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Dissertations / Theses on the topic 'Film industry'
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1
Li, Yan 1959. "The Chinese Film Industry After 1976." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.
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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.
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Song, Tingting. "Independent cinema in the Chinese film industry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/43448/1/Tingting_Song_Thesis.pdf.
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Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars.
This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews.
The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition.
After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. After that, the body of the thesis provides an examination of the development of ‘within-system’ independent cinema. Specifically, three factors: government intervention, the majors’ performance (state studios and, later, the conglomerates) and the market conduct of independent cinema at various points in their trajectories are studied.
The key findings of the study are as follows:
First, most scholars have overlooked the existence and the significance of within-system Chinese independent cinema. Drawing on an American definition of the independent sector, this thesis proposes a definition of the sector in China: namely, any film that has not been financed, produced, and/or distributed by majors. The thesis also notes important contradictions in applying this definition: i.e. film-making is still dependent on policies that frame industry development. The thesis recognises that major tensions apply to filmmaking in China, which significantly differentiates the Chinese independents from those in the US.
Second, the development of Chinese independent cinema is the result the rise of the private sector and the decline of the state studio system. As state studios encountered difficulties the private sector moved forward; consequently the environment improved for independent cinema.
Third, before 2003, the film industry in China had little commercialisation. The government controlled independent cinema by means of license and censorship. State studios produced main melody films and Hollywood attracted most of the audiences. Many independent filmmakers focused on commercial films, thus contributing to film commercialisation.
Fourth, after 2003, the film industry became increasingly fragmented. The government created distribution and exhibition opportunities for main melody films; conglomerates collaborated with Hong Kong players; Hong Kong co-productions and Hollywood occupied the film market; and small private film companies produced main melody films in order to earn meagre profits.
The original contribution of the thesis is to advance the study of Chinese independent cinema. The study suggests a reasonable and practical definition of Chinese independent cinema. It shows how the Chinese government authorities have implemented economic measures to gain ideological control in the film industry. Finally, this the first study on Chinese independent cinema applying a synthesis of economic, political and historical perspectives.
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Dim, A. R. "A review of the Malaysian film industry : towards better film workflow." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/27557/.
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This thesis investigates the existing film workflow processes in Malaysia and aims to explore, review and reflect on the expectations, experiences and preferences and problems experienced by practitioners in the Malaysian film industry. Part of that exploration is an in-depth examination of real practices of colour film workflow, investigating the common myth amongst Malaysian filmmakers that environmental colour temperature affects the image quality of Malaysian films. Analysis of this myth may help to establish why many Malaysian films have been processed through foreign laboratory facilities using foreign expertise. The argument and analysis are based on background analysis and interviewing using video documentation of Malaysian film workflow practices, which provides valuable data for the benefit of the Malaysian film industry. All the processes and evidence from the Malaysian film industry were recorded through qualitative video documentation, alongside quantitative data from filmstrip testing. This mixed action research method forms the main approach together with the use of participatory action research as a tool to narrate the development of the research. In justifying the use of all the data, an explanatory mixed method design has been applied. Indeed, the cooperation with expert witnesses in finding a solution to the research problem brought to the circle of practice-based research processes that validated the research. This validation becoming a central of investigation about the Malaysian film workflow complication. The initial technique (pursing the myth of colour temperature variation) proved inadequate, and, consequently, a broader action research methodology was adopted. As such, the filmstrip test data were used more as a tool to enhance the contributions of the expert witnesses, thereby shifting the direction and strengthening the research findings. It is hoped that the methods used could be transferred to solve other film industry problems This research also proves that the method applied has created new evidence of knowledge transfer in historical and film development context, which benefits the film industry in Malaysia. This development of new knowledge could provide a significant opportunity for future potential research, which will strengthen the colour workflow processes and lead to the development of film practices in Malaysia and the surrounding areas. It is the aim of this research to suggest solutions to the current problems of workflow practices among educators, government agencies and filmmakers in the Malaysian film industry.
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Fox, Neil James. "How film education might best address the needs of UK film industry and film culture." Thesis, University of Bedfordshire, 2014. http://hdl.handle.net/10547/575401.
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This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.
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Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.
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Hope, Cathy, and n/a. "A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.
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This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.
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McGuffie, Allison Doris. "African educational film and video: industry, ideology, and the regulation of Sub-Saharan sexuality." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1695.
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This thesis examines the industry of non-profit educational filmmaking in Sub-Saharan Africa, from the 1930's to the present, with particular attention on the contemporary period of video production from the late 1980's to approximately 2010. This thesis, first, identifies that there is a consistent industrial infrastructure around non-profit educational filmmaking in Sub-Saharan Africa, which has not previously been articulated. Second, it describes the industry's historical origins and contemporary manifestation, delineating the pathways for funding, systems for production, and avenues of distribution and exhibition, as well as the ideological underpinnings of each. Finally, this thesis proscribes alternative industrial practices for the imagination and execution of non-profit educational videos that alleviate some of the otherwise deeply engrained hierarchical features of the industry by drawing on several examples of recent innovations in the industry.
This thesis claims that the standard procedures by which non-profit educational films and videos in Sub-Saharan Africa come to be are problematic in the way that they maintain colonial hierarchies between Western philanthropic funders, cosmopolitan humanitarian professionals acting as producers, African casts and crews, and audiences that are necessarily objectified in order to be studied quantitatively. This structure has profound effects on content, most recently evident in neoliberal ideas that valorize the privatization of solutions to public health problems and quaint stories designed to encourage audiences to emulate ideal behavior based on Western gender norms as a primary solution to complex social problems, such as HIV/AIDS.
Drawing on examples from recent innovations in the industry, this thesis finally proposes that changes in the balance of decision-making power in the African educational film and video industry - changes such as sourcing audiences for stories addressing HIV/AIDS, integrating with existing media markets, or more loosely providing international support to existing local initiatives that pinpoint local concerns - are necessary in order to better realize the potential of cinema to effectively address the myriad of social, environmental, political, economic, and medical challenges faced by real and distinct Sub-Saharan audiences.
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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry." Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.
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Sedgwick, John. "The British film industry and the market for feature films in Britain 1932-37." Thesis, London Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260284.
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Yap, Soo Ei. "Migration and film industry : Chua Boon Hean in Singapore." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/881.
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As a respected cultural figure in Singapore who was posthumously honoured at the Pioneer Generation Tribute organised by the Ministry of Culture, Community and Youth in 2015, the story of Chua Boon Hean is one that goes beyond his role as an established poet in the field of Chinese literature in post-independence Singapore. This dissertation is an effort to elaborate on the story of Chua in Singapore and will attempt to examine his multiple roles and contributions in the socio-historical context of the film industry prior to 1965. Notably, he had played the role of an extraordinary assistant to the Shaw Brothers (Runme and Run Run Shaw) who would qualify as the two most important tycoons to exert profound changes in the development of the Chinese and Malay film industries by the mid-20th century. His life and career with the Shaw Brothers for over three decades since the late 1920s, prove to be critical to our understanding of the overall development of the film industry in Singapore, especially in the period before the colonial city became an independent nation on its own. This dissertation seeks to build on existing scholarships with a greater attention being placed on introducing the different participants involved in the film industry in Singapore before 1945 and how the industry gradually developed into an inter-locking "business of culture" during the early 20th century. It reveals that the development of the film industry in Singapore should be best studied together with its intersection with the field of literature, translation, advertisement (art studios) and amusement parks, as well as its instrumental role in shaping the mundane day-to-day experience for the local population. Contrary to the traditional framework of analysis of the Singapore film industry which tended to focus solely on film production and its content such as genres or storylines, emphasis will be placed on other aspects of the film industry especially exhibition and distribution, in order to present a more comprehensive background to its genesis. It hopes to illuminate how the multi-cultural character of the film industry was a product of the historical agency of individuals living through the period. This case study of Chua also illuminates the dynamism and diverse connections among different Chinese dialect groups in Singapore and the Straits-born Chinese during the early 20th century. Contrary to the perception that the overseas Chinese had been a homogenous group, it is critical to account for the heterogeneity which can offer a more nuanced picture of the Chinese society. Through the unique story of Chua, this dissertation seeks to enrich existing scholarships on Chinese migration and the film industry in Singapore. In the process, we also chart the multi-faceted and multi-ethnic interactions of the Chinese diaspora in Southeast Asia in the early 20th century
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Houcken, Robin. "The international feature film industry : national advantage and international strategies for European fim companies /." [S.l.] : [s.n.], 1999. http://aleph.unisg.ch/hsgscan/hm00111812.pdf.
