Relevant bibliographies by topics / Film genres

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film genres'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Film genres"

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Corpus, Faye III, Angelique Mira Ticlao, and Joanna Juvyjoy Rojo. "Bala o Hustisya?: A comparative contextual analysis on the representation of extrajudicial killings in selected Filipino narrative films." F1000Research 12 (November 23, 2023): 1496. http://dx.doi.org/10.12688/f1000research.133747.1.

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Background: The war on drugs campaign led by President Duterte increased the prevalence of extrajudicial killing themes in Philippine cinema, reflecting societal issues and influencing the film industry. This study analyzed the representation of extrajudicial killings (EJK) through the mise-en-scene elements of aesthetics and configuration, and the common themes of the genres such as war and society, drama, action, and crime/thriller of the selected extrajudicial killings related films: Buybust (2018), Respeto (2017), and Neomanila (2017). The EJK-related films were selected due to their categorization as narrative films and exposure to the 17th New York Asian Film Festival. This study aims: (1) to identify the representation and the common themes used when representing EJK under the film genres, (2) to analyze the mise-en-scene elements of aesthetics and configuration used in the genres, (3) and to develop an understanding of how EJK-related films can represent the voiceless. Methods: This study analyzed selected films across the respective genres in determining the filmmakers’ creativity using comparative contextual analysis. Results: The results have shown that EJK in films is represented by configuration: genre conventions, aesthetics: cinematic techniques, and common themes. (1) Configuration: the genre conventions of the films similarly fall under the genre of society and war, drama, and crime and thriller which are similar in the portrayal of the catalyst, and avatars in the EJK-related films. (2) Aesthetics: cinematic techniques are only a component of a film, but not all of them can depict real events since they simply provide a filter of roles and materials used. (3) Common themes were structural inequality, competition, and war. Conclusions: The selected EJK-related films have the same commonalities of themes, film elements, and film genres. The study concludes that the three films were represented through their depiction of EJK as an ongoing societal issue in the country.
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Nicholls, Peter, Barry Keith Grant, Robert Lyons, Randall D. Larson, Jan Stacy, Ryder Syvertsen, Thomas Waugh, and Louise Heck-Rabi. "Film Genres." Communication Booknotes 16, no. 7 (July 1985): 80–82. http://dx.doi.org/10.1080/10948008509488326.

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Sitepu, Petrus Damiami, and Kus Sudarsono. "Genre Drama sebagai Favorite di Netflix Periode Januari – Juni 2021." Rekam 19, no. 2 (October 31, 2023): 143–52. http://dx.doi.org/10.24821/rekam.v19i2.9201.

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Netflix is a film exhibition platform in digital format. Netflix is one of the favourite platforms for film enthusiasts, especially among the respondents in this study. Netflix is included in the Non-Theatrical Exhibition Film category with its popular term Over-The-Top. Netflix is categorized explicitly as SVOD (Subscription Video On Demand). In this study, we do not only look at the categorization of films based on the primary genre but also look at the secondary film genres. According to respondents, the secondary genre of films is one aspect of selecting films on the Netflix platform.This study used a quantitative approach with a cluster random sampling method. The sample used in this research was students of the Film Study Program, Faculty of Art and Design, Multimedia Nusantara University. The results of this study show that in the period January - July 2021, the film Ali & Ratu Ratu Queens is an Indonesian film that many Netflix users watch. In addition, the film Sweet & Sour is the most-watched international film by respondents. Respondents in this study stated that there is a need for film categorization. Still, film categorization is not only based on the primary genre but there needs to be a secondary genre as well. Films in the drama genre are the favourite of the respondents in this study, both primary and secondary drama genres.
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Sylvanus, Emaeyak Peter. "Popular Music and Genre in Mainstream Nollywood." Journal of Popular Music Studies 30, no. 3 (September 2018): 99–114. http://dx.doi.org/10.1525/jpms.2018.200005.

