Relevant bibliographies by topics / Film producer

Contents

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

Academic literature on the topic 'Film producer'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Film producer.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Film producer"

1

Sidorenko, Vitaly I. "Prospects for Professional Training of Producers in the Context of the Development of Film Business in Russia." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 122–40. http://dx.doi.org/10.17816/vgik102122-140.

Full text
Abstract:
The author explains the conditions and reasons for the introduction in 2003 a new major, that is Film and Television Producer into the list of Media Majors for which the students are trained in higher educational institutions for the domestic industry. The article points out the goals and tasks for developers of normative and methodological materials required for the introduction of such a major, the functional responsibilities and skills of the producer in audiovisual industry and the main features of his/her activities as compared to the classical entrepreneurship skill set. The author presents the list of learning outcomes and the tasks a graduate who has mastered the curriculum of the Producer program should solve. A highlight of the article is given to the legal basis for ensuring the activities of the producer. Besides, the professional standard of "Film Producer", approved by the Ministry of Labor and Social Protection of the Russian Federation, is critically evaluated. Basing on the analysis of the current state of the national film business the author reflects on the problems and challenges the system of professional training of producers, faces and outlines the prospects for the future work. These problems demand further diversification of Film Majors including the introduction of a new one called Producer of distribution. Moreover, its necessary to determine the optimal number of students, to write the teaching aids and textbooks aimed at solving practical problems existing in film business and multimedia and mastering the current students skills. The author states that one of the most crucial problems in the system of producer training is the unresolved issue of financial support of the diploma project (a film shot by a graduate). The author offers his own system of the development of a diploma film, which will allow us to give a more realistic and deeper assessment of the abilities, skills and knowledge of a future film-maker. The second half of the article gives a brief overview of the current state of cinema, television and multimedia in Europe and determines, in this respect, the main directions for improving the system of professional training of producers in European film schools, taking into consideration the new industrial context. The fact that the changing industrial context makes producers seek for new ways to reduce uncertainty and risks, attracting external investors and co-producers, is particularly stressed. The author also reflects on the problem of the so-called TV-ization of a film, which has set absolutely new tasks in front of the producers and creators of audiovisual product. In conclusion, the author presents a summary of the main principles, methods and approaches to structuring the educational process while teaching students the Major "Film and Television Producer" at the Film University Babelsberg named after Konrad Wolf. The author appreciates the experience of German colleagues, which can be implemented into domestic practice.
APA, Harvard, Vancouver, ISO, and other styles
2

Madelaine Hron, Conducted by. "Interview with Film Producer Eric Kabera." Peace Review 21, no. 3 (2009): 359–62. http://dx.doi.org/10.1080/10402650903099435.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Radkiewicz, Małgorzata. "Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (2021): 61–83. http://dx.doi.org/10.1215/02705346-9349357.

Full text
Abstract:
Abstract This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.
APA, Harvard, Vancouver, ISO, and other styles
4

Spöhrer, Markus. "Murphy’s Law in Action." International Journal of Actor-Network Theory and Technological Innovation 5, no. 1 (2013): 19–39. http://dx.doi.org/10.4018/jantti.2013010102.

Full text
Abstract:
This paper explores the possibilities of Actor-Network-Theory as a methodological approach to Production Studies. On the basis of a detailed production log written by producer Paul Lazarus III, the coming-into-being of the film Barbarosa (1982) is described. By using Bruno Latour’s and Michel Callon’s approach, the assemblies of the film production, the hybrid networks and interconnections which are established by human as well non-human actors, are dealt with. Thus film production is not a one sided process of inscriptions by human actors on non-human actors. Rather it is thought as a reciprocal process of inscribing and acting. Consequently the “effects” are discussed which are produced by approaching the production of Barbarosa with ANT and conclusions are drawn as to how the theoretical scope of Production Studies needs to be modified: Films can be understood as “quasi-objects” or “epistemic things” which are produced and produce themselves in reciprocal processes. They translate themselves into other networks after postproduction and are thus constantly subject to translational processes and not endlessly stable, but should rather be considered metastable.
APA, Harvard, Vancouver, ISO, and other styles
5

Corsi, Barbara, Marina Nicoli, and Alfonso Venturini. "Fellini the founder? The Fellini brand in film production." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 133–48. http://dx.doi.org/10.1386/jicms_00055_1.