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Christy, June Beverley. "Prospects for a feature film industry in British Columbia." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31230.
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The purpose of this thesis is to assess the potential of establishing a viable indigenous feature film industry in British Columbia. An understanding of the B.C. situation was gained by researching and illustrating the organization of the various parts: production, distribution, and exhibition. This was undertaken by reading various industry publications on the "business" of film making and reading newspaper and trade journal articles. Information about the history of public policy as well as current federal and provincial programs for feature film making was taken from task force reports, Canadian Film Corporation reports, and Telefilm Canada annual reports. Statistics on the industry were gained from Statistics Canada, Telefilm Canada, the Canadian Film and Video Certification Office, and provincial agencies, in particular, B.C. Film annual reports. Personal interviews based on a questionnaire were held with eighteen British Columbia producers who were initiating feature film projects in 1988.
Canadian producers are dependent on access to federal and provincial sources of finanicng for as much as 62 per cent of their financing. The balance is provided by broadcasters, private investors, and deferral agreements, or through co-productions with other countries. Because of Hollywood's control of Canada's exhibition market, only 3-5
per cent of screen time is accorded to Canadian feature films. Because of our small domestic market, Canadian producers must rely on international sales to break even. Moreover, feature filmmaking in Canada, like in most other countries, is characterized by great risk and little chance of profitability. The Canadian government is now supporting a nucleus of Canadian-owned distributors with subsidies to help them establish both a capital base and contacts in the international marketplace. Domestic television production has also been a factor in Canada's feature film development. Writers, directors, producers, and technicians have gained experience by being able to work in the broadcast medium. Successful production companies produce a mixture of both television and feature films. As well, these companies have established relationhips with companies in other countries, thereby providing them with an expanded market and opportunites for co-productions.
B.C.'s feature film sector is comprised of small production companies with limited revenues who produce feature films on a project-by-project basis through the opportunities provided by B.C. Film and Telefilm. Few have enough capital to plan and manage substantial feature film or television production. Increases in B.C. production are
a direct result of success in getting this support. However, Telefilm's funding to the province's filmmakers is unreliable, evidenced by the production of eleven films in 1988 and only one in 1990. A major drawback for B.C. producers is the geographic distance from head offices of existing Canadian broadcasting networks and major feature film distribution companies in Eastern Canada. However, B.C. producers have access to a strong local base of crews, studio facilities, and substantial post production, facilitated by the breadth of American location shooting and commercial production being done in our province.
The need is to establish a new, realistic level of operation for the feature film industry in B.C. and to provide the support to sustain it for 5-7 years in order to it to become viable. Given the above conditions, the three main factors in achieving a viable feature film industry in B.C. will be:
a) the development of several medium-size companies;
b) the provision of adequate funds from federal and provincial sources; and,
c) the promotion of the supply of good quality scripts.Applied Science, Faculty of
Community and Regional Planning (SCARP), School of
Graduate
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Kaushik, Bhaumik. "The emergence of the Bombay film industry : 1913-1936." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391049.
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Hsia, Yun. "The film industry in Taiwan : a political economy perspective." Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/47937/.
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The main purpose of this thesis is to critically analyse the film industry in Taiwan from a political economy perspective and to compare Taiwan’s film industry with that of Hong Kong. The thesis will examine the development of the film industries in Taiwan and Hong Kong in the 1990s and analyse the decline of these film industries. The study takes into account how the governments’ policies have been framed and examines the interaction between the governments and the industries in the 1990s. This thesis will start by expounding the approach of political economy and explain how it will be applied to the study of Taiwan’s film industry. The approach of political economy will provide a historical analysis of the film industry and review the industry’s development in terms of both political influence and economic factors. This approach will provide a more comprehensive study of these film industries. The framework assumes that the development of the film industry in Taiwan has been influenced by government policy and especially government subsidies and that this policy has directed the industry. A film in Taiwan is regarded as an art form, perhaps with a diplomatic purpose, rather than as a commercial cultural product. A film in Hong Kong is mainly made for the commercial market with the purpose of entertaining audiences. The distinction between Taiwanese cinema and Hong Kong cinema provides a diverse view of the Chinese-language film market. After examining the development of the film industry in Taiwan and Hong Kong from a political economy perspective a new image for the Chinese- language film sphere will be discussed. The advantages and disadvantages of the film industry in two places will be summarised and used to provide some suggestions for the future development of “New Chinese Cinema” in the twenty-first century.
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Igwe, Ezinne. "Formalizing Nollywood : gentrification in the contemporary Nigerian film industry." Thesis, Birmingham City University, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.753291.
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This study investigates transformations in the Nigerian film industry, focusing specifically on a segment of the industry known as Nollywood. Typically characterized as an informal industry due to its low budgets and unofficial modes of distribution, Nollywood is regularly referred to as a success story, accounting for $7.2 billion (1.42%) of Nigeria’s gross domestic product. Because of this success, the Nigerian government, under the President Goodluck Jonathan administration (2010-2015), introduced various mechanisms to formalize and economize Nollywood in the quest to maximize its potentials and diversify the Nigerian economy. This endeavour availed the industry of film fund, professional training and enhanced distribution. My study focuses on this specific area, addressing wider issues of debate relating to how countries seek to economically benefit from their film economies and the role policy plays in the formalization of film industries. Existing studies on Nollywood have concentrated on a point in the evolution of the industry, an era now labelled the old Nollywood. Whole studies on political economic matters, national cinema discourses and individual and corporate efforts and motivation towards these transformations remain lacking. In this study, I examine as gentrification the efforts of the state, corporate organizations and individuals to transform Nollywood. Adopted from urban studies, gentrification is applied figuratively to examine the motivations propelling these transformations in order to determine its implications for the industry and the industry players. I draw on primary data sourced using a method I term econo-ethnography that combines forms of ethnography, economic base theory and political economy analysis. This data is interrogated using a theoretical framework that incorporates literature from the fields of political economy, gentrification and national cinema, the intention being to understand the development of evolving film economies, particularly Nollywood. I argue that with the right policies, sustained state and corporate support, Nollywood would be gentrified. However, this attempt to gentrify Nollywood impacts on the economic processes of the industry as well as the practices of the industry players. I find that with deep-rooted informality, inefficiencies in policymaking and implementation and sporadic nature of state support, gentrification will further sector Nollywood creating new and varied opportunities for filmmakers, distributors and consumers.