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This article examines how genres of Nollywood soundtrack, which draw mainly from Nigerian popular music, effectively give Nollywood film genres their unique identification. This music genre–film genre association not only sets Nollywood apart from other cinema traditions, but also confers a marginal genre identity on its film music. The approach of this study is primarily ethnographic: pooling and teasing out inferences from the local discourse on film music practice, which the experiential evidence from forty classic Nollywood film samples support. The outcome shows that popular music is and can be a critical tool for distinguishing among film genres.
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Švábenický, Jan. "Italian Thrilling Spectacle Between Aesthetics, Ethics, and Ideology. Popular Genres of Italian Cinema in the 1960s and 1970s in Czechoslovak Film and Non-Film Periodicals (1960–1989)." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 361–72. http://dx.doi.org/10.1515/sd-2017-0021.

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Abstract This study examines journalistic, publicist, and critical discourse in relation to the popular genres in the Italian cinema of the 1960s and 1970s in Czechoslovak film and non-film periodical press. Of interest are mainly comprehensive texts that analyse Italian popular genres as a genre system and a specific corpus of films that belong to the same genre. Czech and Slovak translations of foreign studies and texts (with the exception of some examples), interviews with Italian filmmakers, short glosses, or informative texts are beyond the scope of this research. This study reflects critical, journalistic, and publicist interpretations and views by Czechoslovak press of popular genres in national Italian cinema in the selected historical period. Research is divided into two parts that develop specific aspects of these analytic questions. The first part analyses texts about this subject matter in various film a and non-film periodicals, including newspapers and journals with emphasis on long studies and interpretations of a few categories of popular genres viewed in the extensive context of their national, socio-cultural, iconographic, and industrial aspects. The second part deals only with the popular genre of western all’italiana (western in Italian style), which represented an international cinematic and socio-cultural phenomenon in the 1960s and 1970s and was of the greatest interest to Czechoslovak critics, journalists, and publicists in relation to popular genres of Italian cinema in general.
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Belinskaya, Elena P., and Ekaterina A. Rudik. "ATTITUDES TO RADICALISM AND PREFERENCES OF FILM GENRES IN YOUTH." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2020): 41–52. http://dx.doi.org/10.28995/2073-6398-2020-4-41-52.

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The results of an empirical study of the relationship between radical attitudes and consumer preferences in the field of film production in a sample of young people are presented in the article. Attitudes to radicalism were operationalized through indicators on the scales of relative deprivation, social dominance, and authoritarianism. Horror, melodrama, and arthouse films were considered the preferred film genres. One of the stages of the study was an attempt to determine the possibility of organized influence on radical attitudes through viewing movie trailers of preferred and non-preferred genres by respondents. It is shown that initially the choice of genres of melodrama and arthouse cinema is not associated with any of the supposed components of radical attitudes, and the propensity to watch horror films is associated with a low intensity of the behavioral component of radical attitudes. When organizing the impact by watching trailers, it was found that respondents who prefer the genres of melodrama and arthouse cinema are almost not affected by their socio-political attitudes by consuming film products, while the affective component of their radical attitudes increased among fans of horror films, but only if the genre of the viewed trailer coincided with the preferred one. Thus, the results obtained do not allow us to unambiguously assert that there is a relationship between consumer preferences in film genres and radical attitudes in youth. In general, they indicate an extremely vague relationship between aesthetic preferences and attitudes of the sociopolitical spectrum.
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Sinulingga, Kinanthi N. V. M., and Satrya Wibawa. "GENRE ANALYSIS THE FILM GUNDALA." Capture : Jurnal Seni Media Rekam 14, no. 1 (December 1, 2022): 30–40. http://dx.doi.org/10.33153/capture.v14i1.3832.

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Gundala (2019) is the latest Indonesian action film that was commercially successful, won national and international awards, and even ranked second in viewership in 2019. This study aims to identify the genre characteristics of Gundala. This paper utilized Nick Lacey's genre analysis, which analyzes films based on the repertoire of elements (narratives, characters, settings, iconography, and styles). The research shows that Gundala adopted the action genre characteristics, especially in the narrative, character, and style. However, the setting and iconography of the film have been modified to fit the local cultural context. Hence, the distinctiveness of Indonesian films can expand similar studies in film genres.
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Demeschenko, Violeta. "Features of genre formation in film art of the 21st century." Interdisciplinary Cultural and Humanities Review 2, no. 2 (November 1, 2023): 11–19. http://dx.doi.org/10.59214/2786-7110-2023-2-2-11-19.

