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Journal articles on the topic 'Film industry'
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Singh, M. Bimolchandra. "Manipuri Film Industry." Journal of Advanced Research in Journalism & Mass Communication 05, no. 01 (February 27, 2018): 25–30. http://dx.doi.org/10.24321/2395.3810.201805.
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Yin, Hong, and Yanbin Sun. "Analysis of China’s Film Industry in 2020." Journal of Chinese Film Studies 1, no. 2 (November 1, 2021): 295–328. http://dx.doi.org/10.1515/jcfs-2021-0029.
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Abstract The influence of the coronavirus disease 2019 pandemic impacted the global film market in 2020. Across the world, the Chinese film market was the first to recover and, as a result, assumed a leading position. This was because the government launched a return-to-work policy, the capital market became more rational, the integration of film companies accelerated, the film industry model trended toward centralization, and market structures underwent deep adjustments. Despite shrinking market space and declining film production during 2020, the industry produced films that remained diverse in genre and subject. Where the “Matthew effect” of accumulated advantage is much more acute in the film industry, a more diverse distribution approach has emerged in the field of new media. With box office returns approaching a ceiling, it has become more urgent to stabilize the quality of top films, enrich and enhance the competitiveness of genre films, and strengthen the theatricality of art films. It also became urgent to improve the film industry system, the product system, the market system, and the box office window system.
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Гайдученко, К. "Film industry." Іноземні мови в школах України, no. 1 (77) (2016): 25–28.
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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.
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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role as historian, educator, and entertainer, with an overriding interest in building a sustainable film industry in the Caribbean. Films reviewed include: Outloud, A Safe Space, Sweet Micky for President, and My Father's Land.
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Apriliani, Tri. "HUBUNGAN KERJA DALAM INDUSTRI FAST FASHION: ANALISIS ISI TERHADAP FENOMENA EKSPLOITASI (STUDI KASUS FILM THE TRUE COST DAN NIKE SWEATSHOPS)." INFORMASI 46, no. 1 (June 14, 2016): 33. http://dx.doi.org/10.21831/informasi.v46i1.9647.
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The fast-fashion industry is one of the manufacturing industry that is associated with the developing countries as a producer of their products. Authors carriying an issue of labor relations in the fast-fashion industry which is very important to be studied due to exploitation issues. The main focus of the study is to assess the film “The True Cost” which describes the fast-fashion industry in Bangladesh and “Nike Sweatshops” which describes the fast-fashion industry in Indonesia. This study sought to answer whetherthe exploitation occurs in fast-fashion industry are presented in the movie “The True Cost” and “Nike Sweatshops” and how the mechanism of the exploitation is working. By using the content analysis method, it was found that in both films the exploitation did occur, but both films have similarities and differences of the dominant aspects of exploitation based on wages, health insurance, safety insurance, time, physical violence and the formation of unions. In addition besides the findings of the movie, the context of the economic, social, and political in certain periods and employment policies contribute to the occurrence of labor exploitationIndustri fast-fashion merupakan salah satu jenis industri manufaktur yang tidak terlepas kaitannya dengan negara-negara berkembang sebagai penghasil produknya. Penulis mengangkat sebuah isu tentang hubungan kerja di dalam industri fast-fashion yang sangat penting untuk dikaji karena maraknya isu eksploitasi.Fokus utama penelitian adalah mengkaji film “The True Cost” yang menggambarkan industri fast fashion di Bangladesh dan “Nike Sweatshops” yang menggambarkan industri fast fashion di Indonesia. Penelitian ini berusaha untuk menjawab apakah eksploitasi terjadi pada industri fast-fashion yang disajikan dalam film “The True Cost” dan “Nike Sweatshops”serta bagaimana mekanisme eksploitasi tersebut bekerja. Dengan menggunakan menggunakan metode analisis isi, didapati bahwa dalam kedua film ini eksploitasi memang terjadi namun kedua film ini memiliki kesamaan dan perbedaandari aspekdominan eksploitasi berdasarkan upah, jaminan kesehatan, jaminan keselamatan, waktu, kekerasan fisik dan pembentukan serikat. Selain temuan dari film tesebut, didapati bahwa konteks ekonomi, sosial, dan politik pada periode tertentu serta kebijakan ketenagakerjaan turut mendukung terjadinya eksploitasi tenaga kerja.
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Xiao-ling, Wang, Liu Zhi-long, and Zamira Madina. "Machine Learning-Enabled Development of Model for Japanese Film Industry." Security and Communication Networks 2022 (June 6, 2022): 1–9. http://dx.doi.org/10.1155/2022/7637704.
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Not only are numerous components absorbed and modified in terms of movie subjects, but also various art forms like painting and music are researched and examined in the production of Japanese cinema, resulting in the development of film styles with national characteristics. The fundamental role of film industrialization is to increase production efficiency, reduce industry risks, create job opportunities, and provide related technologies and services for professional creative people, so that the creativity crystallization of all industry insiders can become an invisible creative power and tangible economic values in the economy and can circulate continuously within the overall film industry structure. On the basis of summering and analyzing of previous research works, this article expounded the research status and significance of Japanese film industry, elaborated the development background, current status, and future challenges of film industry model, introduced the creation and production of genre films in Japanese film industry, established the relationship between personalized creation and market trend of Japanese films, proposed the competition and cooperation model for the distribution of local and imported films, analyzed the market share of sequel and anime films in Japanese film industry, conducted the analysis of terminal construction changes and localized cinema lines operation, and discussed the exploration and management model of film screening bodies. The research results of this article provide a reference for further researches on the development model of Japanese film industry.
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Manakbayeva, A. B. "The Film Industry as a Sector of the Economy: Current Problems and Trends." Economics: the strategy and practice 17, no. 1 (April 5, 2022): 226–37. http://dx.doi.org/10.51176/1997-9967-2022-1-226-237.