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Papen, Manuela von. "Beyond "Kinder, Kuche, Kirche"? : the depiction of women in Third Reich entertainment films." Thesis, University of Bath, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241667.
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Bernard, Mark. "Selling the Splat Pack: The DVD Revolution and the American Horror Film." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276742621.
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吳兆康 and Siu-hong Ryan Ng. "Film Complex: resuscitation of film in commercial society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984770.
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Jansen, Christian. "The German motion picture industry." Doctoral thesis, Humboldt-Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2002. http://dx.doi.org/10.18452/14767.
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Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben.This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.
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Knobloch, Paulina Merle. "Business Model Innovation in the Film Industry : How Nordic Film Studios Adapt to a Changing Market." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-301655.
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During the last 15 years, the film industry has undergone severe technological, cultural, and economic transformations initiated through online film distribution. Existing players need to adapt and innovate their business models to stay competitive. However, there is little knowledge about what players actually do in this respect. Since the film industry is of great economic and cultural importance, it is essential for researchers and managers alike to understand the transformations in the business models of film companies. Therefore, this thesis aims to investigate which areas of the business models of Nordic film studios have been most affected by changes and how the studios have responded to these transformations. Based on a longitudinal, comparative case study of the companies SF Studios and Nordisk Film, the study reveals that distribution channels, revenue streams, margins, partner network, customer needs, and core offerings have changed the most. The main transformations can be seen in stronger partnerships and an increased focus on in-house production to serve the high demand for content, secure a content flow for distribution, and generate new revenues.Under de senaste 15 åren har filmindustrin genomgått stora tekniska, kulturella och ekonomiska förändringar som inleddes av den digitala filmdistributionens uppkomst. För att förbli konkurrenskraftiga måste nuvarande aktörer anpassa och förnya sina affärsmodeller. Det finns dock lite kunskap om vad företagen faktiskt gör i detta avseende. Eftersom filmindustrin har ett stort ekonomiskt och kulturellt värde är det avgörande att förstå förändringar i filmbolagens affärsmodeller, både för forskare och ledare. Syftet med denna uppsats är därför att undersöka vilka delar av nordiska filmstudiors affärsmodeller som är mest drabbade av förändringar och hur studiorna har reagerat på detta. Baserat på en longitudinell, jämförande fallstudie av företagen SF Studios och Nordisk Film visar denna studie att distributionskanaler, intäkter, marginaler, partnernätverk, kundbehov och kärnutbud har förändrats mest. De huvudsakliga förändringarna visas i starkare partnerskap och ett ökat fokus på egen produktion, för att uppfylla den höga efterfrågan på innehåll, säkra ett innehållsflöde för distribution samt generera nya intäkter.
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Maasdorp, Liani. "Shorts : the potential role of the short film in the development of the South African film and television industries." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51908.
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Thesis (MDram)--Stellenbosch University, 2000.ENGLISH ABSTRACT: The study starts with a general analysis of the South African film industry and finds that lack of funding, the shortage of dedicated, industry-accredited training, the political climate of the past, censorship, the subsidy system, local distribution problems, and the success of Hollywood films have all played a part in bringing about a veritable dearth in local film production in South Africa. While the local film industry may not be able to repair itself fully in the short term, I do believe the energy and talent is there to start making a concerted effort to actively stimulate the production of a wide variety of local films to kick-start the healing process. I believe short films (shorts) have the potential to play an important role in this process, and the bulk of the study explores this idea by looking at the nature, form, and potential of shorts as well as the processes involved in their production. I fmd that the short film is the ideal medium for experimentation and development, and can serve as a valuable teaching tool in film and television training. As importantly, the short is one of the best mediums of empowerment for disadvantaged filmmakers, due to the relatively small size of its budget. Shorts have the ability to playa part in stimulating the growth of the local film and television industries, and in redressing socio-political imbalances of the past in a country where film was previously used as a tool of propaganda and oppression. It seems clear from the examples of other small film industries internationally that the encouragement, through innovative funding initiatives and international co-productions, of vibrant, authentic local short and feature film production can play an important role in strengthening the local film industry. It can be beneficial to stimulate the production of shorts in particular, as this will enable new and experienced filmmakers alike to experiment and develop ideas and techniques, thereby also developing the industry as a whole. Among the specific suggestions made in the thesis are the implementation of a quota system governing the screening of local productions, the stimulation of film literacy through establishing film festivals and a short film website, the stimulation of short film production through public and private funding and co-productions, and the advancement of film training. In addition, local broadcasters could be encouraged to participate more in funding feature and short film production in order to stimulate the development of a healthy, viable film industry in South African. South Africans can gain a lot from a healthy film industry - an increased number of employment opportunities, improved training institutions, an increase in tourist activity, and a medium that can serve as a form of expression and a forum for discussion. We still have a long way to go before these projected gains become an everyday reality, but it seems that shorts can, and must, play an invaluable part in taking local talent and the South African film industry as a whole to a level of performance where it will be able to exploit these opportunities to the full.
AFRIKAANSE OSPOMMING: Die tesis begin met 'n ontleding van die Suid-Afrikaanse filmbedryf waarin gevind word dat plaaslike filmproduksie in Suid-Afrika gekortwiek is deur verskeie faktore, waaronder 'n tekort aan befondsing en geskikte opleiding, die politiese klimaat van die verlede, sensuur, die subsidie stelsel, plaaslike verspreidingsprobleme, en die sukses van Hollywood films. Dit word ook duidelik dat die plaaslike bedryf nie binne 'n oogwink herstel kan word nie, maar dat die energie en talent tog bestaan waarmee die produksie van 'n wye verskeidenheid plaaslike ftlms weer gestimuleer sou kon word. Ek glo dat kortfilms die potensiaal het om 'n uiters belangrike rol te speel in hierdie proses, en in hierdie tesis bekyk ek die gedagte aan die hand van 'n indringende studie van die aard, form en potensiaal van kortfilms, en die prosesse betrokke by die produksie daarvan. 'n Sleutel bevinding is dat die kortfilm nie net die ideale medium vir eksperimentering en ontwikkeling is nie, maar dat dit ook kan dien as 'n waardevolle hulpmiddel in film- en televisieopleiding. Net so belangrik is die bevinding dat kortfilms. danksy hullae produksiekoste, een van die beste mediums is vir bemagtiging van minderbevoorregte filmmakers, Kortftlms kan dus 'n rol speel in die stimulering van die plaaslike film- en televisiebedrywe, én help om van die ongelykhede van die verlede uit die weg te ruim, in 'n land waar film voorheen gebruik is as 'n werktuig van propaganda en onderdrukking. Dit blyk duidelik uit die voorbeelde van ander klein filmbedrywe dat die aanmoediging van die aktiewe vervaardiging van oorspronklike kort- en vollengte films ons eie fIlmbedryfkan versterk. Innoverende befondsingsondernemings en internasionale mede-produksies is ook van belang in hierdie verband. Dit is dan ook veral van belang omjuis kortfIlmproduksie te stimuleer, aangesien dit beide nuwe en ervare filmmakers die geleentheid gee om te eksperimenteer en idees en tegnieke te ontwikkel, wat dan weer vernuwend kan inwerk op vollengte fIlmproduksie en die ontwikkeling van die bedryf in sy geheel. Ander spesifieke voorstelle wat in hierdie tesis gemaak word is onder andere die implementering van 'n kwota-stelsel wat die wys van plaaslike produksies sal reguleer, die bevordering van entosiasme, kennis en inligting oor ftlms en die filmbedryf deur middel van fIlmfeeste en die internet, die stimulering van kortfIlmproduksie deur verhoogde privaat- en regeringsbefondsing en die aanmoediging van mede-produksies, en die bevordering van goeie opleiding in fIlmproduksie. Verder kan plaaslike uitsaaiers aangemoedig word om te help met die befondsing van kortfilms sowel as vollengte films. 'n Gesonde, lewensvatbare filmbedryf in Suid-Afrika sal nie net voordele inhou vir filmmakers en -kykers nie, maar ook vir gewone Suid-Afrikaners, aangesien dit onder andere meer werksgeleenthede, verbeterde opleidingsinstansies en verhoogde toeristeaktiwiteit sal meebring. Dit sal ook 'n medium daar stel wat kan dien as 'n vorm van kreatiewe uitlewing sowel as 'n gespreksforum. Alhoewel dit tyd sal neem om al hierdie voordele 'n realiteit te maak, kom dit tog voor of kortfilms 'n onontbeerlike rol kan, en moet, speel om plaaslike talent en die filmbedryf as 'n geheel op 'n vlak te kry waar film-makers die beskikbare geleenthede ten volle kan benut.
