Dissertations / Theses on the topic 'Bee movie (Motion picture)'

A la frontière entre les industries du divertissement et la production culturelle, grand fournisseur de contenu à l'économie numérique, l'industrie du cinéma soulève des questions intéressantes dans le champ de l'économie et du marketing. Cette thèse répond à trois questions empiriques importantes sur ce sujet à l'aide de différentes méthodes adaptées (économétrie des données de panel, différence-de-différences, économétrie structurelle) et propose un nouveau développement théorique du modèle nested logit. Le premier chapitre étudie l'effet des notes des consommateurs sur Internet, et analyse la complémentarité et la substituabilité de ces notes avec l'information disponible avant la sortie des films en salle. Le deuxième chapitre étudie l'effet redistributif de la loi anti-piratage Hadopi sur les entrées des films en salle, en écartant minutieusement les phénomènes alternatifs pouvant affecter les résultats. Le troisième chapitre considère la saisonnalité dans l'industrie française du cinéma et décompose séparément les entrées des films en salle en le niveau de l'offre (le nombre et la qualité des films), la demande saisonnière sous-jacente, les variations météorologiques, et les promotions nationales en estimant un modèle nested logit à trois étages tenant compte de la congestion des films dans les salles de cinéma. Le modèle est utilisé pour identifier les dates de sortie optimales en fonction des types de film<br>At the frontier between entertainment industries and cultural production, vital content provider of digital economy, the motion picture industry raises several interesting questions in the field of economics and marketing. This dissertation tackles three important empirical questions in the motion picture industry using different methods (panel data models, difference-in-differences, and structural econometrics) and brings a new theoretical development about the nested logit model. The first chapter deals with online consumer reviews, also known as electronic word of mouth (eWOM), and focuses on the extent to which prerelease information alters the effect of eWOM on movie sales. The second chapter studies the collateral damages of the French anti-piracy law known as Hadopi on box office performances of movies, by carefully ruling out alternative explanations of the result. The third chapter investigates on seasonality in the French movie industry. The analysis separately identifies and decomposes movie sales into the number and quality of available movies, underlying seasonal demand, weather shocks, and national sales promotion by estimating a three-level nested logit model of weekly demand accounting for congestion on movie theaters' screens. The model is used to identify optimal release periods depending on the types of movie

This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.

The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.<br>M.F.A.<br>School of Film and Digital Media<br>Arts and Humanities<br>Film and Digital Media MFA

The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.<br>B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.<br>This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.<br>The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.

This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 1976 and 1988 in the Chinese film history and its influence on the development of the Chinese film industry; it concludes with the discussion of the direction the Chinese film industry is heading in the future.

