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Journal articles on the topic 'Business in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Bakker, Gerben. "How Motion Pictures Industrialized Entertainment." Journal of Economic History 72, no. 4 (December 14, 2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railways, and electricity, but not insignificant. An observer might have noted that “motion pictures are everywhere except in the productivity statistics.”“So long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great as that which the business leaders of the present generation have made on the last.”1Alfred Marshall

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2

Hennig-Thurau, Thorsten, Victor Henning, and Henrik Sattler. "Consumer File Sharing of Motion Pictures." Journal of Marketing 71, no. 4 (October 2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.001.

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Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies.

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Hennig-Thurau, Thorsten, Victor Henning, and Henrik Sattler. "Consumer File Sharing of Motion Pictures." Journal of Marketing 71, no. 4 (October 2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.1.

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4

Wierenga, Berend. "Invited Commentary—Motion Pictures: Consumers, Channels, and Intuition." Marketing Science 25, no. 6 (November 2006): 674–77. http://dx.doi.org/10.1287/mksc.1050.0185.

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Franses, Philip Hans. "Modeling box office revenues of motion pictures✰." Technological Forecasting and Social Change 169 (August 2021): 120812. http://dx.doi.org/10.1016/j.techfore.2021.120812.

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6

Qiang, Niu, Teng Hai, and Martin Wolff. "China EFL: Teaching with movies." English Today 23, no. 2 (April 2007): 39–46. http://dx.doi.org/10.1017/s0266078407002076.

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ABSTRACTSome observations on using motion pictures to teach Business English. THE USE of motion pictures or other captioned films as part of teaching English as a foreign language has markedly increased in recent years in China. Because of this, we undertook a four-year experiment to determine how effective the use of English-language movies has been in the teaching of business. From this experiment it became clear that a cavalier use of movies in effect misused them. The appropriate and effective use of motion pictures requires a range of elements: (1) movies that are at one and the same time educational, informative, and entertaining; (2) a workbook linked to such movies that enables students to get ready beforehand; (3) most importantly, a range of classroom activities to induce and elicit timely and optimal output from the students, so as to make talking and writing about communication easier and more effective. Activities such as dubbing, story retelling, acting, discussing, debating, and role playing are only a few of the effective techniques a teacher can employ to engage the students.

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Budeva, Desislava. "Cross‐cultural differences in evaluating product characteristics: motion pictures." Management Research Review 33, no. 5 (April 23, 2010): 423–36. http://dx.doi.org/10.1108/01409171011041875.

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8

Marvasti, A. "Motion Pictures Industry: Economies of Scale and Trade." International Journal of the Economics of Business 7, no. 1 (February 2000): 99–114. http://dx.doi.org/10.1080/13571510084087.

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Marvasti, Akbar, and E. Ray Canterbery. "Cultural and Other Barriers to Motion Pictures Trade." Economic Inquiry 43, no. 1 (January 2005): 39–54. http://dx.doi.org/10.1093/ei/cbi004.

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Pollio, Howard R., John Anderson, Priscilla Levasseur, and Michael Thweatt. "Cultural Meanings of Nature: An Analysis of Contemporary Motion Pictures." Journal of Psychology 137, no. 2 (March 2003): 117–32. http://dx.doi.org/10.1080/00223980309600603.

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11

Sawhney, Mohanbir S., and Jehoshua Eliashberg. "A Parsimonious Model for Forecasting Gross Box-Office Revenues of Motion Pictures." Marketing Science 15, no. 2 (May 1996): 113–31. http://dx.doi.org/10.1287/mksc.15.2.113.

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12

Cook, David A., and Wenli Wang. "Neutralizing the piracy of motion pictures: reengineering the industry’s supply chain." Technology in Society 26, no. 4 (November 2004): 567–83. http://dx.doi.org/10.1016/j.techsoc.2004.08.001.

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COOK, D., and W. WANG. "Neutralizing the piracy of motion pictures: reengineering the industryʼs supply chain." Technology in Society 26, no. 4 (November 2004): 567–83. http://dx.doi.org/10.1016/s0160-791x(04)00053-3.