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Xu, Wei Wei. "Career management : a study of the Chinese film production industry." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/23025/.
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This thesis presents the results of a multi-method investigation into how individuals in the film production industry manage their careers using China as a case study. Three rich hypotheses were tested against 14 in-depth interviews with inner-core decision makers and a survey questionnaire to which 119 actors and crew responded. The qualitative analysis confirmed that: (i) social networks provide vital functions for finding jobs in the film industry; (ii) personal reputation is vital for a long-term career in the film industry; and (iii) professional talent is socially determined. The findings present an alternative approach to project-based career theory. Social networks convey information on reputation and talent to facilitate the matching of people to jobs and may substitute for labour market institutions such as casting. The thesis proposes an individual career management model which links the key factors of: academic/training, professional talent, teamwork, social networks, reputation, film project, box office, career longevity, job security, self-development and career satisfaction. The model may be applicable to other countries and also to project-based creative industries.
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Ortiz, Gaye Williams. "The relationship between the Catholic Church and the film industry." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415590.
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QUADRA, PEDRO HENRIQUE DE ALMEIDA. "PRODUCT DEVELOPMENT FOR THE FILM INDUSTRY: A CONJOINT ANALYSIS APPLICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30631@1.
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Crescendo em média doze por cento ao ano no período de 2010 a 2015, a indústria de filmes no Brasil ainda é dominada por produtos importados. Visto que o importante apoio governamental recebido não foi suficiente para garantir a hegemonia dos produtos nacionais, percebe-se a necessidade da orientação para o mercado objetivando resultados superiores. Portanto, este estudo busca identificar características de produto que otimizem sua utilidade para o público alvo. Para tanto, a pesquisa levantou os atributos de produto mais importantes e seus respectivos níveis sob a perspectiva da indústria, avaliando-os com base em diretrizes de mercado para sugestão de novos produtos. Trata-se de uma aplicação de análise conjunta, na qual é possível calcular a utilidade de diferentes produtos para a amostra, o que gera insights importantes para os produtores nacionais. O levantamento de atributos e níveis foi feito através de grupos foco com executivos da indústria e com consumidores, para garantir o entendimento mútuo. Tais informações foram base para geração de um projeto fatorial fracionado, essencial para a exequibilidade da survey realizada em sequência. A análise dos resultados permitiu a identificação do produto ideal para a amostra, além de permitir a definição dos produtos ideais para doze segmentos definidos a priori. Os resultados indicam que produtos com elenco nacional e gravados em português possuem utilidades inferiores aos produtos com elenco misto ou internacional, gravados em inglês ou em idioma misto. Adicionalmente, quebrou-se o paradigma de que o pouco uso de efeitos especiais é uma grande desvantagem da produção nacional. Percebe-se que coproduções internacionais, que são alianças estratégicas pouco utilizadas atualmente, constituem alternativas que podem amplificar a utilidade dos produtos nacionais. As coproduções internacionais possibilitam a captação em mais mercados e, em consequência, o uso de elenco misto e maior investimentos em aspectos técnicos e artísticos. Ao fim e ao cabo essa estratégia tende a reduzir barreiras de entrada nos grandes mercados internacionais, o que facilita a exportação e aumenta a atratividade do produto para investidores.Growing twelve per cent on average each year, from 2010 to 2015, the film industry in Brazil remains dominated by imported products. Acknowledging that the government support received by this industry was not enough to ensure national products hegemony, the necessity for company s orientation toward the maketplace is perceived. The objective of this study is to identify which product s features optimize the product s utility for it s target market. For such purpose, this study identified which product s attributes were more relevant and their respective levels according to the industry and evaluated them using market directives to develop new products. This is study is an application of conjoint analysis, in which the utility of different products for the sample can be calculated and insights produced to help national producers. Focus-groups with executives and customers were conducted to identify the attributes and their levels and assure mutual understanding. Such data was used in the fractional factorial design, essential for survey s feasibility. Outcome analysis indicated the ideal product for the sample and for each of the twelve market segment defined a priori. They also shown that the utility of Brazilian cast and Portuguese as a spoken language is lower to the sample than the utility of multi-national cast using more than one language. In addition, the paradigm that Brazilian films were in a disadvantage because of it s lack or few usage of special effects was broken. International co-productions, which are strategic alliances rarely used by Brazilian producers, constitutes an alternative that may amplify the utility of Brazilian films. They enable multi-market fundraising and, by consequence, multi-national cast and bigger investments in technical and artistic aspects. In summary, this strategy tend to reduce entry barriers in bigger markets, which facilitates export and attract more investments.
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Grama, Sorin. "A survey of thin-film solar photovoltaic industry & technologies." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42359.
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Thesis (S.M.)--Massachusetts Institute of Technology, System Design and Management Program, 2007.Includes bibliographical references (leaves 48-49).
A new type of solar cell technology using so-called thin-film solar photovoltaic material has the potential to make a great impact on our lives. Because it uses very little or no silicon at all, thin- film (TF) solar technology promises to reduce the cost of solar modules to a level where solar power could compete effectively with power generated from fossil fuel alternatives, thus accelerating our society's transition to distributed, renewable forms of energy sources. Furthermore, because thin-film solar PV materials can be applied to surfaces as varied as glass, plastic and flexible metal foils, this emerging technology could open up new range of applications that otherwise would not be possible using traditional solar cells. The scope of this thesis is to analyze the technical merits of the different thin-film solar technologies, their market and applications, and the dynamics of a growing, new industry. We will compare the different thin-film solar technologies against each other and against the dominant poly-silicon technology. Next, we will take a look at the make up of the thin-film industry and study the different technology strategies employed by players in this industry. We'll highlight a few manufacturers of each type of technology and present a snapshot of the industry in terms of current production and forecasted manufacturing capacity. We'll conclude with a technology outlook and recommend possible technology strategies for firms contemplating entering this industry.
by Sorin Grama.
S.M.
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Мосіна, Елеонора Олександрівна. "The profession of costume designer in film industry of USSR." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15341.
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Stanton, Michael J. "A Theoretical Application of Metaphor Research to the Film Industry." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/428.