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The relevance of the study lies in rethinking the specifics of existing film genres, the processes of their transformation in the cinema of the 21st century. Objective of the study is to recreate the logic of the formation of a modern genre system that includes new hybrid forms. The following methods are used: structural-system, general scientific methods of theoretical research (analysis, synthesis, induction, deduction, generalisation, classification, etc.). The features of the formation of modern film genres were examined. It is established how new hybrid genres are formed, and the features of dialectical development of genre forms are analysed. The genesis of documentary animation is considered, using examples of well-known modern works made in this genre form. The results of the study can be used for further systematic examination of hybrid forms of film genres, which will allow including this material in the training programmes of specialists in the field of film studies, art history, audiovisual journalism, film and television directing, and to define the hybrid genre as a separate category at creative film festivals and screenings
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Stańczyk, Marta. "Liberté, égalité, sororité. Kobiece gatunki cielesne i francuskie „ekstremistki”." Literatura i Kultura Popularna 24 (April 18, 2019): 97–112. http://dx.doi.org/10.19195/0867-7441.24.8.

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Liberté, Égalité, Sororité: Female body genres and the women of the New French ExtremityIn the essay Film Bodies: Gender, Genre, and Excess, Linda Williams coins the concept of body genres. These genres include melodrama, horror and porn, which are linked through their impact on the spectator’s body and intensifying viewing experiences. According to Williams, these three film genres emphasize the notion of spectacle, but they place the female body in its centre. The female body is moving and is being moved, which causes its vulnerability to the hegemony of the male gaze. But we can conduct research from a feminist perspective and find films that simultaneously tell about a visceral excess and develop an intellectual transgression through the body. The best example of this tendency is the New French Extremity, precisely the female directors such as Catherine Breillat, Mariny de Van or Virginie Despentes. They maximize the somatic spectacle in their films, which annihilates the pleasure that the male spectator derives from the fetishized female body.
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Langkjær, Birger. "Realism as a third film practice." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 15. http://dx.doi.org/10.7146/mediekultur.v27i51.4078.

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<p>The concept of realism may owe much of its success to its vague definition. This article suggests that it can be useful as a term that covers a central, mainstream film practice in European and other national cinemas, located somewhere in between genre films and art films. The concept refers to a serious kind of film that does not obey classical genre rules, but nevertheless tells its stories in an accessible and often engaging form that, generally speaking, creates a more popular (yet serious) film than the art film. As a film practice, it cuts across well known but often vaguely defined sub-categories, such as social realism and psychological realism. Finally, it is argued that the dichotomy between Hollywood genre films and European art cinema ignores both national variants of basic genres and a tradition of realism as a mainstream film practice.</p>
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Dissertations / Theses on the topic "Film genres"

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Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.

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This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.
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Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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Kang, Kyoung-Lae. "Novel genres or generic novels considering Korean movies adapted from amateur Internet novels /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/96/.

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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika: Across Genres & Disciplines." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3653.

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Camargo, Sandy. "Once more with feeling : film genre and emotional experience /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.

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Wedel, Michael. "Der deutsche Musikfilm : Archäologie eines Genres 1914-1945 /." München : Text + Kritik, 2007. http://catalogue.bnf.fr/ark:/12148/cb41233884c.

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Tateishi, Ramie. "Film genre and the Asian subject /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992385.

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Mason, James Robert. "Disney film genres and adult audiences : a tale of renegotiated relationships." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19239/.

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Disney films occupy a special place in the viewing habits of children, but their relationships with adult audiences are underappreciated and under-researched. At the same time, many assumptions are made about the concept of a Disney film, which is distinctive enough to warrant being described as a film genre but has not yet been described as such. Using an innovative mixed methods approach, this research investigates the ways in which adult audiences negotiate and renegotiate their relationships with Disney films. To do so, the research first sets about identifying what a Disney film is, and therefore defining a Tangible Disney Genre based on an analysis of Disney’s film output. An output survey analysing data based on 390 Disney films released between 1937 and 2015 allows a more comprehensive understanding of the Disney film than has previously been offered. Following analysis of the tangible film output, attention turns to the audiences of Disney films, from fans to antagonists. Building on previous work by the Global Disney Audiences Project (Wasko et al., 2001), the research employs a sample survey and focus groups to define a Disney genre that is grounded in shared audience perceptions. This Fantasy Disney Genre is based on data drawn from over 3,500 participants. Having established the Tangible and Fantasy Disney Genres, the two concepts are compared alongside evidence drawn from interviews and the autoethnographic experiences of the author to determine the effects of any differences and similarities between the genres. Within the comparisons between the two Disney genres is found the space for adult audiences to (re)negotiate their relationships with Disney films. The outcomes of the research include methodological innovations, an updated and comprehensive examination of Disney audiences, and establishment of Disney genres based on both the Hollywood studio’s tangible film output and the perceptions of adult audiences.
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Kork, Yuri. "The influence of film genres on the tourist's decision making process." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14868.