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Nowadays, the film industry is an important sector of the economy of many countries. Scientific interest in the research of cinema will grow with each passing day. This is because the film industry, consisting of producers and commercial organizations, is an object of investment and a successful asset. The article focuses on defining the role of the film industry in Kazakhstan’s economic and social development. The article’s primary goal is to identify and discuss current problems and trends in the development of the domestic film industry by analyzing its current state. The paper reveals the essence of the three main functions of the film industry - economic, social and ideological. The current state of the domestic film industry is analyzed by the use of statistical and sociological data. Relevant issues, socio-economic peculiarities, critical participants in the film market of Kazakhstan were considered. The research results established that private film companies dominate the domestic film business. The market is dominated byproducts of the foreign film industry, evidenced by their financial receipts. The task of increasing the share of domestic films, including national cinema in the film market, becomes more relevant. In addition, the article presents the problems that prevent the development of the domestic film industry and the factors that contribute to its further development. These factors include improving public administration in the field of cinematography, the establishment of clear parameters for the quality of domestic films, ensuring the principles of accessibility of Kazakhstani films.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.
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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Hanmakyugh, Teddy Thaddeus. "Digital technology and Nollywood film industry." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 2 (March 7, 2024): 187–99. http://dx.doi.org/10.4314/ntj.v23i2.7.
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Film also known as the 7th Art is a medium for education, information and entertainment which has over the years undergone a series of technological innovations. This paper examines the evolution of cinema from the ‘silent era’ to the ‘new age era’ characterized by a trajectory of innovations and improvements due to technological developments. The paper adapts the Diffusion of Innovations Theory (DIT) propounded by Everett Rogers in 1962 to assess the extent to which innovations in digital technology have altered the old traditional film production landscape. The paper seeks, among others, to determine and highlight the significant areas technology has impacted on the development of motion pictures globally with particular emphasis on the Nigerian film industry popularly known as Nollywood. Our major point of interest is on the roles, impacts, challenges and prospects of digital technology in the areas of production, distribution, marketing and exhibition of films. By using the assumptions of DIT which seeks to explain how, why, and at what rate new ideas and technology spread. The paper further reviews relevant literature and some empirical results from scholars to justify its claims. We are able to establish in our findings that digital technology is the driving force of film development which has contributed enormously to world cinema. Furthermore, the rapid development and emergence of Nollywood film industry as the second largest producer of films in the world next to Bollywood of India is attributable to the emergence of digital technology.
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Kozlenko, Ivan. "Film und Filmindustrie in der Ukraine." osteuropa 72, no. 6-8 (2022): 393. http://dx.doi.org/10.35998/oe-2022-0173.
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Yang, Qingting. "The Impact of Fan Culture on China’s Film Industry." Journal of Education, Humanities and Social Sciences 4 (November 17, 2022): 136–40. http://dx.doi.org/10.54097/ehss.v4i.2735.
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This paper discusses the impact of fan culture on the Chinese film industry. The continuous advancement of technology has changed the nature of ‘fan’ culture, which is now a daily presence in public life and, both directly and indirectly, exerts influence on the mass entertainment industry. A new, distinctive industry that has emerged from this new culture is fan films, or commercial films oriented toward a specific ‘fandom’ and that seeks to take advantage of a franchise’s cultural capital, reaping the benefits of fan attention. The ‘fan film’ model has even begun to influence the Chinese film industry, with films featuring certain idols gaining automatic support from a large number of fans, regardless of film quality. However, public opinion of these films is often polarised, For the main audiences of commercial and fan films, they will think that these movies that meet their tastes deserve a high rating. But there is also a part of the movie-viewing group that thinks the production and content of these movies are not sophisticated and deep enough to deserve a good rating. To understand this complex phenomenon, a deeper look into fan culture is necessary, specifically its characteristics, impact on the film industry, and how the film industry in turn manipulates fan culture to its benefit. This study will therefore seek to see how movies, stars and fans work together to promote China’s film industry using both sociological and communicative analysis.
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Rajan, R. V. "Indian Film Industry." Media Asia 15, no. 3 (January 1988): 123–27. http://dx.doi.org/10.1080/01296612.1988.11726282.
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Murphy, Art, Richard Alleman, and Steven Bach. "Film Industry Today." Communication Booknotes 16, no. 12 (December 1985): 140–41. http://dx.doi.org/10.1080/10948008509488358.
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Li, Jiaming. "The Application of VR Technology in Film Production." Highlights in Science, Engineering and Technology 57 (July 11, 2023): 305–10. http://dx.doi.org/10.54097/hset.v57i.10018.
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In recent years, with the continuous maturity of virtual reality technology, the scope of application in various fields has been expanding. VR technology has gradually moved to the film industry. Since 2014, VR technology has become a new round of discussion and practice in the film industry. This paper will conduct an in-depth discussion on the production status and influence of VR films from three aspects: the actual production of VR films, the challenges VR technology brings to the current film industry, and the prospect of VR technology application in the film industry. This paper also researches the practical application and influence of VR technology in film production. The future development prospect of VR in film is discussed and analyzed, and the relevant conclusion and summary are made at the end of the article.
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Kim, Minjeong, and Rachelle J. Brunn-Bevel. "Hollywood’s Global Expansion and Racialized Film Industry." Humanity & Society 44, no. 1 (April 1, 2019): 37–66. http://dx.doi.org/10.1177/0160597619832045.