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This paper explores the value of using metaphor based marketing research methods (most notably Zaltman Metaphor Elicitation Technique) in the development and green-lighting processes of filmmaking. A review of literature reveals that even large blockbuster films lack any marketing research employed in the developmental stage. Audiences are extremely difficult to analyze when considering something as abstract and subjective as what makes a “good” film. Metaphor based marketing research methods (e.g. ZMET) offer a solution by examining the minds of consumers through language markers called metaphors. Using a metaphor based marketing technique early in a film’s development process may help to predict the success of a film as well as help to inform other marketing promotions for the film. The purpose of this study is to show how using an adaptation of ZMET will help film developers better predict the market potential for a project before the green-lighting phase.
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Xu, Shuo. "The Curious case of Chinese film Censorship: An analysis of the film administration regulations." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23166.
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The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. And, ironically, the films censored in China often gain great fame outside of China becoming worldwide blockbusters. This study will look at how those films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher. The study will also analyze how the combination of government control and market forces influence the Chinese film industry and its production.
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Erickson, Mary P. A. 1977. "Independent Filmmaking in the Pacific Northwest: A Critical Analysis of the Regional Film Landscape." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11527.
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xvii, 397 p. : ill., maps.Thousands of films are produced every year in the United States, and only a fraction of these is made by mainstream Hollywood film studios. Independent filmmakers working in regional locations produce the majority of these films, retaining financial, creative and distribution control and working with locally-based cast and crew members. This film activity must be acknowledged in order to fully understand the American film industry. This study examines regional independent filmmaking through case studies of two film communities: Portland, Oregon and Seattle, Washington. Using political economy of communication as the primary theoretical foundation, this study focuses on the infrastructure (systems, policies, resources and practices) that supports and/or limits the production and distribution of independent films. The research utilizes extensive document analysis of historical materials and contemporary documents produced by organizations and individuals, as well as a survey of 60 film professionals and interviews with over 40 film professionals. A central challenge to independent filmmaking is the term "independent," which has been contested by film professionals and scholars; therefore, this study analyzes and offers a new definition of "independent filmmaking." The history of filmmaking activity in Portland and Seattle is presented, as well as an extensive discussion of the contemporary landscape of regional independent filmmaking in these two communities. The study finds that there are a multitude of contradictions pertaining to financing, distribution, labor and myths of independent filmmaking. These contradictions present a range of opportunities and challenges that often simultaneously conflict with each other. The filmmaking communities in Portland and Seattle have notable networks of support, including professional and educational organizations, film festivals, government initiatives and a few locally-operated distributors. However, filmmakers in both cities also share challenges in financing, distribution and labor. The study argues that regional independent filmmaking has made a dynamic and influential contribution to the American film industry and cultural production but has been under-explored in academic scholarship. The research also points to the need to examine and understand the contradictions of independent filmmaking to improve the circumstances and infrastructure that support regional independent filmmaking.
Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Gabriela Martinez, Member; Dr. H. Leslie Steeves, Member; Dr. Michael Aronson, Outside Member
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Kwon, Hyun Jin. "The impact of cultural events on the cinema and tourism in a community, Busan Busan's alternative industry to the cinema and tourism industry after the Pusan International Film Festival (PIFF) /." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002kwonh.pdf.
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Hatkoff, Daniel. "Production cost structure and commercial success in the new film industry." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1355255118.
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Ivanisevic, Paunovic Jelena. "From Low Budget to Big Business : Releasing Strategies for Indeoendent Films and Industry Division." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181523.
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The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film. This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US. Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market. The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.
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Rose, Talitha Kanika. "Funding Female Features: Crowdfunding for Gender Equity in the Film Industry." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64394.
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The U.S. feature film industry as a gendered organization, in which networks bound by race, gender, class and overt heterosexuality tend to exclude members of other groups. Hollywood filmmaking is a production process with high uncertainty about how to produce hits, resulting in discretion given to managers to use their personal networks to limit risk. This combination of organizational qualities limits diversity among filmmakers, such that previous research has shown women remain vastly underrepresented both on-screen and behind the camera. Crowdfunding has recently emerged as an alternative to corporate funding and traditional venture capitalism, where people donate small amounts of money online to fund business projects. Given underrepresentation of marginalized groups in the film industry and filmmakers' difficulty funding their projects, I show the use of crowdfunding to answer (1) whether it offers a more gender-equal opportunity than direct funding by major studios and (2) whether the films produced through crowdfunding are more female-centered when compared to non-crowdfunded films. Using a sample of 124 crowdfunded and traditionally funded feature films, released between 2012 and 2014; I found that crowdfunded films were more likely to employ female filmmakers and protagonist(s) than traditionally funded films. Additionally crowdfunded films had more filmmakers who are racial minorities, and filmmakers and protagonist(s) who are gay, lesbian, or bisexual. These results suggest that while women are far from achieving equity in the film industry as filmmakers or protagonists, crowdfunding may provide an alternative avenue for attaining financing for films, outside of the structure of Hollywood studios.Master of Science
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Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.
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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.
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Srour, Nemesis. "Bollywood Film Traffic. Circulations des films hindis au Moyen-Orient (1954-2014)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH185.
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En 1965, la présence de films indiens dans la région arabe fait débat. La popularité des films indiens est perçue comme une « invasion » par certains, tandis que les raisons de ce succès sont formulées en termes essentialistes, comme « une sorte de spontanéité innée » par l’historien du cinéma Georges Sadoul (Centre interarabe du cinéma et de la télévision 1965). Pour restituer ces ambivalences, l’objet de ce travail n’a pas été d’offrir les arguments d’une connivence culturelle entre les films indiens et les pays arabes, mais de documenter les circulations des films, participant d’une histoire globale des circuits cinématographiques Sud-Sud. Cette recherche articule les modalités de circulations des films indiens sur le temps long, de 1954 à 2014, afin de restituer à ces échanges cinématographiques toute leur historicité. Interroger le Moyen-Orient depuis l’industrie cinématographique indienne formule une vision alternative de cette région. Elle contribue à donner leur place à des acteurs méconnus, à faire une histoire des distributeurs et des salles de cinéma au regard des circuits des films indiens. Simultanément, entreprendre cette histoire nécessite de comprendre comment l’industrie de Bombay perçoit et investit les territoires étrangers pour la diffusion de ses films. Revenir aux processus de circulations en eux-mêmes sur une période de 60 ans ouvrait la porte aux aspérités, aux trébuchements des récits. Une ethnographie transnationale des réseaux de circulations des films hindis à Beyrouth, au Caire et à Dubaï, montre des territoires différemment perméables. Dans une démarche qui documente les circuits de cinéma et en distingue les agents, ce travail s’attache à faire une anthropologie historique de la filière de la distribution. La typologie des réseaux signale leur plasticité et montre toute l’ingéniosité des acteurs de la diffusion, s’adaptant, se modulant et anticipant même les mutations historiques de la régionIn 1965, the presence of Indian films in the Arab region is sparking debate. While some perceive the popularity of Indian films as an “invasion”, the reasons for this success are formulated in essentialist terms by the film historian Georges Sadoul, as “a kind of innate spontaneity” (Inter-Arab Center for Cinema and of television 1965). To render these ambivalences, the purpose of this work was not to offer the arguments of a cultural connivance between Indian films and Arab countries, but to document the circulation of films, contributing to a global history of South-South cinematographic circuits.This research articulates the circulation modes of Indian films over a long period, from 1954 to 2014, in order to give to these cinematographic exchanges all their historicity. Questioning the Middle East from the perspective of the Indian film industry formulates an alternative vision of this region. It contributes to give their place to unsung actors, to make a history of distributors and cinemas in light of the circuits of Indian films. At the same time, undertaking this story requires understanding how the Bombay film industry perceives and invests foreign territories in broadcasting its films. Returning to the process of circulation in themselves over a period of 60 years opened the door to asperities, to the stumbling of stories. A transnational ethnography of circulation networks of Hindi films in Beirut, Cairo and Dubai, shows differently permeable territories. In an approach that documents film circuits and distinguishes its agents, this work focuses on a historical anthropology of the distribution field. The typology of the networks indicates their plasticity and shows all the ingenuity of the actors of the diffusion, adapting, modulating and anticipating even the historical mutations of the region
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Romer, Stephen. "The decline of the British film industry : an analysis of market structure, the firm and product competition." Thesis, Brunel University, 1993. http://bura.brunel.ac.uk/handle/2438/6301.