O mercado cinematográfico pode ser caracterizado como uma indústria de entretenimento com a produção de bens de informação que são também bens de experiência, cuja qualidade só é conhecida após o consumo. Deste modo, a revisão crítica se torna importante para induzir seu consumo, fornecendo previamente algum grau de informação sobre a qualidade do bem. Segue-se o trabalho de Reinstein e Snyder (2005) para determinar se as revisões críticas conduzidas por consumidores e por críticos profissionais online afetam o tempo de exibição de filmes no mercado americano de cinema, medido em quantidades de semanas, conforme modelos de duração/sobrevivência na literatura. Para esta finalidade foi gerado, a partir de sites de cinemas americanos (Box Office Mojo e Rotten Tomatoes), um banco de dados extremamente rico com informações semanais de todos os filmes disponíveis no cinema americano de 2004 a 2015. Especificamente, investigou-se os efeitos das revisões críticas de críticos profissionais de primeira linha (Tops) e de consumidores, conforme a média das notas atribuídas na semana de lançamento de cada filme. No que se refere à avaliação dos consumidores foi aplicada a computação afetiva, que reconhece o sentimento e a emoção em suas resenhas online para captar o efeito boca a boca potencializado pelas mídias sociais e fornecendo, portanto, uma análise mais profunda do boca a boca online. O estudo controla por possíveis problemas de endogeneidade decorrente de simultaneidade, usando as críticas somente antes e durante a semana de lançamento dos filmes. Os resultados sugerem que os críticos profissionais exercem grande influência no tempo de duração dos filmes em cartaz, bem como a positividade dos consumidores em relação ao filme. No entanto, o efeito dos críticos profissionais é em média 3 vezes maior do que dos consumidores. Adicionalmente, pode-se observar que algumas emoções afetam a expectativa de vida dos filmes a depender do gênero do mesmo<br>The movie market may be considered as entertainment industry, which produces experience goods that is also information goods, whose quality is only known only after consumption. Thus, critical reviews becomes important to induce consumption, since it provides some level of information about product quality. We follow Reinstein and Snyder (2005) works in order to determine if experts and consumers online critical reviews affect the survival time of movies at the American movie market, measured by number of weeks, according to survival analysis models in the literature. For this purpose, an extremely rich database with weekly information on all the films available in American cinema from 2004 to 2015 was generated from American movie sites (Box Office Mojo and Rotten Tomatoes). Specifically, we investigate the effects of critical reviews from top professionals and from consumers, according to the average ratings assigned in each movie\'s release week. As far as consumer assessment was concerned, affective computing was applied, which recognizes the sentiment (sentiment analysis) and emotion (emotion mining) in their online reviews to capture the word-of-mouth effect boosted by social media. The study controls for possible problems of endogeneity due to simultaneity, using the criticisms before and during the week of release of the films. The results suggest that the professional critics exert a great influence on the duration of the films in exhibition, as well as the positivity of the consumers in relation to the film. Thus, the effect of professionals are 5 times greater, generally, than the effect of the consumer critics. Additionally, it can be observed that some emotions affect movie life expectancy depending on the its genre

by Chu Lui.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.<br>Includes bibliographical references (leaves 351-354).<br>ABSTRACT --- p.ii-iv<br>ACKNOWLEDGEMENT --- p.v<br>LIST OF FIGURES --- p.vi-vii<br>LIST OF ILLUSTRATIONS --- p.viii<br>CHAPTERS<br>Chapter PART I --- Introduction --- p.1<br>Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30<br>Chapter 2 --- Approaches from existing film studies --- p.31<br>Chapter 3 --- Structuration: social practices and social structure --- p.49<br>Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73<br>Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91<br>Chapter PART III --- The reflector's self-reflection --- p.105<br>Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109<br>Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127<br>Chapter PART IV --- Redefing what cinema is --- p.149<br>Chapter 8 --- Confusion over a simple matter --- p.150<br>Chapter 9 --- Delineating a new landscape of the cinema --- p.165<br>Chapter 10 --- "In name, in language, in ""affairs""" --- p.195<br>Chapter PART V --- Redefining what movie-viewing is --- p.224<br>Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225<br>Chapter 12 --- Reconstructing movie-viewing space --- p.249<br>Chapter 13 --- Reconstructing movie-viewing time --- p.281<br>Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303<br>REFERENCES --- p.351

by Grace Leung Lai-kuen.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.<br>Includes bibliographical references (leaves 120-124).<br>Preface --- p.ii<br>Abstract --- p.iii<br>Contents --- p.iv<br>Chapter Chapter 1. --- Introduction --- p.1<br>Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5<br>Chapter i) --- An Anomaly to Media Imperialism<br>Chapter ii) --- Inadequacies of Non-Marxists Theories<br>Chapter iii) --- Analytical Framework<br>Chapter iv) --- Research Questions and Research Design<br>Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19<br>Chapter i) --- Hong Kong as a Movie Production Centre<br>Chapter ii) --- Hong Kong as a Movie Export Centre<br>Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44<br>Chapter i) --- An Overview<br>Chapter ii) --- Stages of Development<br>Chapter 1) --- Initial Period<br>Chapter 2) --- Nascent Period<br>Chapter 3) --- Growing Period<br>Chapter 4) --- Developing Period<br>Chapter 5) --- Quiescent Period<br>Chapter 6) --- Reconstruction Period<br>Chapter 7) --- Prosperity Period<br>Chapter 8) --- Declining Period<br>Chapter 9) --- Revival Period<br>Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77<br>Chapter Chapter 6. --- Conclusion --- p.111<br>Appendices --- p.118<br>Reference --- p.120