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A theory on the political economy of image production argues that the U.S. film industry, namely, Hollywood, prioritizes financial considerations over racial justice or political correctness. Decisions made in the production and marketing processes are to minimize financial risks, but they often limit the representation of racial–ethnic minority filmmakers and actors. At the same time, Hollywood incorporates foreign-born directors and actors to reach international audiences. This article assesses how Hollywood’s “going global” impacts local racial–ethnic minority politics in the U.S. film business. As a part of a larger study examining the 100 top-grossing films in the United States from 1995 to 2014, we closely examine films where racial–ethnic minorities comprise the majority of the cast or films where minorities are the lead actors. We argue that the incorporation of foreign-born directors and actors undermines U.S. racial–ethnic minority filmmakers’ efforts to tell cinematic narratives from a critical perspective. Also, Hollywood fails to promote black films and black actors based on the assumption that they cannot appeal to international audiences, but our findings illustrate that black films directed by black directors perform well domestically and they show great potential with more support from Hollywood.
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Putra, Indra Lukmana, Ditya Wardana, and Chrismantya D. S. Nugroho. "AKUNTANSI PERFILMAN : PERAN DALAM INDUSTRI PERFILMAN NUSANTARA." RISTANSI: Riset Akuntansi 4, no. 1 (July 7, 2023): 16–31. http://dx.doi.org/10.32815/ristansi.v4i1.1677.
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This study focuses on identifying films as intangible assets using accounting perceptions Research is carried out as an industrial internship agenda that aims to reduce the Gap/distance between academics and practitioners, namely going directly into the industry to find out the obstacles they face. Film Accounting has an accounting role in the film industry. Film Accounting here aims to build a practical accounting concept in the Indonesian film industry as an industrial culture that continues to grow. This study uses a qualitative research design with a case study approach. Data collection was carried out on a primary and secondary basis with the subject of the Indonesian film industry. The results of this study indicate that the role of accounting is found in every stage of the film and different accounting practices are found in the film industry. One of them records film as an asset owned by a film entity. Several obstacles namely royalties, piracy and settlement can be completed as a film accountant role. The conclusion is that renewal and the active role of accountants in the film industry are needed in order to build and resolve the obstacles to the Indonesian film industry.
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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.
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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries.
The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies.
A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century.
The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.
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Zulkifli, Nurul Deeyana, and Nur Hidayah Abd Rahman. "Malaysian Youth Motivational Factors of Film-Induced Tourism for Indonesian Film." Journal of Indonesian Tourism, Hospitality and Recreation 4, no. 2 (October 1, 2021): 135–46. http://dx.doi.org/10.17509/jithor.v4i2.39284.
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There are lots of efforts require in maintaining the sustainability of the tourism business, including promoting and marketing tourism destinations world widely. One of the alternatives recently used by the tourism industry around the world in promoting and marketing the places is through film tourism. In Indonesia, the film of Laskar Pelangi sparked the tourism industry in Indonesia. However, research on motivational factors of film-induced tourism in Indonesian film is limited. Thus, the study aims to identify the motivational factors that influence Malaysian youth to visit Indonesia after watching Indonesian films. To achieve the aim, the push and pull factors of film-induced tourism for Indonesian film have been investigated. This study using quantitative method for collecting the data and the questionnaires have been distributed to Malaysian youth who had watched Indonesian films as the target respondents. A total of 117 respondents were influenced to visit Indonesia after watching Indonesian films have participated in this research. This results show that novelty, entertainment and film location influenced Malaysian youth to visit Indonesia. The study suggests exploring other factors, such as accessibility, which could influence Malaysian youth to visit film location. Thus, this study provides a clear insight to research academic on motivational factors from Indonesian films that influence Malaysian youth to visit Indonesia. Further, it gives benefit to the tourism and film industry in Indonesia.Keywords: Film-Induced Tourism, Indonesian Film, Travel Motivation, Push and Pull Factors
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Lee, Aramchan. "A Study on the Characterization of the Daejeon Film Industry: Focusing on Studio Cube and VFX Cluster." Liberal Arts Innovation Center 9 (May 30, 2022): 307–27. http://dx.doi.org/10.54698/kl.2022.9.307.
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The purpose of this study is to identify the direction of the Daejeon film industry. In particular, the specialization of the Daejeon film industry is setting a major direction with the convergence of Studio Cube and the VFX (Visual Effects) Cluster. The combination of the revitalization of the existing Studio Cube and the ongoing VFX Cluster is an important factor in the development of the Daejeon film industry. It is necessary to build a film industry convergence content cluster that connects Studio Cube. The film industry, encompassing films, broadcasting, and content, has maintained clusters from an early age. Clusters within a certain area maximize synergy in production and distribution, such as through sharing know-how, sharing equipment, and joint marketing, and also enable the exchange of professional manpower and knowledge. The Daejeon film industry cannot achieve such goals with a production and support system alone. These can be achieved through the active movement of various film culture and the active participation of local governments. Along with the development of the film industry, a policy to spread film culture to the public is necessary.
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Putra, Achmad Eriansyah Utama, Agnes Juliarti, Dimas Mohammad Wibowo, Figra Ardham, and Vera Julianti. "Studi Aktivitas Pemasaran Film Independen: Kasus di Indonesia." Indonesian Business Review 2, no. 2 (February 6, 2020): 400–437. http://dx.doi.org/10.21632/ibr.2.2.400-437.
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The independent film industry in Indonesia is both interesting and unique sector because it has different characteristics from the commercial film industry. The study was conducted to identify independent film marketing activities through a marketing mix and the factors that can influence the marketing activities of independent films in Indonesia. This is a qualitative research using in-depth interview as the main method. Interviews were conducted to nine participants in the film industry representing three chains of production, distribution and exhibition that forms the synergies in the film industry. The main research finding is eight factors influenced independent film marketing activities: idealism, story line, expressions, aspirations, actualization, film distribution channels, promotional activities, and regulation.
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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (December 1, 2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.