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Paleker, Gairoonisa. "Creating a 'black film industry' : state intervention and films for African audiences in South Africa, 1956-1990." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8259.
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Includes abstract.Includes bibliographical references (leaves 217-239).
This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.
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Smith, Jason Berndt. "Sodium salt scaling in falling film black liquor evaporators." Diss., Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/10263.
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Yao, Kathryn S. "The Future of Chollywood: The Imminent Rise of China's Film Industry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/776.
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The research in this thesis will focus on China’s increasingly important role in the global film industry, including the dynamic between the Chinese government, the Chinese film industry, and Hollywood. The first chapter gives a comprehensive overview of the history of artistic trends in postsocialist Chinese film since 1979. The following chapter provides a history of the commercial and economic developments regarding the Chinese film industry after Deng Xiaoping’s economic reforms and open door policy. In the third chapter, a detailed analysis of the different Chinese state entities and their functions provide insight into the history of the political and regulatory framework of the Chinese film industry. The fourth chapter examines Hollywood’s role and response to China’s burgeoning film industry and market including case studies of top western film companies that have been heavily involved with China. It also focuses on the challenges the domestic Chinese film industry faces in response to government censorship and competition from Hollywood. Finally, the conclusion offers predictions for the future state of the Chinese film industry, and discusses the implications surrounding the growing relationship between the China and Hollywood.
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Davenport, John A. "Project-based firms in the UK film industry : causes and consequences." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.630930.
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The principal issue of debate in relation to the UK film industry is the sustainability of independent film production companies. In the thesis, it will be argued that the characteristics of these companies are closely related to those of project-based firms, which has key implications for government polices aimed at positive intervention in the development of the industry. An analysis of the critical characteristics of these firms, the interdependencies between these characteristics, and the linkages between firms and other industry agents, will enable the construction of a model of the UK film production company. It will be argued that the operation of this model is critically influenced by external financing and the economic domination of the US major studios. It will further be argued that the difficulty of raising finance for film projects; the protection of intellectual property, as a means of recouping investment; and the related entrepreneurial behaviour encourage the adoption of project-based organization. Using this form of governance helps financial risk to be managed by the use of freelance workers and the minimization of fixed capital. This strategy is possible because of the existence of deregulated labour markets and the availability of a large pool of specialist skills. Crew are obliged to maximize their earnings by conforming to the norms implied by the largely deregulated working environment and by specializing in well-defined roles. Skills development in this system is the responsibility of the individual, who must accept this to advance his or her career. Personal interest thus reinforces the tendency to specialization. Partly because of the fragmentation of the industry, agencies and unions possess little authority. Although the industry depends upon well-developed informal networks for its functioning, these are used predominantly for communication. The key characteristics of the UK film industry are conditioned partly by the business strategy of the US major studios, which outsource work to the UK and return all profits to the US. Dependence upon inward investment leaves the industry at the mercy of an economic or investment downturn and price competition from other countries, while the lack of formal training may undermine the ability of the industry to compete in quality and skills. The thesis therefore concludes with policy recommendations that suggest how the industry might create an environment in which the sustainability of production would be achieved.
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Mageros, Peter. "Anzac Cinema: The Heroic Depiction of Australia’s Film Industry, 1906-1988." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14307.
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In 1915 Australia’s bush-bred soldier-warrior, the ‘Anzac’, wrote himself into history on the battlefields of Europe, earning a reputation as one of the world’s most fearsome and indefatigable fighters. Back home he was conscripted in an equally fierce cultural war as local film interests battled to keep Australian films on Australian screens. This thesis examines the historical prolificacy of Australian cinema to portray itself as heroic as the nation’s Anzac soldier, who is also commonly referred to as the ‘digger’. As such, the thesis aims to contribute to scholarship about the relationship between the Australian film industry and the national identity by examining how the cinema has at pivotal moments sought to incorporate the Anzac legend into its own identity. It is argued that Australian cinema has sought to depict itself in the ‘heroic’ image of the legend. This nationalist tendency was most apparent at moments of crisis for the production sector – the First World War, the arrival of sound cinema in the early 1930s and the period during and immediately after the Second World War. It is also argued that Anzac-themed films were the catalyst for the cultural nationalist-boom of the early 1980s. The main argument is that the Anzac legend was exploited at these pivotal moments as the film industry sought to re-establish or consolidate its presence in the domestic market when faced with the reality of Hollywood’s dominance. This idea of the ‘heroic film industry’ involved metaphorically aligning the fighting image of the ‘digger’ with the struggle of the film industry itself, culminating in a depiction for both that was interchangeable. This thesis examines a selection of Bush-Anzac-themed films released between 1906 and 1988, with each chapter focussing on a particular phase of the cinema. This is essentially an interventionist approach to the study of Australian film history. As such, it is involved in a critical analysis of the films in question and discourse on the film industry, the result of which is a fresh approach to the relationship between cinema and mythology.
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Fenwick, Melissa E. "Reel Images: Representations of Adult Male Prisons by the Film Industry." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1962.
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Research on the criminal justice system, punishment, and media continue to generate academic interest, particularly in the realm of social constructionism. The social construction perspective provides insight into the process through which media-controlled images are translated into social definitions of crime and justice. One new area of interest is the representations of prisons and penal culture by the entertainment media, namely the film industry. In this study, the author contributes to the area of social constructionist literature by administering a content analysis of eleven feature films on male prisons produced between 1979 and 2001. The author examines the frequency and context of several constructs of penal culture: drug use and trafficking, rape and sexual assault, violence, and gang affiliation. This research examines whether the representations of these issues in recent motion pictures are consistent with extant academic correctional literature.
The present study found that within prison films the amount of portrayal of drug use and trafficking, and rape and sexual assault is consistent with the academic literature. Overall, when compared to the academic literature, prison movies under represent gang affiliation but within movies that portray gang affiliation, that portrayal is similar to the academic literature. Notably, heroin was the drug of choice depicted within prison films while academic correctional research in prisons shows marijuana as the drug of choice. The most significant finding was that the amount and type of violence, specifically murder, was overrepresented in prison films compared to the amount and type of violence reported within current academic research.
The over emphasis on violence and killing within prison films and the representation of heroin as the major drug consumed and trafficked could lead to public misunderstanding about the realities of prison life and living conditions of the prison institution. This study provides not only noteworthy information concerning the representations of prison life and penal culture by the film industry but also insight into the inconsistencies between the information presented on film and that within academic correctional literature that are transferred via this medium to the general public.