After witnessing the success of Canadian strategies to attract U.S. film production in the 1990s, states and localities began offering financial incentives in an effort to lure film and video production away from their traditional hubs in California and New York (Christopherson & Rightor, 2010). This effort increased dramatically in the 2000s, both in scope and in scale. Production activity can now locate in states offering rebates of up to 40 percent of costs, even if this exceeds their actual tax bills, and all but a handful of states offer some form of tax incentives (Christopherson & Rightor, 2010; Katz & Rosenthal, 2006; National Conference of State Legislatures, 2011; Vock, 2008). While some states may be reducing incentive packages in the current climate of fiscal austerity, others are doubling down on that strategy as an effort to stimulate job growth and increased economic activity. And while most states tout many successes from these programs in both metrics, the question of whether such policies promote long-term sustainable economic development has not been fully answered. First I use theoretical literature to construct a model of sustainable industrial development. I will then test this model using a variety of methods and data sets at the national, and state and county levels. In the following two analytical chapters, I will evaluate the impacts of incentives on state-level employment and firm growth, followed by an assessment of the economic effects of incentives in one such state: Georgia. By using this variety of approaches and units of analysis, I hope to shed light on both the macro- and micro-level impacts such incentives have on the industrial economic development of states. In the first study, I use data from the County Business Patterns (CBP) over the years 2002-2013 to view changes in economic activity by state by the level of incentives offered. Using panel data for industry employment, establishment and occupational employment, I use a fixed and random effects regression models to view the relationship between the presence of incentives and the levels of employment and firms in the film industry of each state. Next, I use Georgia as a case study with which to evaluate the degree to which financial incentives for the motion picture industry can create a sustainable network of local firms and workers. I test these theories by using confidential QCEW data to analyze establishment-level activity and relative locations. The results neither completely confirm nor disprove the hypothesis that attracting mobile productions with state tax incentives can establish a nascent industry and generate long-term employment in a region. However, there is some evidence that the number of years the MPIs are in effect does have a positive impact, especially on establishments and occupations. Additionally, the states’ climate and transportation access relative to Los Angeles and other locations are important factors in building a local industry.

The Greater Vancouver Regional District (GVRD) is in an era of growth, fundamental change, and reexamination of regional and local quality of life. Within this context, the complete community policies of the Livable Region Strategic Plan have been developed to help achieve a region where human community flourishes within the built and natural environment. The complete communities concept provides people with broader diversity in the physical and social elements of community - houses, travel, workplaces, social contacts, public services, recreation activities, shops and personal services (GVRD, 1995). By allowing this diversity, people will have a wider range of choices for urban living. In recent years, municipalities in the GVRD have begun to recognize that cultural resources are integral to the overall health, vitality and livability of the region. The role of culture and cultural resources in maintaining and enhancing the region's livability is acknowledged in two of the complete community policies. Cultural resources are the "things" which give a neighbourhood, a city, or region its particular sense of time and place and they are the expressions of what that place is. The conservation of cultural resources to a community provides a means of making a neighbourhood, city or region more aesthetically pleasing, and thus more livable. Neighbourhood movie theatres, for example, are one of the many types of buildings with cultural significance which may contribute to a community's character, quality of life and foster a sense of pride for residents in Vancouver communities. Neighbourhood movie theatres have been an essential component of the movie-going experience for the citizens of Vancouver since the 1930s. The purpose of this thesis is to ascertain whether cultural resources, such as a movie theatre, contribute to a complete community. Through both a literature review and case study approach, the research sought to understand the significance of cultural resources, such as a movie theatre, to a community. The thesis focuses on the case study of the Hollywood Theatre in Kitsilano to explore how a local cultural resource contributes to the community. A survey was designed and administered to 60 patrons of the Hollywood Theatre. The study concludes that the patrons of the Hollywood Theatre indicated that the theatre contributes to the vitality, and livability of the community. The prospects for achieving complete communities in established neighbourhoods will be influenced by local perspectives on growth, and change. Complete community objectives and strategies may be accepted locally to the degree they are seen as a means to achieve community aspirations and improve the quality of life of residents.