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14

Foutz, Natasha Zhang, and Wolfgang Jank. "Research Note—Prerelease Demand Forecasting for Motion Pictures Using Functional Shape Analysis of Virtual Stock Markets." Marketing Science 29, no. 3 (May 2010): 568–79. http://dx.doi.org/10.1287/mksc.1090.0542.

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15

Elberse, Anita. "The Power of Stars: Do Star Actors Drive the Success of Movies?" Journal of Marketing 71, no. 4 (October 2007): 102–20. http://dx.doi.org/10.1509/jmkg.71.4.102.

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Is the involvement of stars critical to the success of motion pictures? Film studios, which regularly pay multimillion-dollar fees to stars, seem to be driven by that belief. This article sheds light on the returns on this investment using an event study that considers the impact of more than 1200 casting announcements on trading behavior in a simulated and real stock market setting. The author finds evidence that the involvement of stars affects movies' expected theatrical revenues and provides insight into the magnitude of this effect. For example, the estimates suggest that, on average, stars are worth approximately $3 million in theatrical revenues. In a cross-sectional analysis grounded in the literature on group dynamics, the author also examines the determinants of the magnitude of stars' impact on expected revenues. Among other things, the author shows that the stronger a cast already is, the greater is the impact of a newly recruited star with a track record of box office successes or with a strong artistic reputation. Finally, in an extension to the study, the author does not find that the involvement of stars in movies increases the valuation of film companies that release the movies, thus providing insufficient grounds to conclude that stars add more value than they capture. The author discusses implications for managers in the motion picture industry.

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Chen, Man, Xiaomin Han, Xinguo Zhang, and Feng Wang. "The business model of Chinese movies." Journal of Contemporary Marketing Science 2, no. 3 (December 17, 2019): 246–61. http://dx.doi.org/10.1108/jcmars-02-2019-0015.

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Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM). Findings In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets. Practical implications During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers. Originality/value Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.

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Hirschman, Elizabeth C., and Joyce A. McGriff. "Recovering Addicts’ Responses to the Cinematic Portrayal of Drug and Alcohol Addiction." Journal of Public Policy & Marketing 14, no. 1 (March 1995): 95–107. http://dx.doi.org/10.1177/074391569501400109.

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Marketing researchers are turning increased attention toward major social problems, such as homelessness, compulsive purchasing, and abortion. The authors extend these efforts by establishing some initial guidelines for the therapeutic use of motion pictures in drug rehabilitation programs. Recovering addicts evaluated four films that depicted drug addiction and alcoholism, using rating scales and personal commentary. Working with counselors and administrators, the authors discuss their responses and make suggestions regarding treatment programs.

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18

Krider, Robert E., and Charles B. Weinberg. "Competitive Dynamics and the Introduction of New Products: The Motion Picture Timing Game." Journal of Marketing Research 35, no. 1 (February 1998): 1–15. http://dx.doi.org/10.1177/002224379803500103.

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The extremely short life cycle and the rapid decay in revenues after opening coupled with the rapid and frequent introduction of new competitive products makes the timing of new product introductions in the motion picture industry critical, particularly during the high-revenue Christmas and summer seasons. Each studio wants to capture as much of the season as possible by opening early in the season. At the same time, each wants to avoid head-to-head competition. The authors model competition between two motion pictures in a share attraction framework and conduct an equilibrium analysis of the product introduction timing game in a finite season. The following three different equilibrium configurations emerge: (1) a single equilibrium with both movies opening simultaneously at the beginning of the season, (2) a single equilibrium with one movie opening at the beginning of the season and one delaying, and (3) dual equilibria, with either movie delaying opening. A key factor is the product life cycle, which can be captured well with a two-parameter exponential decline. The authors relate the life-cycle parameters to these possibilities with the general result that the weaker movie may be forced to delay opening. These results are related to case studies of the opening of recently released movies. A statistical analysis of the 1990 summer season in North America provides support for the conclusions and suggests that current release timing decisions can be improved. The authors discuss the rationale of “avoiding the competition” in the general context of product introduction timing.