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Gebacz, Chloe C. "Why So Short?: The Changing World of the Short Film Industry and Online Distribution." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429898301.
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Urquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.
Full textAbstract:
More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.
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Liang, Ting-Ting, and 梁婷婷. "The legislative road of Chinese film: from Regulations on Administration of the Films Industry to Film Industry Promotion Law." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/uc9z43.
Full textAbstract:
碩士國立政治大學
傳播學院傳播碩士學位學程
106
On November 7, 2016, China has released a groundbreaking Film law, Film Industry Promotion Law of the People's Republic of China, which is the first film law in the history of PRC. Film has played an important role in modern China with its political, commercial and artistic characteristics. It is intrigued that, the Film was considered as an economic industry only for about two decades; however, the government intended to boost this “industry” by rapid legislation. This dissertation tries to interpret the purpose and evaluate the effectiveness of film legislation through a critical political-economic perspective of communication. It focuses on the historical retrospection of the process of film legislation and conduct an analysis of the texts of regulations and laws, especially Regulations on Administration of the Films Industry (1996 / 2001) and Film Industry Promotion Law (2016). As its conclusion, it’s fair to say that, in China, the state manipulates the capital while in turn the capital commands the film industry.
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Huang, Ping-ju, and 黃品儒. "China’s Film Industry and Soft Power." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/qe4tx9.
Full textAbstract:
碩士國立中山大學
中國與亞太區域研究所
102
In the view of Chinese government, cultural industry and hard power are the basics of soft power. The Chinese government put more and more emphasis on the strategic value of cultural industry, especially film industry. In 1994, a new Chinese government policy imported ten foreign films per year. Since then, China’s film industry has experienced globalization era and the competition with Hollywood blockbuster. The U.S. blockbuster hit the Chinese box office with a high record. The lavish and commercial features of the U.S. blockbuster became the origin of the Chinese word “da pian”. Before joining the World Trade Organization, Chinese people concerned about the survival of China’s film industry by opening the film market further. However, after 12 years of World Trade Organization membership, China’s film industry survived and became stronger under the protection and guidelines of the Chinese government’s industrial policies. Under the pressure of globalization and competition with foreign films, China’s film industry needs to be more competitive. Therefore, producing da pian and commercializing the main melody films are the new strategies for Chinese film to raise influence and promote soft power. Film co-production is the main measure for China to gain the resources which are favorable for Chinese film’s soft power. The main melody film’s promotes government’s ideology. Commercializing the main melody film is a new strategy for China to make the main melody film closer to the audience. This paper reviews three representative commercialized main melody films ideological feature, including, “Confucius”, “Jian Guo Da Ye”, and “Hero”. In the internal film market, Chinese film relies on Kong Fu movies and elements excessively. The international image of Chinese film is changeless. “Hero” is considered as the most successful Chinese film in the international market. Yet, Chinese Kong Fu movies are declining in the international market. One of the major reasons is the Hollywood’s monopoly on the international film market. In conclusion, although China is not successful on promoting its film soft power so far, China is using its hard power to gain resources that build up its film soft power under the principle of China’s national interest.
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Wei, Jia. "China's film industry: crisis or transition?" Master's thesis, 1998. http://hdl.handle.net/1885/9922.
Full textAbstract:
After three long decades of devastating political movements that followed on from the founding of the People's Republic of China, the Communist Party began devoting itself to economic reconstruction from the late 1970s. The stormy economic reforms that started in 1979, achieved tremendous successes in the rural areas and soon swept to urban centres, One government priority was now to open China up to the outside world. A related aim has been to reform China's economy through market-based policies and mechanisems. Along with these economic achivements, the reforms have also affected other aspects of society, such as customary life-styles, beliefs, values and traditions. The Chinese film industry which, since the founding of the People's Republic of China has operated as a mass medium serving China's state socialism, has been one of the sectors undergoing change as a economic reform. The Communist Party used the film industry as a tool for political education and propaganda; accordingly it created and financed centralized structures to make, distribute and screen films. Under the impact of market forces that bureaucratic framework has by now largely broken down, but a commercially viable system of production and distribution has yet to effectively evolve to take its place.
In market-oriented economies, film-making is largely a business, usually a heavily capitalized business that of necessity constantly seeks to identify, stimulate and respond to consumer demands. It requires shrewd commercial judgment and often involves an element of risk-taking. Only in recent years, however, have the Chinese government and the film industry paid attention to the commercial nature of the film industry. The Chinese film industry and its governmental regulators are still trying to come to terms with film-making as a demand-driven commercial enterprise. "China's film industry is in a period of transition," commented Wu Mengchen, president of the China Film Import and Export Corporation in late 1995. "One of the main characteristics is that it is changing from a welfare-state mode to a money-making mode. Since the mid-1980s, when the Chinese government and film industry first began emphasizing the profit element in film-making, both critics and the media have repeatedly expressed the view that a crisis(weiji) was developing that threatened the contemporary Chinese film industry.
The question this paper attempts to address is whether or not there is a crisis, or whether the Chinese film industry is simply experiencing a changing economic and cultural
pattern. There is no doubt that, in the post-Mao period of economic reform, serious problems of financing and administrative disruption have occurred in many sectors of society. But perhaps the film industry, like other industries in China, is simply undergoing a prolonged but salutary experience of being exposed to market forces and can be left eventually to achieve whatever level of functioning and profitability it proves capable of The problems, however, involve more than economics and finance. As a propaganda tool of the Communist Party, Chinese films previously never achieved success as a serious art form; art was always subordinate to film's heavy-handed political message. But, in the last few decades, a number of Chinese films have startled critics and captivated audiences around the world. Some have been submitted to the Academy Awards (Oscars), Cannes, Berlin and other international film juries from which they have received unprecedented acclaim and attention. Chinese cinema has now repeatedly shown that it has world-class potential as a producer of quality films, but political and bureaucratic controls still hamper innovation and distort filmmakers' choice of content and treatment. To realise its potential, the Chinese film industry needs to free itself of many government controls and many financial uncertainties and problems that persist in the wake of the collapse of the old industry framework. Such problems include forcing studios to produce shoddy 'entertainment films' for quick domestic returns, with the result that potentially vast Chinese audiences are not being attracted back to the cinema, or are being turned off cinema in favour of alternative forms of entertainment, or are boycotting Chinese made movies in favour of Hollywood and Hong Kong imports. At stake is more than a profitable domestic industry and prestigious international market. The Chinese film industry has a unique potential to project Chinese identity and talents abroad and make them accessible to the world. In addition, a vigorous and independent film industry could be uniquely valuable in helping the Chinese people to understand and come to terms with past traumas, and to progressively redefine themselves in this period of rapid economic and social change. The alternative to a financially viable indigenous film industry seems, on present indications, to be a low-output industry producing generally low-grade films, dependent on foreign investors to finance its quality productions, and increasingly vulnerable to domination not only by foreign imports but also by foreign cultural models. In exploring these questions, this paper aims at examining the status quo of the Chinese film industry. First, this paper will summarize arguments by Chinese scholars and critics which support the notion that contemporary Chinese cinema is experiencing a crisis. Essays dealing with this topic published in various Chinese periodicals such as Dianying yishu (Cinema Art), Dianying pingjie (Film Review), Dangdai dianying (Contemporary