姜玢.<br>"2000年8月"<br>論文 (哲學碩士)--香港中文大學, 2000.<br>參考文獻 (leaves 104-108)<br>附中英文摘要.<br>"2000 nian 8 yue"<br>Jiang Fen.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.<br>Can kao wen xian (leaves 104-108)<br>Fu Zhong Ying wen zhai yao.<br>Chapter ´ؤ --- 引言 --- p.10<br>Chapter 1.1 --- 上海特殊環境的.形成 --- p.11<br>Chapter 1.2 --- 文化中心的形成與電影事業的發展 --- p.13<br>Chapter 1.3 --- 好萊塢的優勢 --- p.16<br>Chapter 1.4 --- 上海好萊塢電影硏究的重要性 --- p.17<br>Chapter 二 --- 電影院分佈與歷史意義 --- p.21<br>Chapter 2.1 --- 上海電影院歷史 --- p.21<br>Chapter 2.2 --- 電影院與影片級別 --- p.24<br>Chapter 2.3 --- 電影院地點與階級傾向 --- p.29<br>Chapter 2.4 --- 娛樂場所現代性更替的意義 --- p.30<br>Chapter 三 --- 電影雜誌 --- p.34<br>Chapter 3.1 --- 《電影週刊》與.《好萊塢》 --- p.35<br>Chapter 3.2 --- 批評的角度 --- p.38<br>Chapter 3.3 --- 中美電影關係 --- p.40<br>Chapter 3.4 --- 對市場的認識 --- p.44<br>Chapter 3.5 --- 《好萊塢》現象 --- p.48<br>Chapter 四 --- 影片種類分析 --- p.51<br>Chapter 4.1 --- 娛樂傾向與片種調查 --- p.51<br>Chapter 4.2 --- 文化想象與雙向凝視關係 --- p.59<br>Chapter 4.3 --- 國產片的好萊塢因素 --- p.60<br>Chapter 4.4 --- 好萊塢意識與中國價値的接合點 --- p.64<br>Chapter 4.5 --- 片名繙譯與價値投射 --- p.68<br>Chapter 五 --- 城市情境與摩登心態 --- p.70<br>Chapter 5.1 --- 現代性社會結構 --- p.70<br>Chapter 5.2 --- 新型消費心態與文化需求 --- p.74<br>Chapter 5.3 --- 城市情境與現代現象 --- p.76<br>Chapter 六 --- 總結 --- p.83<br>附錄 --- p.86<br>參考書目 --- p.101<br>圓表目錄<br>Chapter 1. --- 美國八大電影公司在上海發行處地址 --- p.25<br>Chapter 2. --- 放映外國影片的電影院 --- p.26<br>Chapter 3. --- 放映國產影片的電影院 --- p.28<br>Chapter 4. --- 《電影週刊》關於好萊塢新聞的比例 --- p.36<br>Chapter 5. --- 最喜歡娛樂項目評選 --- p.52<br>Chapter 6. --- 最喜歡影片類型評選 --- p.52<br>Chapter 7. --- 《電影週刊》之“新片批評´ح統計表 --- p.53