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Hanssen, F. Andrew. "“WHAT'S WRONG WITH THE WAY I TALK?” THE EFFECT OF SOUND MOTION PICTURES ON ACTOR CAREERS." Economic Inquiry 58, no. 1 (October 23, 2019): 474–95. http://dx.doi.org/10.1111/ecin.12857.

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20

Guback, Thomas. "The Evolution of the Motion Picture Theater Business in the 1980s." Journal of Communication 37, no. 2 (June 1, 1987): 60–77. http://dx.doi.org/10.1111/j.1460-2466.1987.tb00983.x.

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21

Agustina, Lia. "Enhancing the Students’ Positive Attitude in Learning Business English by Using Technology." Advances in Language and Literary Studies 8, no. 6 (December 25, 2017): 51. http://dx.doi.org/10.7575/aiac.alls.v.8n.6p.51.

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Many research findings have stated that the use of technology in EFL classroom results invaluable achievements and develops positive attitudes. Technology may integrate sounds, pictures, motions, and colors that figure out a natural picture of real life. The aim of the study was to enhance the students’ attitude toward learning English by using technology of internet that used as the data-finding resources while computer software used as an instrument to do the assigned project. The instruction was performed in a project simulating business meeting, done in a group of seven members. The study was an action research using a total of 52 students from Accounting Department of State Polytechnic of Malang in the year of 2015/2016. The study took 12 meetings, with 90 minutes for each meeting. The data were collected through interviews, questionnaire, and direct observation, pre-test and post-test. Result of the study showed that by using technology, the students’ positive attitude toward learning English was promoted.

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22

L., Jagath J., Shalij P. R, and Haris Naduthodi. "Motion Picture Data Management System." International Journal of Business Innovation and Research 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijbir.2020.10034213.

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23

Weinberg, Charles B. "Invited Commentary—Research and the Motion Picture Industry." Marketing Science 25, no. 6 (November 2006): 667–69. http://dx.doi.org/10.1287/mksc.1050.0164.

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24

Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.

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25

Cha, Jiyoung. "Product placement in movies: perspectives from motion picture firms." Journal of Media Business Studies 13, no. 2 (April 2, 2016): 95–116. http://dx.doi.org/10.1080/16522354.2016.1159802.

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Maine, Barry. "Late Nineteenth-Century Trompe L'Oeil and Other Performances of the Real." Prospects 16 (October 1991): 281–95. http://dx.doi.org/10.1017/s0361233300004555.

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“We live in an age of wonders!” exclaims a character in Henry James's The Bostonians (1886). And so it must have seemed to any American who could read the newspapers, which thrived, in the 1880s, on the business of proclaiming marvels. In The Bostonians one of the “wonders” is Miss Verena Tarrant, whose precocious and hypnotic speaking powers on the subject of women's rights — together with a pretty face and trim figure — succeeded in selling out the Boston Music Hall. Other wonders of the decade were less comely but more enduring: the lightbulb, the electric generator (which so awed Henry Adams), the telephone, the automobile, motion pictures, the linotype machine, the Kodak camera. The hawking of Verena Tarrant outside the Music Hall followed the American pattern of packaging, promoting, and generally celebrating (in a chauvinistic spirit) all manner of sensational feats, new technologies, and even writers and painters who caught the public's fancy. One of these was, of course, Mark Twain, who successfully promoted his own works through direct subscription sales. Also included among the sensational feats of the period were the trompe l'oeil (trick of the eye) still-life paintings by William Michael Harnett, who was heralded in a feature article that appeared in the New York News at the end of the decade. The headline ran as follows:Painted Like Real Things. The Man Whose Pictures Are a Wonder and a Puzzle. How He Began and the Success He Has Met With — Poverty Forced Him to Earn a Living in the Line in Which He Excells.