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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Wang, Nan. "Study on coping strategies for the film industry under the challenge of multiculturalism." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 385–88. http://dx.doi.org/10.54097/ehss.v5i.2979.
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In the modern day, films are used in various ways in the society. The films play an important role in the society as they attempt to pass a message to the audience. A successful film is said to have conveyed the intended message to its audience. A film can be interpreted in various ways depending on the viewer’s beliefs and values based on the subject of the film. In the post-WWII European films, multi-cultural interaction makes all kinds of film producers and actors transcend national boundaries in film creation and theme expression, which promotes the film itself to some extent, but at the same time they are faced with multi-cultural challenges. This essay will take study on the coping strategies for the film industry under the challenge of multiculturalism and the film of Skirt Day is selected as an example.
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Li, Yuqi. "The Political Nature of Films: Characteristics and Functions." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 152–58. http://dx.doi.org/10.54097/ehss.v23i.12776.
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The viewpoint of films being political has been one of the hotspots in international relations that many thinkers give analysis in putting films in a political frame, defining and valuing films from a political perspective. While the internal pattern for making films political and the boundary between films and politics remained vague in a lack of systematic understanding. Thus, this paper gives the internal logic of the politicization of film by exploring the causes, conditions, and essence of the politicization of film in clarifying the independence of film from politics. It is found that the first-person view provided by films makes films available for politically utilized, and the belief of films to be responsible for politics makes films expected to be politically utilized; The politicization of films is essentially the functionalization of films, on the one hand, shows the close relationship between the film industry and politics of their interactive effects in a complex system where audiences, filmmakers, policy decision-makers and critics are all involved. On the other hand, it implies the independence of the film industry from politics with consideration of the autonomy presented in different processes of the film industry.
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Fan, Zhizhong, and Xi Yu. "The Regional Rootedness of China’s Film Industry: Cluster Development and Attempts at Cross-Location Integration." Journal of Chinese Film Studies 1, no. 2 (November 1, 2021): 463–86. http://dx.doi.org/10.1515/jcfs-2021-0027.
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Abstract China’s film industry has its historical roots across the four geographical divisions of northern, eastern, western, and southern China. Each of these four film-producing regions has their own characteristics with divergent historical heritages and cultural resources. After the founding of the People’s Republic of China (PRC) the division of administrative regions included a territorially divided management policy of film enterprises. Such policies promoted the regional development of China’s film industry while simultaneously exacerbated the complex contradictions between and among the clusters produced. In the 1950s, four major state-owned film studios were established in Beijing, Shanghai, and Changchun. Under the planned economy model, films were purchased and sold exclusively by the state through these studios. Since the 1990s, China’s film industry has undergone deep institutional reform, with film distribution and exhibition gradually moving towards the market and private enterprises beginning to actively participate in film production and distribution. The film industry has since begun to actively explore the generative potential of the existing industrial clusters, experimenting with film co-production and cross-regional business operations across the regions. With the goal of constructing a film and television alliance, the film industry has sought to maximize the advantages of different regions to promote the integration of these historically and regionally distinct sectors in an open and tolerant manner, laying the foundation for Chinese films to leapfrog into the global film market.
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Mbura, Issa. "Effects of Digitalization on the Three-tier Structure of Tanzania’s Film Industry." Umma: The Journal of Contemporary Literature and Creative Art 9, no. 1 (2022): 140–63. http://dx.doi.org/10.56279/ummaj.v9i1.7.
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This paper examines the effects of digitalization on the three-tier structure of Tanzania film industry. Explicitly, the paper focuses on the period between 1990 and 2020. It follows on the presumptions that omnipresent and pervasive digital video and Internet-based technologies promoted under the theme of digitalization and underpinned by the digital revolution theory are impacting on film industries across nations. The specific drivers of the digitalization that the paper advances are digital video cameras and computer-based nonlinear editing systems applied in the production of films, Digital Versatile Discs (DVD), Online movie streaming and Video on Demand (VOD) platforms as used in distributing films and digital cinema formats and projectors in exhibition of films. Key informant interview method was used to collect qualitative data from twenty six (26) respondents. The respondents included media experts, filmmakers, camera operators, video editors and various film industry stakeholders. Other data collection methods employed included direct observation and online ethnography. The paper reveals that digitalization elicits and enhances specific changes on the three-tier structure of the Tanzania film industry. Due to the effects of digitalization the Tanzania film industry has morphed into a functional film industry. The paper concludes that in spite of the differences in its effectiveness and purposes that are grounded on issues of contexts, digitalization is more important than other determining factors such as capital formation in impacting on the transformation of the three-tier structure of the country’s film industry.
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Jacka, Liz. "The Film Industry in Australia: Trends in the Eighties." Media Information Australia 42, no. 1 (November 1986): 17–21. http://dx.doi.org/10.1177/1329878x8604200103.
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In this companion to Thomas Guback's paper on the American film industry I survey the changes in the film industry in Australia. One could as well say, echoing his title, the American film industry in Australia because the cinema trade here is still dominated by Hollywood. To illustrate this, in 1980 there were 223 movies from the US registered in Australia and only 20 from Australia.1 Although 827 films in total were registered that year (including 176 from Hong Kong), the vast majority of these films received no major theatrical release. Movies emanating from the traditional American-owned sources continue to dominate the major city cinemas.
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Shestak, Viktor, and Yulia Plutalovskaya. "History of international legal regulation of genetics." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 118–23. http://dx.doi.org/10.31166/voprosyistorii202012statyi38.
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The authors analyze in retrospect the impact of the film industry on society. Crimes «inspired» by cinematography are considered, as well as crimes that became the basis for popular films. Both recently released films and other products of the film industry are analyzed, as well as works that are internationally recognized as “masterpieces” of cinema. The authors study the impact of the film industry on ordinary people, especially young people and people with an unstable psyche, and also consider such a phenomenon as «copycat crimes» and identify its possible causes.