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The principal purpose of this thesis is to investigate the relationships between film genres and the decision-making process of the tourist. Within the tourism industry, the specific type of tourism-Film Tourism-has recently been recognised and approached in several research projects and case-studies. As a result of these efforts, the researchers agree that, in certain conditions, a film may influence the decision of the viewer to travel to the destination that such film portrays. However, due to the recent recognition of this type of tourism and consequent low number of explanatory research in this area, there is an evident lack of understanding about the underlying reasons why films may have such a stimulating effect on tourist decisions. To develop deeper understanding of this newly emerged type of tourism, it is vital to research different elements of the film and their possible effects on tourism-related decisions of the viewer. This pioneering study focuses on the previously neglected “genre” element of the film and the role of this element in the overall influence of the film on the tourist’s decision making process. Accordingly, an extensive survey (n=241) was conducted, implemented via the Internet and to randomly selected Exeter residents. The survey was followed by a series of in-depth semi-structured interviews (n=10) of randomly selected respondents from Exeter. The results suggest that film genres may affect the motivational factors, such as Exciting and Achievement (Yoon and Uysal, 2005). Moreover, emotions are an important factor in the decisions of Film Tourists (Kim, 2012), and films of specific genres may infuse destination with such emotions, alter the destination image and create an interest in the destination. The major contribution of this study is the discovery that the effect of film genres on the Film Tourist is but a small subconscious part of the overall film influence, which encompasses a wider range of elements such as visual beauty, plot, actors, credibility and the atmosphere. Moreover, it would appear that, for most tourists, film is an additional and not a primary factor which creates a wish to travel. The visual portrayal of the destination is the key element which determines whether the film will affect the decision of the viewer to travel, but the genres of the film may allow the prediction of tourist type and possible travel behaviour.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18351/1/Thesis.pdf.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Books on the topic "Film genres"

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Institute, British Film, ed. Film/genre. London: BFI Publishing, 1999.

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D, Gehring Wes, ed. Handbook of American film genres. New York: Greenwood Press, 1988.

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1950-, Dixon Wheeler W., ed. Film genre 2000: New critical essays. Albany: State University of New York Press, 2000.

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Neale, Stephen. Genre. [London]: BFI Publishing, 1996.

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Ciel, Martin. Film, ilúzia a akcia. Bratislava: Slovenský filmový ústav, 1992.

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Kulʹchynsʹka, Lesi͡a. Smysloutvorenni︠a︡ v kinematohrafiï: Z︠h︡anrovi mekhanizmy. Kyïv: Vydavnyt︠s︡tvo IMFE, 2016.

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Kinder, Ralf. Zum Schreien komisch, zum Heulen schön: Die Macht des Filmgenres. Bergisch Gladbach: Bastei Lübbe, 2001.

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Reed, Joseph W. American scenarios: The uses of film genre. Middletown, Conn: Wesleyan University Press, 1989.

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Nick, Browne, ed. Refiguring American film genres: History and theory. Berkeley: University of California Press, 1998.

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Michel, Serceau, ed. Panorama des genres au cinéma. Condé-sur-Noireau: Corlet, 1993.

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Book chapters on the topic "Film genres"

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Verevis, Constantine. "Genres." In Film Remakes, 105–25. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-08168-1_5.

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Dick, Bernard F. "Film Genres." In Anatomy of Film, 89–127. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26388-2_4.

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Mothes, Ulrike. "Genres im indischen Film." In Handbuch Filmgenre, 355–67. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-09017-3_18.

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Reich, Jacqueline. "Italian Silent Film Genres." In The Italian Cinema Book, 31–37. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_5.