Cinema), Liaowang (Vision) and so on, from 1986 to 1996, state the major reasons for this perceived crisis as follows: the rapid decrease in box-office receipts; the closure of many film theatres; the tenuous position of major fllm studios and the harsh reality of internationally-acclaimed Chinese films which are box-office failures in China itself Second, I will give an analytical account of the Chinese film industry, from the perspectives of history, politics and culture. I will discuss how the old system of the Chinese film industry is out of step with Deng's reforms, and how new problems have resulted from film industry reform itself. Certainly, there are some sensitive issues that have not been aired in the Chinese media. Chris Berry, for example, argues that even though financial problems exist, Chinese new wave cinema is not only attacked for its commercial failure; also involved is state political policy.2 Paul G. Pickowicz holds that the post-Mao state retreated from the film industry, but "they never really gave up control Miklos Haraszti argues that artists, under modern socialist regimes, were placed in a comfortable 'velvet prison', with better housing, higher incomes, foreign travel, and access to restricted publication and films. As a result they became part of the political elite, although the process caused some artists to believe that they gained independence or autonomy from the state. Consequently I will discuss Chinese film-making and the 'freedoms' it has enjoyed in the economic reform era of 1979-1996. As 80 per cent of the Chinese population live in rural areas, the discussion in this chapter will focus on film distribution and screening in the countryside and how this huge market has diminished. The paper will go on to examine how the Chinese film industry has faced unprecedented competition not only from alternative entertainment, such as television or video, but also from pirated films and videos. Third, this paper attempts to analyze whether so-called entertainment cinema (yule yingpian) and co-produced film ventures (hepai yingpian) 5 which were adapted for Chinese cultural, political and economic realities have helped ameliorate the situation. The guiding idea behind the creation of Chinese entertainment cinema has been inspired by Hollywood. This paper will briefly analyze the Hollywood film industry in comparison with the Chinese industry from a cultural and commercial perspective, as well as in terms of its economic underpinning. My discussion also includes Hong Kong, as it has been one of the few places able to challenge the impact of Hollywood movies. The conclusion looks at contradictions between China's deep-rooted socialist bureaucracy and the new 'socialist market economy' as well as differences between traditional cultural norms and foreign influence. According to Deng Xiaoping's political program, China is experiencing an unprecedented period of economic reconstruction that has seen the introduction of 'a socialist market economy' in place of a centrally planned economy. The Chinese cinema, as one of many Chinese industries, is facing a multitude of unresolved difficulties which have emerged as a result of the new economic policies. There are no clear-cut answers as to whether this model of reform will work for China.
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Yang, Hong-Da, and 楊宏達. "A Study on Film Restoration by the Digitalization of Film Industry." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/55282851787303470799.
Full textAbstract:
碩士實踐大學
工業產品設計學系碩士在職專班
103
Audiovisual heritage, including moving image and recordings, carries lessons, information and knowledge, and is an essential cultural heritage. The United Nations Educational, Scientific, and Cultural Organization (UNESCO) has constantly encouraged countries to preserve audiovisual heritage since 1980. In recent years, government agencies and film archiving organizations have increased emphasis on the issue of film preservation. Concurrently, old film restorations were executed by the Taiwan Film Institute (formerly known as Chinese Taipei Film Archive) and film industry. The purpose of this study is to investigate the impacts of film preservation and restoration through the digitalization of the Taiwanese film industry. Furthermore, explore the techniques, aesthetics, and industry ethics for film restoration. This study involves an in-depth interview with 13 professionals and scholars in the restoration field. In addition, participant observation and literature review were used for data collection on the digitalization and restoration of the film industry to understand the interrelationship between them. The conclusion from the analysis and discussion of data is as follows: 1.Digitalization of the Taiwanese film industry leads to a paradigm shift toward a significant decline of film laboratory business and reconstruction of new filmmaking aesthetics and a competitive environment. 2.Digital restoration would be an active pathway to prolong the life expectancy of audiovisual heritage, and also to be an opportunity for film re-creation, but not the ultimate solution for film preservation. 3.Film restoration needs the professional ethics as the basis to deal with an ensemble of technology and aesthetic.
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Lee, Chiaowen, and 李巧文. "The Development Of The Korean Film Industry And Analysis of Success Factors: Compared to The Taiwan Film industry." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80102846215099956534.
Full textAbstract:
碩士中國文化大學
韓國語文學系
100
Knowledge-based and labor-intense cultural and creative industries are one of the most potential industries in the 21st Centuries. In which, the film industry has attracted various nations with commitment in the development of local film industries due to its features in high extensions and added-value creations. The Korean film industry faced great waves of change in the 1990s due to the huge impacts to industries resulted from marketing opening. The Government implemented a number of specific revitalization programs for the film industry during the mid- or late- 1990s, in addition to continuously modifying bills in cope with demand in time, in order to drive reforms in film industry which also draws great attention from other nations with it success stories. The purpose of the study aims to analyze the success factors for Korean film industry and how Taiwan learns from the experience for the development of its film industry. The Korean governmental policies and internal changes of the industries have been reviewed after the market opening. The background and policies of industrial development have been compared for the difference between the film industries from the two nations, using industrial value chain to review the overview of the overall film industries in Korea and Taiwan, in addition to evaluate the development of the film industries from the two nations through application of SWOT analysis. The study results show the success factors for Korean film industry as described in the following four points: 1. Consistent and flexible government policies. 2. Diverse source of funds. 3. Vertical integration of industries. 4. Cross-industry integration. Due to the difference in cultural background and industrial and economic environment, Taiwan is not required to comprehensively imitate the success experience from other nations. However, Taiwan is required to recognize and to review the revitalization and development of Korean film industry. The dimensions for learning are described below: 1. Set up special authority. 2. Policy reviews and disclosure of industry overview. 3. Build investment channels and platform diversification. 4. Personnel training.
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Tseng, Shuyu, and 曾姝瑜. "The Cultural and Creative Industry in Film－A Study of Pan-Asian Co-Production in Korean Film Industry." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/40441505240070036484.
Full textAbstract:
碩士國立臺灣藝術大學
圖文傳播藝術學系碩士班
100
While Asian film industry is facing re-construction, Korean film industry has risen for more than a decade. Since screen quota was sharply reduced to half in 2006, Korean has been actively seeking cooperation from overseas. This research is focus on the influences on Koran film industry and the co-producers, especially when Chinese market is becoming large and crucial. In order to make precise observations on Korean Pan-Asian film industry, the methods used are literature reviews, case studies and expert interviews. In the meanwhile, three co-productions “A Good Rain Knows”,” Ghost” and “Late Autumn” are discussed and analyzed. The discussion is concentrated on the pros and cons of three cases, in the co-production forms and production, marketing and distribution and narrative style. Additionally, to reflect Korean film co-production concepts by interviewing experts from several areas, such as scholars, distributors and first line film workers. Results show that by the factors of strong domestic competitions and global filming funds changes, Korea tends to co-product with Chinese film industry. Romance film is more acceptable and to be released in China due to the restrict censorship. Moreover, lesser cost is needed for romance production, comparing to cost for costume sword-play film. That means lower investment risk with producing romance films and thus, promotes medium and small scale film production. In conclusion, although the conditions of overall Taiwanese industries are different to Korean’s, they still show a respectable example of stabilizing domestic film market firstly, then seeking international filming co-production. At this stage, Taiwanese film industry should emphasis on producing films with localized, cultural characteristics, and minimizes filming cost within 50 million NT dollars. These will produce high quality medium scale films which elevate the level of Taiwanese film industry eventually.