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Dissertations / Theses on the topic 'Film industry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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 19

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2

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 signific

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3

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 facilitie

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4

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 bin

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5

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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6

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. Th

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7

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 di

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8

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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9

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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10

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 t

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11

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, Can

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12

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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13

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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14

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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15

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 applie

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16

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 potential

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17

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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18

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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19

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 be

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20

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

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21

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.<br>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 th

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22

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.<br>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, Washin

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23

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

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24

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 finding

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25

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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26

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, av

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27

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.<br>Includes bibliographical references (leaves 48-49).<br>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, renew

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28

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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29

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 metap

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30

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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31

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

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32

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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33

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

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34

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 pract

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35

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 histoir

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36

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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37

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.<br>Includes bibliographical references (leaves 217-239).<br>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

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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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39

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 thei

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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 fi

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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

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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 fil

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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.

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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 cultur

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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.

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碩士<br>國立政治大學<br>傳播學院傳播碩士學位學程<br>106<br>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 leg

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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.

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碩士<br>國立中山大學<br>中國與亞太區域研究所<br>102<br>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 th

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Wei, Jia. "China's film industry: crisis or transition?" Master's thesis, 1998. http://hdl.handle.net/1885/9922.

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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 aspec

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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.

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碩士<br>實踐大學<br>工業產品設計學系碩士在職專班<br>103<br>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) a

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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.

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碩士<br>中國文化大學<br>韓國語文學系<br>100<br>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 la

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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.

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碩士<br>國立臺灣藝術大學<br>圖文傳播藝術學系碩士班<br>100<br>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

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