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Fisher, Austin. "Italian Popular Film Genres." In A Companion to Italian Cinema, 249–66. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119006145.ch15.

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Mothes, Ulrike. "Genres im indischen Film." In Handbuch Filmtheorie, 1–13. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-09631-1_18-1.

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Hanly, Michael, and Elisabeth Rowney. "Genres and Perception." In Visual Character Development in Film and Television, 5–20. New York : Routledge/Taylor & Francis Group, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315639482-2.

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Xu, Fangyi. "“Genres” and Mainstream Ideological Films." In Transformation of Contemporary Film Genre, 23–60. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6860-0_2.

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Corrêa, Graça P. "On the Necropolitics of Contemporary Human Uprootedness: Ecocentric Empathy in Documentary Film and Philosophy." In Refugee Genres, 133–53. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09257-2_7.

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Wood, Mary P. "Italian Film Genres and Mario Bava." In The Italian Cinema Book, 303–10. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_37.

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Conference papers on the topic "Film genres"

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Fischer, Stephan, Rainer Lienhart, and Wolfgang Effelsberg. "Automatic recognition of film genres." In the third ACM international conference. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/217279.215283.

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Fischer, Stephan, Rainer Lienhart, and Wolfgang Effelsberg. "Automatic recognition of film genres (demonstration)." In the third ACM international conference. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/217279.215295.

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Andriyanov, Nikita, and Vitaly Dementev. "Combining Computer Vision and Word Processing to Classify Film Genres." In 2023 25th International Conference on Digital Signal Processing and its Applications (DSPA). IEEE, 2023. http://dx.doi.org/10.1109/dspa57594.2023.10113362.

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Liu, Shan, Yingbo Zhang, and Sichen Wang. "Development of Film Genres Prediction System Based on Intelligent Tags." In 2020 13th International Congress on Image and Signal Processing, BioMedical Engineering and Informatics (CISP-BMEI). IEEE, 2020. http://dx.doi.org/10.1109/cisp-bmei51763.2020.9263492.

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Fedorova, Olga V. "Introduction model in Russian «Pear reportages»: The role of common ground." In INTERNATIONAL CONFERENCE on Computational Linguistics and Intellectual Technologies. RSUH, 2023. http://dx.doi.org/10.28995/2075-7182-2023-22-62-68.

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In this study, the peculiarities of the character introduction in the genre of live reportage were studied. The participants were 25 students oh the Lomonosov Moscow State University. Speech production was elicited by means of the “Pears Film” by W. Chafe. Different types of the collective common ground were considered. It turned out that, unlike narratives of other genres, the chronological scale is more important for the introduction than the status scale. It was also shown that the collected reportages from the point of view of the introduction peculiarities are more similar to classical retellings than to the sports reportages.
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Žofčák, Jakub. "DETERMINING FACTORS OF CZECH FILM ATTENDANCE IN THE YEARS 2003–2017." In 4th International Scientific Conference – EMAN 2020 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eman.2020.295.

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The paper analyzes the determining factors affecting Czech film attendance in the years 2003–2017 and places this topic into the context of the information asymmetry faced by film-goers. Using the regression (OLS) model and a unique population-level dataset (415 observations), the hypothesis of a positive relationship between film attendance and audience rating is confirmed. The increase in audience ratings by Czech-Slovak Film Database website’s users by one percentage point is, ceteris paribus, associated with an increase in attendance by 1.8%. Factors which have proven to determine film attendance also include: specific genres; film sequels; casting of a popular actor, actress or director; the personality of the director Zdeněk Troška; the Czech Lion Awards; and a premiere in certain years. In the decision-making process of a viewer who faces information asymmetry one can rely on these determinants as economic signals and on viewer ratings as information from an intermediary.
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Musil, Ondřej. "Filmová hudba jako prostředek popularizace národních hudebních tradic." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-5.

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In general, the paper focuses on the potential of film music to transmit and preserve the typical features and character of national musical traditions in their authentic and stylized form. Specifically, the text introduces the musical peculiarities of selected cultures and nations, which we encounter in mainstream audiovisual works in the form of location links. The use of archival (non-original) music in some film genres is also viewed marginally. The aim of the paper is to point out the basic procedures used in film music to express the local or historical character of the narrative, musical traditions of the displayed countries and cultures, as well as the possibilities of their popularization and use in music education.
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Plaksina, N., and L. Litvinova. "MOVIE INDUSTRY IN IRELAND." In Manager of the Year. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/my2021_202-204.