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Zhu, Siqi. "Financial Analysis and Risk Study of Global Film Companies: A Case Study of Warner Bros. Entertainment, Inc." Highlights in Business, Economics and Management 24 (January 22, 2024): 533–38. http://dx.doi.org/10.54097/dg0jrc64.
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The income of the film industry mainly depends on the box office, but the COVID-19 epidemic in the past three years has led to the suspension of cinemas in many regions, the postponement of films under production, and the postponement of the release of films, which has the most direct impact on the film industry. Therefore, this paper takes Warner Bros. Entertainment as an example, this paper introduces the reasons why the film industry is chosen and why Warner Bros. Entertainment is chosen. At the same time, through the introduction of Warner Bros. and the trend of its financial data in the past five years, we can analyze the possible crises and opportunities that the company may encounter. At the same time, we also conducted an industry analysis of the global film industry through this company and gave the specific crisis and the formation of opportunities.
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Chen, Yanying. "The Performance Variation of Film Industry During Different Phases of COVID-19 Based on CAPM." Advances in Economics, Management and Political Sciences 21, no. 1 (September 13, 2023): 45–52. http://dx.doi.org/10.54254/2754-1169/21/20230232.
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The COVID-19 pandemic has shocked the financial market since 2020. The lock-down and social distancing measures have brought challenges to the film industry. This study analyzes stock prices and examines the impact of the pandemic on film industry through CAPM. Five big film companies are selected as a typical sample to investigate the performance of film industry. Data including daily returns and close prices of each stock is extracted from Yahoo Finance. In addition, linear regression is used in this study to calculate the stocks beta, alpha and R-square based on CAPM. According to the analysis, the pandemic outbreak has increased the unavoidable risks of the film industry brought from the market. Stocks of five film companies performed worse than expected, which indicated that the pandemic did put a bad effect on the film industry. Besides, the performance of five film companies is relative with the market but with higher fluctuation, indicating that there are more uncertainties in film industry compared to the market. These results shed light on guiding further exploration of film industrys emergency responses towards events like pandemic.
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Pei, Jinghan. "Deciphering the Commercial Miracle: The Research on the Marketing and Distribution Process of Chinese Youth Films after 2010s." SHS Web of Conferences 179 (2023): 03013. http://dx.doi.org/10.1051/shsconf/202317903013.
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Youth Films (qingchunpian), which are characterized by nostalgia and coming-to-age narratives, expanded its influence after 2010s in Chinese film market. The considerable profits of youth films derived from low budget and substantial box office returns. Compared to main melody films (zhuxuanlv) and traditional comedies which are supported by the government and own large amounts of budget, the commercial success of youth films is unique in Chinese film industry. Although there is existing research on the entire trend of Chinese film market and content analysis of youth films, the internal logic and marketization process remain opaque. Exploring the marketization process of youth films and the reasons of their success can help in understanding the new trend in Chinese film industry in which how films with low budget can live. Therefore, the research conducts an interview of industry insiders to visualize the backstory of distribution process. After demonstrating the interview and analyzing the existing statistical data, the research argues that three factors affecting success of youth films (and those new rising film genres in China) are: the time to release the film, the integration of marketing and distribution companies, and the use of IP (development of existing IP and marketizing IP through use of theme songs).
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Abdullah, Noor Aziah, Wan Amizah Wan Mahmud, Mohamad-Noor Salehhuddin Sharipudin, and Yusniza Yusuf. "Film and Audience: A Threat to National Security." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (March 31, 2022): 240–55. http://dx.doi.org/10.17576/jkmjc-2022-3801-13.
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The early history of the film industry is said to have begun in the United States. Nelayan and Laila Majnun were the first Malay films produced in Malaya, in 1932, produced by Motilal Chemical Company. This thought stems from the effect of the scenes depicted in the film. This study's objective is to explore if film has the power of being a threat to national security, and secondly, to identify the impact of audience dependence on film by applying the Media Dependency Theory. This study used an entirely qualitative method which consists of in-depth interviews with 19 informants consisting of policymakers, enforcement, legal practitioners, media industry players, and the audience. Analysis of documents related to legislation was also carried out. The study found that films can threaten national security if certain scenes were not censored. The effect of the audience's dependence on the film can influence and change their social life. This study is expected to contribute to the media industry to produce films that aim to maintain racial harmony and national peace. Keywords: Film, the power of films, media dependency theory, films censorship, Malaysia.
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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (May 18, 2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.
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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.
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Vertido, Cris. "The Filipino Film Industry." Media Asia 15, no. 3 (January 1988): 128–33. http://dx.doi.org/10.1080/01296612.1988.11726283.
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Anwar, Rosihan. "The Indonesian Film Industry." Media Asia 15, no. 3 (January 1988): 134–37. http://dx.doi.org/10.1080/01296612.1988.11726284.
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Ademuyiwa, Adejoke Adetoun, and Eunice Uwadinma-Idemudia. "Audience Study as Catalyst in Sustainable Nollywood Yoruba Film Industry." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–14. http://dx.doi.org/10.32473/ysr.v5i1.2.130122.