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Kuang, Rui Hu, Ju Chi Kuang, and Ze Ming Chen. "Solution to Design Difficulties in E-Business VR Platform." Advanced Materials Research 219-220 (March 2011): 1612–16. http://dx.doi.org/10.4028/www.scientific.net/amr.219-220.1612.

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Framework in e-business platform based on VRT (Virtual Reality Technology) was discussed, and difficulties in the process were investigated, which was followed by corresponding solutions. Then solution was got as: (1) in allusion to exceptional situation in the server-side, the mechanism of cutoff and junction is wondrously effective by the way of using the language statements, “try” and “catch”; (2) packaging data enables server-side to receive a great deal of data, and to escape data pileup; (3) using the way of scene switchover can settle harmonization of the whole and the part; (4) problem of motion picture flicker can be commendably solved by using double buffer memory of technology with Java; (5) the key numeration algorithm of bitmap rotation can account for the problem of quick rotation of bitmap.

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Bakker, Gerben. "Building Knowledge about the Consumer: The Emergence of Market Research in the Motion Picture Industry." Business History 45, no. 1 (January 2003): 101–27. http://dx.doi.org/10.1080/713999299.

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Goettler, Ronald L., and Phillip Leslie. "Cofinancing to Manage Risk in the Motion Picture Industry." Journal of Economics Management Strategy 14, no. 2 (June 2005): 231–61. http://dx.doi.org/10.1111/j.1530-9134.2005.00041.x.

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DAVIS, PETER. "MEASURING THE BUSINESS STEALING, CANNIBALIZATION AND MARKET EXPANSION EFFECTS OF ENTRY IN THE U.S. MOTION PICTURE EXHIBITION MARKET." Journal of Industrial Economics 54, no. 3 (September 2006): 293–321. http://dx.doi.org/10.1111/j.1467-6451.2006.00290.x.

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Krider, Robert E., and Charles B. Weinberg. "Competitive Dynamics and the Introduction of New Products: The Motion Picture Timing Game." Journal of Marketing Research 35, no. 1 (February 1998): 1. http://dx.doi.org/10.2307/3151926.

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Ene, Irina, Mihai-Ionuț Pop, and Bogdan Nistoreanu. "Qualitative and quantitative Analysis of consumers perception regarding anthropomorphic AI designs." Proceedings of the International Conference on Business Excellence 13, no. 1 (May 1, 2019): 707–16. http://dx.doi.org/10.2478/picbe-2019-0063.

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Abstract Business intelligence and analytics are nowadays being integrated into diverse industries, from healthcare to customer relationship management and behavioral profiling, due to the competitive advantages that they offer. Nevertheless, most companies try to integrate as many forms of business intelligence systems as possible into different internal processes. This overall digitization applied to more and more business departments is being analyzed with both curiosity and reluctance. The decision regarding the implementation of innovative forms of automation is taken in an attempt to discover and solve business challenges. However, there are several issues involved, which need to be addressed. One of the risks that are being discussed in the research environment refers to the level of acceptance of artificial intelligence systems. The tolerance and overall readiness of the consumers towards innovation and technology is one of the critical factors which need to be determined before implementing disruptive business intelligence systems. Moreover, in an effort to make devices friendlier to consumers, some developers chose to assign anthropomorphic appearances and even create individual identities for each artificial intelligence system. In this context, it is important for most companies investing in intelligent automation systems to determine to which extend the use of anthropomorphic designs impacts the customer’s perception. The objective of this research paper is to analyze the unconscious reaction of consumers towards two opposite designs of artificial intelligence systems: a robotic-like form and a human-like design. Based on this difference, a photo collage was created figuring two pictures: one with a metallic robot having a conversation with a human being and one with a robot with a strong anthropomorphic figure found in the same situation. For the analysis, an eye tracking device was used, in order to measure the point of gaze, the unconscious motion of the eyes, along with the time spent on each fixation and the order in which different elements were fixated upon by the respondents. As the eye-tracking device can generate data in various forms, this research includes both qualitative and quantitative analyses of the results, which confirm the same hypothesis, regarding the consumer’s preference towards artificial intelligence systems with robotic designs.