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The article is devoted to the film industry in Ireland. The authors explore the phenomenon of Irish cinema, the diversity of its genres and the reasons for its popularity in the modern world. According to researchers, the secret of the popularity of Irish cinema consists of a number of factors: - the national character of the Irish as a nation, which is characterized by openness, sincerity in feelings and their expressions. The audience always likes the Irish humor, especially black humor; - some traditional elements of Irish everyday life – the habit of finishing the working day in the pub, socializing and relaxing after a hard day, absolutely charming architecture, both rural and urban, namely bright, different from the main color of the buildings doors;- the unique nature of the country, the emerald expanses of hills, hills and valleys, rivers, lakes. Almost all Irish films contain scenes of beautiful nature, which undoubtedly adorns any film; - many well-known actors in the modern world who have their own style of playing and creating images.
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Akbar, Jihadul, Ema Utami, and Ainul Yaqin. "Multi-Label Classification of Film Genres Based on Synopsis Using Support Vector Machine, Logistic Regression and Naïve Bayes Algorithms." In 2022 6th International Conference on Information Technology, Information Systems and Electrical Engineering (ICITISEE). IEEE, 2022. http://dx.doi.org/10.1109/icitisee57756.2022.10057828.

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Reports on the topic "Film genres"

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Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.

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The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of foreign programs and of obsolete quality film production. In the news programs, some TV companies, including 1 + 1, widely emphasize negative issues that are not typical of Ukrainian society, which often has a petty, urban and secondary status. Instead, a wide range of real, socially important, topical issues and problems remain out of the professional attention of journalists, analysts and experts. Guided only by the criterion of rating programs, programs, stories, topics and problems, TVs lose the most active segment among the audience – critical thinking, knowledgeable, erudite recipient, who, choosing an information resource, increasingly prefers the internet journalism.
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Editors, Intersections. Fighting for Gender Equality. Intersections, Social Science Research Council, November 2023. http://dx.doi.org/10.35650/int.4001.d.2024.

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Izumi, Yutaro, Hitoshi Shigeoka, and Masayuki Yagasaki. CEO Gender Bias in the Formation of Firm-to-Firm Transactions. Cambridge, MA: National Bureau of Economic Research, August 2023. http://dx.doi.org/10.3386/w31616.

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Sicherman, Nachum. Gender Differences in Departure from a Large Firm. Cambridge, MA: National Bureau of Economic Research, February 1993. http://dx.doi.org/10.3386/w4279.

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Álvarez-Hernández, C., B. González de Garay-Domínguez, and FJ Frutos-Esteban. Gender representation in contemporary Spanish teen films (2009-2014). Revista Latina de Comunicación Social, December 2015. http://dx.doi.org/10.4185/rlcs-2015-1079en.

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Álvarez, Isabel, and Yury Castillo. Gender Diversity, Innovation, and Open Innovation in the Caribbean Region. Inter-American Development Bank, April 2023. http://dx.doi.org/10.18235/0004853.

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The Caribbean economies are well-ranked in terms of womens participation in the labor market, but less so in terms of innovation, suggesting the relevance of an analysis of gender diversitys impact on innovation. This paper examines how gender diversity in Caribbean firm affects the formation of external partnerships and agreements for innovation, and also how the effects of that diversity on innovative outcomes are influenced by the presence of women in diverse positions within a firm. Using information for 13 Caribbean countries from the Innovation, Firm Productivity and Gender (IFPG) database, this study confirms gender diversity as a factor which both improves the likelihood of innovation, as well as spurring the decision to collaborate with other firms and organizations. However, impacts will depend on the areas within a firm in which women are present. Gender diversity in the total workforce and in production and non-production activities is more effective than when women are present in areas solely related to management. These findings prompt a reflection on policy implications around the definition or improvement of measures oriented to the closing of innovation-related gender gaps.
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Bravo, David, Sergio Urzúa, and Claudia Sanhueza. Is There Labor Market Discrimination among Professionals in Chile?: Lawyers, Doctors and Businesspeople. Inter-American Development Bank, May 2008. http://dx.doi.org/10.18235/0011271.