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Nollywood is the representation of the socio-cultural apparatus of Nigeria in the world cinema. Tis paper evaluates generally, film audience’s perspective in Nollywood films, and in particular non-native actors in native films. Most often, stakeholders in the film industry do not access, or are flagrantly ignorant of viewer’s feedback on the state of their production in all media of communication. Some determine this with the profit margins. Tis paper therefore evaluates the audience’s perception of non-native actors in Nollywood Yoruba native films. The area of concentration is on the quality of audience reception on native films by non-native actors. Cluster sample method is the tool of research for this paper, in which questionnaire samples were distributed among film viewers in the Yoruba speaking area in Nigeria. This is done in order to determine the performance ratings of non-Yoruba native actor’s skill of character interpretation in cultured films. Theoretical framework is anchored on Bandura’s Social Learning theory, which concentrates on impact of artistic models on the audience’s psyche. Findings reveal that audience ratings of non-native actors in Yoruba cultured films is poor, compared with their characterization in non-native setting, and this is due to wrong casting by directors who cast them against all odds in order to improve their profit margin. Findings also reveal the importance of audience study as a necessity in pre-production considerations of film shooting.
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Shen, Zhi, Jian-Wu Yan, Kang Jin, Kai Fu, and Ying-Li Zhou. "Composition Regulation and Microstructure Characterization of Fe100-xGax Films in the Manufacturing Industry." Journal of Sensors 2021 (October 19, 2021): 1–11. http://dx.doi.org/10.1155/2021/6950281.
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Fe100-xGax giant magnetostrictive films (GMF) are attracting ever increasing attention for their potential application to manufacturing integrated magnetostrictive displacement sensors. However, it is difficult to fabricate Fe100-xGax thin films with different compositions at will. The influence of compositions on alloy phases, grain sizes, film surface roughness, and magnetic domains of the films and magnetization of magnetron sputtered Fe100-xGax films was investigated. Changing the ratio of the pure iron slice areas to alloy target areas, the desired film composition was achieved by the improved Mosaic method. The morphologies, magnetic domain structure, microstructure, and compositions of Fe100-xGax films revealed by SEM, EDS, XRD, MFM, VSM, and TEM. The results show that there are <1 1 0 > texture in magnetron sputtered Fe100-xGax films. The sharp peak attributed to the A2 microstructure suggests that the film is crystalline. The magnetic domain structure of Fe100-xGax films presents a network form, and the domain width decreases with the decrease of gallium content. It is also found that the magnetic domains of the films are not uniform. The TEM result shows that there are some strip patterns in the films, and the diffraction ring is discontinuous because of the structure extinction. For a suitable candidate of microdevice applications in MEMS, the optimum composition film should be Fe83.25Ga16.75 film.
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Ma, Yanli. "The Evolution of Chinese Cinema in the New Century: From Martial Arts Classics to New Mainstream Blockbusters." Journal of Research in Social Science and Humanities 2, no. 10 (October 2023): 37–42. http://dx.doi.org/10.56397/jrssh.2023.10.05.
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This study explores the evolution of the new century film from martial arts to the new mainstream film blockbuster era. Firstly, the article reviews the heyday of martial arts films and their influence on film industry and culture. Then, it studies the transformation and evolution of martial arts films in the new century and the background of the rise of new mainstream films in this period. Subsequently, the article analyzes the characteristics and value orientation of the new mainstream blockbuster, as well as the fusion and difference between martial arts and the new mainstream. Furthermore, the audience and market performance of the two film styles and the influence of technological progress on martial arts and new mainstream films are studied. Finally, the article discusses the roles and challenges of directors and producers in the transformation of film style. This research reveals the evolution and diversification of the film industry in the new century, as well as the interaction and development between different film genres.
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Hadibrot, Joko Utomo, and Dian Nurdiansyah. "Memetics and Filmmaker Habitus in the Indonesian Film Industry." Journal Communication Spectrum 13, no. 1 (February 2023): 30–41. http://dx.doi.org/10.36782/jcs.v13i1.2385.
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Typically, film companies produce films that are ready for distribution to cinemas. Film work is the result of collective work. Starting from the involvement of producers, directors, screenwriters, cameramen, and editors, to artistic stylists (production team) through pre-production, production, and post-production processes. Although it is not uncommon to find that film works are not single and sterile works of replication or imitation, which refer to patterns and systems - including film production management and its entities - that have been previously established as a cultural industry. For this reason, the author uses the concept of Meme initiated by Richard Dawkins and synthesized with Pierre Bourdieu's sociological concept, namely: (Habitus x Capital) + Domain = Practice, as well as the cultural industry. The cause of film workers imitating previous works is the rationale for researching the film industry, especially in Indonesia. This research aims to prove that the phenomenon of memetics and habitus seneas occurs in the film industry in various countries, both developed and developing countries. To achieve this goal, the method applied in this research is the descriptive qualitative method. Data is obtained from documentation in the form of film works, especially the film Gundala, which involves the production team. The results of the analysis show that there are memetics and habitus of filmmakers in the film industry. This can be found in a number of production houses that carry out the practice, including Jagad BumiLangit, Falcon Pictures, and Screenplay. Almost every film work is imitative. The implications of this imitation can also be found in several cases of imitation of film works; in Hong Kong, Taiwan, Thailand, India, Japan, Europe, and America.
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Yang, Yubin, Seungyoup Choo, and Seong-Joon Limb. "Vertical Integration Strategies and Environmental Uncertainty: China’s Film Industry." SAGE Open 13, no. 1 (January 2023): 215824402311563. http://dx.doi.org/10.1177/21582440231156351.
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This study analyses the effectiveness of vertical integration for motion pictures’ box office revenues and the moderating effects of environmental uncertainty on China’s film industry, where a market economy was introduced in 2002. We analyzed a sample of 1,824 films released between 2005 and 2016 using a PROCESS model. We found strong evidence that vertical integration positively influenced box office revenues, which were higher under greater environmental uncertainty post reforms than under relative stability. We also found films that (1) had major producers or distributors, (2) were based on intellectual property, (3) belonged to the action or fantasy genre, or (4) featured superstars performed better. This study demonstrates the current operating level of the market economy in China’s film industry and offers a unique, fresh dataset comprising almost all films released in Mainland China and produced by enterprises in Greater China.