Full text
Abstract:
Linking the word ‘entrepreneur’ to Fellini’s name may seem a contradiction. Yet, according to the literature, Fellini was founder, member or manager of no less than three film production companies. Research based on archival material, however, reveals that Fellini never played the role of producer, nor founded a film production company. Thus, the albeit frail aura of Fellini as entrepreneur falls apart. His name seems to have been used by producers as a brand to foster commercial operations. This process starts with La Dolce Vita (1960), which granted Fellini the status of ‘archetypical art film director’ and freed him from producer-imposed obligations. Delving into a mass of various, new archival sources and cross-referencing data, this article analyses how the Fellini brand – as auteur versus the film producer’s traditional capitalist logic – was constructed and later exploited by Fellini and his producers.
APA, Harvard, Vancouver, ISO, and other styles
6

Barley, Shanta. "Wildlife film producer: Fakery is sometimes necessary." New Scientist 208, no. 2788 (2010): 27. http://dx.doi.org/10.1016/s0262-4079(10)62936-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Williams, Rua M. "Review of David James Savarese (Producer) & Robert Rooy (Director, Producer), Deej (2017)." Canadian Journal of Disability Studies 8, no. 3 (2019): 165–68. http://dx.doi.org/10.15353/cjds.v8i3.513.

Full text
Abstract:
‘Deej’ is a documentary film which throws popular assumptions about non-speaking autistics’ capacities into sharp relief-- exposing viewers to their biases and preconceptions-- challenging audiences to reframe what they think they know about people which society has labeled 'unincludeable'.
APA, Harvard, Vancouver, ISO, and other styles
8

King, Barry. "The New Zealand Film Commission as a Government-Sponsored Film Producer." Journal of Arts Management, Law, and Society 40, no. 2 (2010): 157–63. http://dx.doi.org/10.1080/10632921.2010.484626.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Almeida, Joyce. "Autumn Sonata: a film written and directed by Ingmar Bergman." Advances in Psychiatric Treatment 17, no. 1 (2011): 41–43. http://dx.doi.org/10.1192/apt.bp.109.007799.

Full text
Abstract:
SummaryIngmar Bergman was a Swedish director, writer and producer for film, stage and television. He directed 62 films, most of which he also wrote. Many of his films were set in the landscape of Sweden and he explored the themes of death, illness, cruelty, betrayal, mental illness, religion, and relationships between partners, children and their parents. Known as an auteur, he frequently used his film-making to examine issues from his own childhood.
APA, Harvard, Vancouver, ISO, and other styles
10

Munro, Kenny. "Explorer and Teller of Celluloid Tales: James Wilson – Veteran International Filmmaker and Producer for BBC Scotland." Scottish Affairs 23, no. 4 (2014): 522–39. http://dx.doi.org/10.3366/scot.2014.0049.

Full text
Abstract:
The importance of documentary filmmaking as a living medium and its historic contribution to recording and preserving Scotland's culture and international viewpoint cannot be overstated. But before the digital age, where was all this film material stored and what has survived? The current debate on film restoration and public access is ongoing and is illustrated through this article with my personal introduction to veteran BBC film producer James (Jim) Wilson whose enterprising career has documented so much of the twentieth century. Reflecting on this unique creative achievement, the historical context and value of his films, and those of others to society, deserve closer scrutiny. Questions need to be raised regarding government policy on film preservation and how Lottery funding can further support film restoration. Clarification is required, in this case, of possible relaxation to certain BBC licensing agreements to stimulate cooperation. Discussions are in progress which highlight the growing demand for more democratisation and further public access to these celluloid assets which can be quickly forgotten or destroyed. It is therefore encouraging that new partnerships are being forged to identify and restore the vast film collections. Building on the very significant activities of Scottish Screen Archive/National Library of Scotland. They deliver services on several levels including online film archive research/restoration facilities and exhibitions. But there is still a great deal of work to be done in this field. The Wilson film legacy is one such area and a meeting with BBC has been arranged to discuss the future potential of celebrating this special film collection.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Film producer"

1

Croft, Andrew Thomas. "A portfolio producer : Michael Balcon's management of film production at the Gaumont-British Picture Corporation." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36208.