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This paper analyzes gender differences in three Chilean professional labor markets, business, law and medicine, utilizing a new and rich data set collected for this purpose. The results show that differences in wages attributed to gender are only present in the legal profession. In business/economics, a vector of current family condition eliminates the gender effect and in Medicine, taking into account hours worked, size of firm and region also eliminates gender differences. The paper further shows that individuals' perceived locus of control (internal or external) is relevant in explaining the distribution of earnings.
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Monge-González, Ricardo, Juan Antonio Rodríguez-Álvarez, John Hewitt, Jeffrey Orozco, and Keynor Ruiz. Innovation and Employment Growth in Costa Rica: A Firm-level Analysis. Inter-American Development Bank, October 2011. http://dx.doi.org/10.18235/0008965.

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This paper studies the degree to which innovation by Costa Rican manufacturing firms creates or displaces employment, how different innovation strategies affect employment, and how these effects vary by firm size and type of employment demand characteristics (skills and gender). In particular the research focuses on the differential effects of product and process innovations on employment growth. Particular attention is paid to identifying innovation impacts on employment generation by SMEs (small and medium-sized enterprises).
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Saha, Amrita, Jodie Thorpe, Keir Macdonald, and Kelbesa Megersa. Linking Business Environment Reform with Gender and Inclusion: A Study of Business Licensing Reform in Indonesia. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/k4d.2021.001.

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Business environment reform (BER) targets inadequate business regulations. It is intended to remove constraints to business investment, enabling growth and job creation, and create opportunities for international business to contribute to and benefit from this growth. However, there is a lack of detailed knowledge of the impact of BER on gender and inclusion (G&I). While a review of existing literature suggests that in general, there is no direct link between BER and G&I, indirect links are likely through the influence of BER on firm performance. Outcomes will be influenced by the differential ways in which women-led firms experience the business environment when compared to their male counterparts, with disparities based on how they are treated under the law, as well as structural and sociocultural factors. The fact that in many countries, female-led firms are fewer and smaller than those of their male counterparts, and may operate in different sectors, also affects these dynamics. This research offers new insights through an in-depth analysis of the impact of the Pelayanan Terpadu Satu Pintu (PTSP) or one-stop shop business licensing reform in 2009 on firm performance in Indonesia, and how these impacts vary based on the gender of firm leadership. The results find that on average, firms benefited from improved business performance (sales), as a direct or indirect effect of this reform, as well as an increase in the number of medium and large-scale firms. Outside Jakarta (Bali, Banten, Lampung), women-led firms experienced a small but significant benefit relative to male-led firms, related to both sales and the number of medium and large-scale firms they run. In Jakarta, women-led firms continued to lag behind men and there were no significant effects on employment, and this held across province and gender. These findings are based on an analysis of the PTSP reform using data from the World Bank Enterprise Survey (WBES), a survey of small, medium and large firms (i.e. with more than four employees) which took place in Indonesia between 2009 and 2015.
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Tacsir, Ezequiel, and Mariano Pereira. Gender Contribution to the Innovation-Productivity Relationship in the Wake of COVID-19: Evidence for the Caribbean. Inter-American Development Bank, March 2023. http://dx.doi.org/10.18235/0004770.

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This study presents new findings on the impact of the COVID-19 pandemic on productivity and innovation for Caribbean firms, with particular focus on the effects on firm gender diversity and workforce composition. Research on the impact of women's participation on firm performance and innovation has so far produced mixed results, though there is some evidence to suggest that for Latin America, larger shares of women in the knowledge creation and innovation process may increase innovative behavior and, as a consequence, lead to greater labor productivity. In the current context, female participation in firms becomes an even more pressing issue, given the early indications of the pandemics disproportionately negative burden on women s income and jobs in different regions. We found that the gender composition of the personnel has an interesting direct effect on productivity. At the same time, our results show that the expected reductions in female personnel due to the pandemic, have a negative effect in the shares of female participation which, in turn, have the potential to nullify the mentioned productivity channel. This suggests the existence of a minimum threshold of female participation to profit from diversity. Hence, it seems that policy should focus particularly on protecting female jobs, particularly in the wake of dramatic shocks affecting revenues and/or employment.
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