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Zemaityte, Vejune, Andres Karjus, Ulrike Rohn, Maximilian Schich, and Indrek Ibrus. "Quantifying the global film festival circuit: Networks, diversity, and public value creation." PLOS ONE 19, no. 3 (March 6, 2024): e0297404. http://dx.doi.org/10.1371/journal.pone.0297404.
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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.
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Lu, Qianhua. "An Analysis of the Reasons for the Continuous Development of Vietnams Film Industry." Communications in Humanities Research 25, no. 1 (January 3, 2024): 76–80. http://dx.doi.org/10.54254/2753-7064/25/20231869.
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In recent years, the Vietnamese entertainment industry has seen an increase exceeding the worlds average growth rate. The growth reflected the Vietnam governments long-term goal to build its cultural industry and entertainment industry from 2020 to 2030. The entertainment industry will include a broad range of interrelated industries that produce entertainment products and services, especially the film industry, which has seen significant growth throughout the years. To dive deeper into the development of Vietnams film industry, this study presents a comprehensive analysis of the drivers behind the growth trajectory of Vietnams film industry, examining the interplay of cultural, political, and economic factors. The research methodology employed in this study involves an extensive review and synthesis of existing scholarly literature and reputable sources pertaining to the development of Vietnams film industry. This shift in the film industry is attributed to factors such as the abolition of censorship, the industrys appeal to a broader demographic, the diversification of content, and the transformative impact of streaming platforms. Additionally, while the industry exhibits notable progress, challenges persist, including the need for policies to nurture emerging talent and address the shortage of skilled professionals in various production roles.
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Ulum, Mohammad Bahrul, Faizzatul Jannah, and Fikriyatun Nadhiyah. "Film Industry as Part of Global Creative Industry: Learning from Indonesia." TRILOGI: Jurnal Ilmu Teknologi, Kesehatan, dan Humaniora 2, no. 3 (December 31, 2021): 220–27. http://dx.doi.org/10.33650/trilogi.v2i3.3075.
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This paper describes the post-reform Indonesian film industry as one of the creative industry sub-sector. The creative industry has contributed to developing a city and a country to increase the market and the global economy. Creative industries have great potential to boost the economy and the quality of life of the Indonesian people. The international film industry can obtain revenue up to $10,162,657,657 (approximately IDR 980 trillion), with ticket sales reaching 1,276,715,780 pieces and the number of moviegoers went more than a 700million people. Meanwhile, in Indonesia, according to research by Oxford Economics, considering the direct and indirect transactions caused, the total economic contribution of the film and television industry to GDP in 2010 reached USD 2.98billion or 0.43 percent of all national GDP. This study aims to analyze three sub-sectors of the film industry, namely production, distribution, and exhibition, as well as to describe how the conditions in the national film industry in the post-reform era since the film industry was lined up as one of the sub-sectors of the creative industry.
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Muhd Shukri, Fatimah, Hidayat Hamid, Nik Ashri Nik Harun, Fairuladilan Hamadun, Mohd Firdaus Naif Omran Zailuddin, Md Ariff Ariffin, and Izati Nabila Marzuki. "The Impact of Online Streaming Platforms on the Film Industry and Film-Viewing Culture in Malaysia." Journal of Entrepreneurship and Business 12, no. 1 (March 31, 2024): 101–15. http://dx.doi.org/10.17687/jeb.v12i1.1194.
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Technology changes the look of the film industry, particularly regarding marketability through online streaming platforms. Online streaming provides a second option for viewers, which has altered Malaysia’s film-viewing culture. This difference is significant between watching movies on TV screens and in cinemas, regulated and filtered by the Film Censorship Board (Lembaga Penapisan Filem, LPF), compared to streaming online via platforms not bound by LPF regulations. Through qualitative and library research methods, this study examined the development and changes in film-viewing culture in Malaysia and the relevant acts. The Culture of the Streaming Model was used as a guide to explore the development and changes in film-viewing culture in the Malaysian film industry. In conclusion, the changes brought about by the advances in technology have significant implications for the film industry, particularly ensuring that inappropriate content does not reach young people.
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Belova, Ekaterina. "The regional cooperation in cinema industry of Iberoamerican countries." Latinskaia Amerika, no. 2 (2022): 79. http://dx.doi.org/10.31857/s0044748x0018355-9.
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Iberoamerican countries have been developing regional integration in cinema industry since 1960. The advantages of the integration were the reduction of the cost of producing films and the expansion of their distribution in local film markets. The fund for financing the production of films that has the longest history and the most widespread recognition in this region is the Ibermedia program, which has been functioning since the end of the 20th century. The article analyses the structure of film distribution of Iberoamerican countries: at the beginning of the XXI century the share of films produced by the USA in cinema was an average of 84%. The low representation of Iberoamerican films is partially compensated by Ibermedia-TV, which collects up to 500 million views. In contrast to the expansion of American film producers, the countries of the region are developing co-production (mainly with each other) under the Ibermedia program. The co-production leads to the growth of the cinema industry in Colombia and Chile. Co-production also plays the key role in both the production and distribution of films for the worldwide noticeable leaders of the region – Argentina, Brazil, Spain, Mexico. The main contribution to the development of cinema industry in Iberoamerica is the regional integration driven by Ibermedia.
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Bestari, Ni Made Prasiwi. "Promosi Pariwisata Bali dan Queensland melalui Film “Ticket to Paradise”." Humanis 27, no. 2 (May 28, 2023): 150. http://dx.doi.org/10.24843/jh.2023.v27.i02.p04.