Full text
Abstract:
Michael Balcon has been acknowledged for his work at Ealing Studios from 1939, and particularly for a portfolio of films produced in the decade 1942-1952. Charles Barr’s 1977 history of Ealing Studios and John Ellis’ 1975 article on Ealing explore Balcon's ‘agency’ - the ways in which he exercised authority, and the decisions and deals he committed to, in order to achieve success - in the production of films such as Kind Hearts and Coronets (1949) and Passport to Pimlico (1949). Yet, despite the fact that Balcon produced 152 films between 1924 and 1936, of which 133 are features3 - and despite the fact that Balcon produced across many genres during that period, facilitating the use of many different technical and aesthetic approaches to cinema, Balcon has not been fully acknowledged in the initial, interwar years of his career in film production. His role in the formation and development of Gainsborough Pictures has been assessed in Pam Cook’s edited history of the firm.4 However, Balcon’s contribution to British film industry development at the Gaumont-British Picture Corporation (GBPC) - during a key period from 1931 to 1936, when he was responsible for a significant proportion of British films viewed in British cinemas - has not been subjected to a dedicated and comprehensive appraisal. This thesis represents research into the relationship between industrial and commercial development, governmental intervention, and that which is known of Balcon's policies and practices; the choice of films produced, the film production techniques adopted and encouraged - and the technicians and artists he managed and worked with.
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film.  This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US.  Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market.  The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.
APA, Harvard, Vancouver, ISO, and other styles
3

Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.

Full text
Abstract:
The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.<br>M.F.A.<br>School of Film and Digital Media<br>Arts and Humanities<br>Film and Digital Media MFA
APA, Harvard, Vancouver, ISO, and other styles
4

Dupin, Christophe Eric. "The British Film Institute as a sponsor and producer of non-commercial film : a contextualised analysis of the origins, adminstration, policy and achievements of BFI experimental film fund (1952-1965) and production board (1966-1979)." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419973.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Gustavsson, Sara, and Jonas Helmersson. "Från Ronja Rövardotter till Hundraåringen : Kartläggning av hur specialeffekter och visuella effekter används inom svensk filmbransch idag och vad branschens inställning till det är." Thesis, Högskolan Väst, Avd för medier och design, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-9326.

Full text
Abstract:
"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent". Cousins, 2004, s13. Sättet att göra film på har ständigt förändrats och fortsätter att förändras men som citatet syftar till så verkar inställningen till film stå sig lika genom tiderna. I grund och botten handlar det om att berätta en historia som berör publiken. En historia berättad utifrån filmskaparnas olika stilar. Tack vare teknikutvecklingen har många effekter i film, både digitala och fysiska blivit möjliga och vem vet vad den tekniska, och kanske framförallt den digitala utvecklingen, kommer att leda till för effekter i film i framtiden? Vi är trots allt bara i början av den digitala eran. Samtidigt som det nya introduceras kanske de gamla beprövade fysiska effekterna etsar sig fast som klassiska och erkända arbetsmetoder. Vad vi behandlar i den här uppsatsen är hur digitala och fysiska tekniker att skapa effekter används och nyttjas i den svenska filmbranschen. Hur ser beslutsfattare i branschen på effekter som filmskapande och varför ser användandet ut som det gör idag? Vi har också undersökt vad det är som styr användandet av effekter inom filmskapande utifrån ekonomiska, tekniska och konstnärliga överväganden. Vi har samlat in information genom kvalitativa, djupgående intervjuer med tre produktionsbolagsföreträdare och tre finansiärer. Vi har även samlat in information kring begreppen fysiska effekter och digitala effekter bland sex stycken filmarbetare som aktivt arbetar med effektskapande på olika sätt. Det har visat sig att det råder meningsskiljaktigheter när det kommer till definition av begreppen kring digitala effekter och fysiska effekter mellan de bolagsföreträdare och finansiärer vi har intervjuat och de aktiva effektmakare som vi har bett definiera begreppen. För att underlätta framtida kommunikation kommer vi i den här uppsatsen definiera dessa begrepp utifrån våra resultat. Våra resultat tyder på att det finns en vilja inom filmbranschen att arbeta med effekter inom film men att det samtidigt saknas resurser och kompetens idag. Samtidigt tycker vi oss utläsa en okunskap kring effekter vilket ställer till det för dem som vill arbeta med effekter. Exempelvis gällande Guldbaggegalan, där kategorin "Bästa Visuella Effekter" togs bort efter bara några år efter införandet för att det ansågs vara för svårt att utläsa vad som var effekter och inte i en film. Utifrån det vi kan utläsa från våra resultat finner vi det motsägelsefullt att vilja utveckla branschen och arbetet med effekter och samtidigt inte utveckla kunnandet kring det, när man istället för att plocka bort en kategori på grund av okunskap istället borde lära sig mer om det.<br>"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent." Cousins, 2004, s13. The way of filmmaking has always been changing and it continues to change but as the quote leads up to it seems like the attitude stays the same. It is essentially about telling a story, which affects the audience. To tell a story with the different approaches the creators favors. Thanks to the technical development, many of these effects, both physical and digital have become practicable and who knows what the technique and digital progress will lead to in the future of filmmaking. After all, we are only in the beginning of the digital era. In the same time, the old and proven effect making techniques might inculcate as both classic and recognizable working methods. In this essay, we will talk about how the techniques of digital and practical effects are being used in the Swedish film industry. What does the decision makers in the business think about using effects in filmmaking and why are effects being used the way they are in todays film industry? We also wanted to examine what regulates he use of effects based on economical, technical and artistic considerations. We have collected our data from interviews with three representatives from production companies and three film financiers. We have also collected information considering the definitions of visual effects and special effects from six filmmakers who that works with effect making on a daily basis. It has become apparent that there are some confusion considering the definitions of the concepts of visual effects and special effects between the producers and financiers and the filmmakers. In order to ease future communication, we will in this essay define these concepts out of our results. Our result suggests that there is a will in the Swedish film industry to work with effects in filmmaking but in the same time parts of the industry lacks of resources and capability. Simultaneously, we can note that the ignorance around the concept of effects causes communication problems for digital artists and prop makers. For instance, on the Swedish film gala "Guldbaggegalan" they added a new category only a few years back and this year they took it away because of the problems of recognizing what's visual effects and what's not. It is interesting that there is an interest in developing effects in filmmaking and at the same time takes away the award. Instead of taking it away, they should focus on educating people about effects.
APA, Harvard, Vancouver, ISO, and other styles
6

