directing duo Daniels
created a multiverse with $14M. The Hollywood Reporter.
https://www.hollywoodreporter.com/movies/movie-features/making-of-everything-everywhere-al
l-at-once-1235253083/
Swiech, M.R. (2016). You'll never work in this town again: Employment, economics, and unpaid
internships in the entertainment and media industries. Loyola of Los Angeles Law Review, 49(2),
475-502. https://digitalcommons.lmu.edu/cgi/viewcontent.cgi?article=2967&context=llr
Szmigin, I., Carrigan, M., & McEachern, M. G. (2009). The conscious consumer: Taking a flexible
approach to ethical behaviour. International Journal of Consumer Studies, 33(2), 224-231.
https://doi.org/10.1111/j.1470-6431.2009.00750.x
Tabbara, M. (2023, July 31). SAG-AFTRA defends interim agreements for indie projects as “vital part of
our strategic approach” in strike negotiations. Screen Daily.
https://www.screendaily.com/news/sag-aftra-defends-interim-agreements-for-indie-projects-as-vit
al-part-of-our-strategic-approach-in-strike-negotiations/5184549.article
Tajfel, H. (1974). Social identity and intergroup behaviour. Sage Journals, 13(2), 65-93.
https://doi.org/10.1177/0539018474013002
TheRealMrKarrot. (2025, December). Has anyone else not been able to find a Queer showing in theaters
near them?. [Comment on a Reddit post “Queer release”]. Reddit.
https://www.reddit.com/r/A24/comments/1h9bcp3/queer_release/
The Zone of Interest Creative Team. (2024, February 2). A note from The Zone of Interest creative team.
A24. https://a24films.com/notes/2024/02/jonathan-glazer-collaborator-letter
Thoreau, H.D. (2003). Walden. Penguin Classics.
Thompson, A. (2023, June 21). Academy demands expanded theatrical runs for 2025 Best Picture
contenders. IndieWire.
https://www.indiewire.com/awards/industry/academy-expanded-theatrical-runs-2025-best-picture
-contenders-1234877359/
Thompson, M. M., & Zanna, M. P. (1995). The conflicted individual: Personality‐based and domain
specific antecedents of ambivalent social attitudes. Journal of Personality, 63(2), 259-288.
Torres, A., Bijmolt, T. H., Tribó, J. A., & Verhoef, P. (2012). Generating global brand equity through
corporate social responsibility to key stakeholders. International Journal of Research in
Marketing, 29(1), 13-24.
Tsioulcas, A. Romo, V. (2020, March 6). The show will not go on: Austin cancels SXSW because of
coronavirus. NPR.
https://www.npr.org/2020/03/06/813023174/the-show-will-not-go-on-sxsw-cancelled-because-of-
coronavirus
Turner, J. C., Hogg, M. A., Oakes, P. J., Reicher, S. D., & Wetherell, M. S. (1989). Rediscovering the
social group: A self-categorization theory. Basil Blackwell.
Turner, J. C., Brown, R. J., & Tajfel, H. (1979). Social comparison and group interest in ingroup
favouritism. European Journal of Social Psychology, 9(2), 187-204.
https://doi.org/10.1002/ejsp.2420090207
Tylor, E. B. (1924). Primitive culture (7th ed.). https://doi-org.proxy.library.upenn.edu/10.1037/13482-000
Type/Code. (2025). A24 screening room. https://typecode.com/a24-screeningroom/
Tzioumakis, Y. (2006). American independent cinema: An introduction. Edinburgh University Press.
Tzioumakis, Y. (2012). ‘Independent', ‘indie' and ‘Indiewood’: Towards a periodisation of contemporary
(post-1980) American independent cinema. In G. King, C. Molloy, & Y. Tzioumakis (Eds.),
American independent cinema (pp. 28-40). Routledge.
Tzioumakis, Y. (2023). After the "great studio pullback of ’08": Late Indiewood and American
independent film theatrical distribution in the age of streaming (2008-2019). Media Industries,
10(1).