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The film industry and tourism have a very strong relationship, which can benefit one another. Various tourist destinations use films to promote their area and attract tourists. There are also many films made in tourism destinations and showcase these destinations, so as to attract tourists to visit them. As a world popular destination, Bali has been choosen by several film producers to make film here such as the international box office movie “Eat Pray Love” (2010) and the most recent one is “Ticket to Paradise” (2022). The story of “Ticket to Paradise” sets in Bali but did not shoot here, instead in Queensland Australia because of the Pandemic Covid-19. This study aims to analyze the benefits of film "Ticket to Paradise" for Bali and Queensland tourism tourism industry The analysis was carried out using interpretive qualitative methods in investigating the tourism symbols contained in the film. In terms of the storyline, dialogue and visuals contained in this film, this study concludes that the film "Ticket to Paradise" both promotes the tourism industry in Bali and Queensland, although the promotional impact will be more optimal if the film is made and shot in Bali.
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Ernawati, Arni. "Studi Kasus Politik Identitas Perempuan dalam Film Ada Apa dengan Cinta." Nyimak: Journal of Communication 4, no. 1 (March 24, 2020): 53. http://dx.doi.org/10.31000/nyimak.v4i1.2297.
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Media audiovisual seperti film diyakini bisa menjadi alat penyampai pesan paling ampuh untuk masyarakat. Tidak heran banyak industri film semakin tumbuh subur untuk berlomba-lomba membuat film. Tema film yang hadirkan pun bermacam-macam, dan tema percintaan masih mendominasi dalam industri perfilman kita. Salah satu film yang turut meramaikan industri perfilman adalah film Ada Apa dengan Cinta (AADC) yang dirilis pada 7 Februari 2002. Film ini bisa dikatakan sebagai film pelopor dan paling laris pada masanya untuk kategori film pop-remaja atau percintaan platonis remaja. Film ini mengandung pesan penting bagi perempuan. Penelitian ini bertujuan untuk membuka dan menganalisis pesan menyangkut politik identitas perempuan yang dibawakan dalam film AADC. Penulis mencoba mengamati setiap alur dan adegan dalam film. Film ini membawakan tentang perempuan yang dalam tekanan patriarki dan perempuan yang berjuang keluar dari tekanan tersebut. Hasil yang didapat dalam penelitian ini berupa hasil studi kasus atau analisis yang berhubungan dengan politik identitas dalam film.Kata Kunci: Politik identitas, perempuan, analisis film ABSTRACTAudio-visual media like film as the most powerful message delivery tool for public. No wonder many film industries are floushing to compete making movies. The theme of the film has been introduced with variuos kinds, and romance films still win our film industry. One of the titles the film present, which helped enliven the film industry is the film Ada Apa dengan Cinta (AADC). The film is a teenage love story by Rudi Soedjarwo success kicked off the Indonesia film market. The film background is about Rangga and Cinta with the spices of romance in adolescene, arguably the forerunner and most film best-selling in his time for the category of pop-teen film or teen platonic romance. Besides this film about important messages about and for women. This research tries to opened and analyzed messages about the identity politics of women presentedin the film. The authors tries to withdraw every plot and scene in the film.This film tells about womwn under patriarchal pressure and women who struggle to get out of that pressure. to get a guess and analyzing messages containing identity politics delivered. The result obtained in this research consist of case studies and anlyzes relating to identify politics film.Keywords: Identity politics, women, film analysis
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Zhang, Yixin. "On Impact of Algorithm Technology on Film Industry in Post-Epidemic Era." Journal of Humanities and Social Sciences Studies 4, no. 3 (September 12, 2022): 272–75. http://dx.doi.org/10.32996/jhsss.2022.4.3.31.
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Nowadays, the epidemic (COVID-19) accelerates media convergence of films and streaming media. Under the background, this study mainly explores how algorithm technology affects the film industry. The objective of the study is to discuss the interventions that algorithmic technology produces in the traditional film ecosystem, using the film production process as a reference timeline to consider how creator-investors should make trade-offs between the rational stance of algorithms and the emotional creation of film art.
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Spicer, Andrew. "The Impresario in British Cinema: Bernard Delfont at EMI." Journal of British Cinema and Television 18, no. 1 (January 2021): 7–33. http://dx.doi.org/10.3366/jbctv.2021.0553.
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The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film. In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry. Delfont made a series of bold choices. The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent. The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen. Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business. He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money. This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer. This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player. Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units. Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.
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Косинова, Марина, and Marina Kosinova. "Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”." Servis Plus 9, no. 3 (August 28, 2015): 59–69. http://dx.doi.org/10.12737/12541.
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The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.
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Murthy, Shradha, D. R. Pallavi, Kartha Sunil Shivam, and Mittal Shyam. "The Effects of OTT Platforms on the Indian Film Industry." REST Journal on Data Analytics and Artificial Intelligence 2, no. 2 (June 1, 2023): 40–52. http://dx.doi.org/10.46632/jdaai/2/2/4.
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This empirical study tried to understand the effects of over-the-top (OTT) streaming platforms on the Indian film industry. The paper analyzes the impact of OTT on both users and technicians of the film industry, highlighting both positive and negative effects. The objective of the study is to explore the changes in the film industry because of the rise in OTT platforms. The methodology of the research involved sending a questionnaire to 100 individuals, which included both users and technicians of the Indian film industry. The sampling techniques used in the study were convenience sampling and snowball sampling. The data collected through the questionnaire was analyzed using statistical tools to get meaningful insights. The study found that the introduction of OTT platforms has led to a significant change in the Indian film industry. While it has provided a platform for small-budget films and new talent, it has also led to concerns about censorship and revenue loss for traditional distribution channels. The study also found that the viewing habits of users have changed, and they now prefer to consume content on their own terms, rather than following traditional schedules and methods. Overall, this study provides valuable insights into the effects of OTT platforms on the Indian film industry. The findings of this study can be used by industry to make informed decisions about the future of the film industry in the digital age.