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Machado, Diego De Queiroz, and Carlos Alberto dos Santos Bezerra. "Avatar: An Assessment of the Fundamental Aspects of Outsourcing in an Observational StudyHttp://Dx.Doi.Org/10.5585/Riae.V9i3.1684." Revista Ibero-Americana de Estratégia 9, no. 3 (January 28, 2011): 44–62. http://dx.doi.org/10.5585/ijsm.v9i3.1684.

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Among the several existing organizational strategies, outsourcing has achieved increasing prominence in the business field, where it is already considered to be notably generalized, requiring a continuous review of its fundamental aspects. Therefore, this study aspires to present, through an observational study, an analysis of the outsourcing strategy from Avatar, the motion picture. The choice of research was driven by the relationship between two organizations constituting the background of the narrative: RDA and the Avatar Program. Data was analyzed to identify elements either described by the theory or diverging from it. Finally, it was concluded that the entire outsourcing process should take into account critical success factors, such as: organizational culture or the difference in perception of business between all involved companies.

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Perkins, Edwin J. "Writing the Script for Survival and Resurgence: RKO Studio and the Impact of the Great Depression, 1932-1933." Southern California Quarterly 93, no. 3 (2011): 289–311. http://dx.doi.org/10.2307/41224083.

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RKO Studio's business records, opened briefly to researchers in the 1970s, detailed the company's strategies for surviving and prospering during the worst years of the Great Depression, 1932-1933. They also revealed the workings of the Motion Picture Producers Association, the cartel linking the leading Hollywood studios. David O. Selznick and Benjamin Kahane engineered significant budget reductions while maintaining the quantity and improving the quality of movie output. Their hugely successful King Kong (1933), often given sole credit for RKO'S survival, was only one factor and serves to illustrate the studio's various strategies.

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Swami, Sanjeev. "Invited Commentary—Research Perspectives at the Interface of Marketing and Operations: Applications to the Motion Picture Industry." Marketing Science 25, no. 6 (November 2006): 670–73. http://dx.doi.org/10.1287/mksc.1050.0163.

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Griffith, David A., Goksel Yalcinkaya, Gaia Rubera, and Verdiana Giannetti. "Understanding the Importance of the Length of Global Product Rollout: An Examination in the Motion Picture Industry." Journal of International Marketing 25, no. 4 (December 2017): 50–69. http://dx.doi.org/10.1509/jim.17.0044.

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Employing the resource-based view of the firm and the competitive forces perspective, the authors examine how brand equity (star power, director power, and brand extensions), financial resources, and competitive intensity serve both as antecedents to the length of global product rollout and as moderators of the effect of length of global product rollout on global product performance. The results, based on data from the motion picture industry, demonstrate that brand equity, financial resources, and competitive intensity result in shorter global product rollout and that shorter global product rollout enhances global product performance. They also find that brand equity and financial resources operate as moderators, magnifying the effect of length of global product rollout on global product performance. Implications for international marketing academics and practitioners are presented.

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Jagath, J. L., P. R. Shalij, and Haris Naduthodi. "Motion picture data management system - a conceptual design through the application of product development technologies." International Journal of Business Innovation and Research 28, no. 4 (2022): 478. http://dx.doi.org/10.1504/ijbir.2022.124891.

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Akdeniz, M. Billur, and M. Berk Talay. "Cultural variations in the use of marketing signals: a multilevel analysis of the motion picture industry." Journal of the Academy of Marketing Science 41, no. 5 (May 1, 2013): 601–24. http://dx.doi.org/10.1007/s11747-013-0338-5.

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Ferraro, Fabrizio, and Kerem Gurses. "Building architectural advantage in the US motion picture industry: Lew Wasserman and the Music Corporation of America." European Management Review 6, no. 4 (2009): 233–49. http://dx.doi.org/10.1057/emr.2009.24.

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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (May 1, 2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.

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Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (January 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (May 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (May 1992): 32. http://dx.doi.org/10.1038/357032a0.

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