USC Annenberg. (2025). The Inclusion List. https://www.inclusionlist.org/
U.S. Department of Labor. (2025). Equal employment opportunity. U.S. Department of Labor.
https://www.dol.gov/general/topic/discrimination
Varga, S. (2013). The politics of nation branding: Collective identity and public sphere in the neoliberal
state. Philosophy & Social Criticism, 39(8), 825-845. https://doi.org/10.1177/0191453713494969
Variety Staff. (2017, February 26). Academy Award winners 2017: Complete list. Variety.
https://variety.com/2017/film/news/2017-oscars-winners-list-academy-awards-1201995364/
Valenzuela, C., Castellucci, L., Mena, M. T., & Bianchi, C. (2022). Consumer brand hate: The role of
ambivalence. The International Review of Retail, Distribution and Consumer Research, 32(1),
100-125.
Wagmeister, E. (2023, September 21). SAG-AFTRA backs ‘Dancing With the Stars’ cast despite pressure
from WGA: ‘They are required to go to work’. Variety.
https://variety.com/2023/tv/news/dancing-with-the-stars-sag-aftra-strike-1235730127/
Wang, L. (2019, August 2). My American movie: A note from Lulu Wang. A24.
https://a24films.com/notes/2019/08/my-american-movie-a-note-from-lulu-wang
Weiner, J. (2017, January 18). Get to know A24, the film company behind ‘Spring Breakers’ and
‘Moonlight’. The Wall Street Journal.
https://www.wsj.com/articles/what-to-know-about-the-scrappy-film-company-behind-moonlight-1484754631
Welk, B. (2023, December 6). A24 movies just got a major streaming upgrade. IndieWire.
https://www.indiewire.com/news/analysis/a24-films-streaming-on-max-1234932695/
The White House. (2025, March 18). Fact sheet: President Donald J. Trump removes DEI from the
foreign service. The White House.
https://www.whitehouse.gov/fact-sheets/2025/03/fact-sheet-president-donald-j-trump-removes-de
i-from-the-foreign-service/
Whitmer, J.M. (2019) You are your brand: Self-branding and the marketization of self. Sociology
Compass, 13(3), e12662. https://doi.org/10.1111/soc4.12662
Wilkinson, A. (2019, July 16). The Farewell director Lulu Wang on challenging “what Americanness
means”. Vox. https://www.vox.com/2019/7/16/20687739/lulu-wang-farewell-interview-identity
Winfrey, G. (2016, December 1). ‘How ‘Moonlight’ beat the odds to reach theaters in African-American
neighborhoods. IndieWire.
https://www.indiewire.com/features/general/moonlight-box-office-awards-season-barry-jenkins-a
24-1201751113/
Winfrey, G. (2017, May 9). A24: Why Barry Jenkins, Sofia Coppola and James Franco love working with
he indie distributor. IndieWire.
https://www.indiewire.com/features/general/a24-barry-jenkins-sofia-coppola-james-franco-brie-la
rson-1201814377/
Yin, R. K. (2003). Designing case studies. Qualitative research methods, 5(14), 359-386.
Yin, R. K. (2014). Case study research: Design and methods (5th ed.). Sage Publications.
Yuen, N. W. (2023, June 15). Past Lives captures what so many immigrants feel. Elle.
https://www.elle.com/culture/movies-tv/a44199258/past-lives-celine-song-interview-immigration
-essay/
Zakarin, J. (2013, January 11). Jason Schwartzman, Roman Coppola and Charlie Sheen stage a quirky,
dancing meltdown. The Hollywood Reporter.
https://www.hollywoodreporter.com/news/general-news/jason-schwartzman-roman-coppola-charlie-411241/ |
| Description: | 碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
111461005 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0111461005 |
| Data Type: | thesis |
| Appears in Collections: | [國際傳播英語碩士學程] 學位論文
|
Files in This Item:
| File |
Size | Format | |
|---|
| 100501.pdf | 728Kb | Adobe PDF | 0 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