Frampton, Anthony. "Cross-Border Film Production: The Neoliberal Recolonization of an Exotic Island by Hollywood Pirates." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394999350.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pomeranz, Ryan. "Theodore is Dying: From Development Through Distribution." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5689.

Full text
Abstract:
Theodore Is Dying is a feature length film written and directed by Ryan Ceri Pomeranz. It was undertaken as a partial fulfillment of the requirements to receive a Master of Fine Arts in Film and Digital Media from the Department of Film in the College of Arts and Humanities at the University of Central Florida. The film aims to explore both the immediate and the long-term effects of choices made by four people at specific moments of demarcation in their lives. Structurally, the film is presented in an episodic and non- linear style that attempts to examine each protagonist's own set of conflicts, while simultaneously exposing how the choices they make affect one another. The film's production presented many unique challenges to our producing team, cast and crew such as shooting on location in Scranton, Pennsylvania over one thousand miles from home and figuring out where to allocate funds from our “ultra-low” budget. These challenges were met head on and often times acted as catalysts for rethinking the way that films at our budget level could be produced. As a result, the account of the making of Theodore Is Dying, from development through distribution, aims to contribute these ideas to the larger conversation about the role of Ultra-Low Budget Filmmaking in the modern filmmaking era.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Film; Entrepreneurial Digital Cinema
APA, Harvard, Vancouver, ISO, and other styles
8

Andrle, Štěpán. "Praxe product placementu v české tvorbě." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-149817.

Full text
Abstract:
This thesis deals with the functioning of product placement in Czech television and film production. The theoretical part describes its role in marketing communication, its specifics and characteristics. Also, these characteristics are illustrated in specific examples. The practical part deals with the current situation in the country. It examines the attitudes and experiences of professionals implementing product placement and production of film and television works. It discusses the process of implementation of product placement. It also describes how the correct product placement should look like, which is then illustrated by specific examples.
APA, Harvard, Vancouver, ISO, and other styles
9

Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

Full text
Abstract:
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
APA, Harvard, Vancouver, ISO, and other styles
10

Poch, Sabarich Francesc. "El petit productor de cinema. El cas d'en Josep Mª Cunillés." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/69938.

Full text
Abstract:
El cinema comercial independent de baix pressupost elaborat amb els elements industrials i artístics del sector cinematogràfic del propi país és viable, sostenible i exportable. Aquest ha sigut el cas d’El Lute, Crimen en familia i altres pel•lícules que Cunillés ha produït. Estudiar els mecanismes de finançament, fabricació i venda d’aquest tipus de producció ens permetrà extrapolar-ho, generalitzar-ho i explicar-ho als actuals i futurs decisors audiovisuals. En el cas de Cunillés, el trobem gestionant sales cinematogràfiques, distribuint o coproduint pel•lícules, o implicant-se en operacions corporatives per millorar les condicions del sector. Ha calgut introduir el context històric, sota l’etiqueta de “cinema de transició”, estudiar la persona i els orígens temàtics per acabar construint un mètode que el propi productor ha abandonat per dedicar-se únicament a l’explotació dels seus drets audiovisuals. Altres productors continuen emprant aquest model amb èxit, però els paràmetres han canviat i Cunillés no vol tornar a navegar.<br>Commercial, independent low-budget filmmaking produced with industrial and artistic elements of the film sector in one’s own country is viable, sustainable and exportable. It’s the case of El Lute, Crimen en familia and other films that Cunillés has produced. Studying the financing, manufacturing and sales of this kind of production will allow us to extrapolate, generalize and explain it to current and future film decision-makers. Cunillés can be found managing cinemas, distributing or producing films, or getting involved in corporative operations to improve the sector’s conditions. It’s been necessary to introduce the historical context under the label “transition filmmaking”, and study the person and his thematic origins in order to devise a method that the producer himself has abandoned to work solely on the exploitation of film rights. Other producers still use this method successfully, but the parameters have changed and Cunillés doesn’t want to navigate again.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Film producer"

1

The film producer: A handbook for producing. St. Martin's Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Marie, Gillen Anne, ed. The producer's business handbook: The roadmap for the balanced film producer. Focal Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Producer to producer: A step-by-step guide to low-budget independent film producing. Michael Wiese Productions, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Filmmaking: Film, pre-production, cinematography, audiography, post-production, independent film, cinematic techniques, director of audiography, film crew, film editing, film producer, screenplay. Alphascript Publ., 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Mason, Paul. Producing for Hollywood: A guide for the independent producer. 2nd ed. Allworth Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

McAlevey, Peter. Surviving as an independent film producer: Based on the UCLA course. The Overlook Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pink, Sidney. So you want to make movies: My life as an independent film producer. Pineapple Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Vincent, Porter, ed. Walter Mycroft, the time of my life: The memoirs of a British film producer. Scarecrow Press, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Shoptalk: Conversations about theater and film with twelve writers, one producer - and Tennessee Williams' mother. Newmarket Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Dennis, Brown. Shoptalk: Conversations about theater and film with twelve writers, one producer--and Tennessee Williams' mother. Newmarket Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Film producer"

1

Kääpä, Pietari. "Producer-led Mode of Film Production." In Finnish Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57651-4_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bettges, Christian. "Produktionen, an denen Christian Bettges als Autor, Redaktionsleitung, Executive Producer und Produzent mitwirkte und die thematisiert werden." In Film. transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839461297-029.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution." In Springer Series in Media Industries. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.

Full text
Abstract:
Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.
APA, Harvard, Vancouver, ISO, and other styles
4

Soila-Wadman, Marja. "The Film Producer: A Scapegoat or/and a Midwife in the Film Making Process?" In Organizational Olympians. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583580_18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Barrow, Sarah. "Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru." In Contemporary Latin American Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77010-9_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Gowanlock, Jordan. "Hollywood’s R&D Complex." In Palgrave Animation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_3.

Full text
Abstract:
AbstractThis chapter of Animating Unpredictable Effects studies how Hollywood became a producer of software and sponsor of R&amp;D. Using archival research of publications and conference records, it charts the computer graphics research group ACM SIGGRAPH’s origins in the military-industrial-academic complex and notes the rise of a new research complex driven by media industries, with the Hollywood blockbuster playing a key role in driving investment. This chapter also studies how the economics of film industries were transformed by R&amp;D using SEC financial filings from studios. This investigation of the economics of R&amp;D helps explain the economic instability of the VFX industry, which has been a key topic of discussion since the closure of Rhythm and Hues and the rise of VFX worker movements.
APA, Harvard, Vancouver, ISO, and other styles
7

"Film producer–distributor partnerships." In The International Film Business. Routledge, 2014. http://dx.doi.org/10.4324/9780203115428-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"Script PRODUCER OVERSEEING." In Producing and Directing the Short Film and Video. Routledge, 2012. http://dx.doi.org/10.4324/9780080468419-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Boris Shumyatsky: The Role of the Producer." In The Film Factory. Routledge, 2012. http://dx.doi.org/10.4324/9780203059920-129.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Schedule PRODUCER BUILDING A." In Producing and Directing the Short Film and Video. Routledge, 2012. http://dx.doi.org/10.4324/9780080468419-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Film producer"

1

Liu, Jong-Shang, Robert Utz, and Riccardo Bozzola. "Aerodynamic design and analysis of a gas producer turbine stator with film cooling injection." In 30th Joint Propulsion Conference and Exhibit. American Institute of Aeronautics and Astronautics, 1994. http://dx.doi.org/10.2514/6.1994-2928.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fu, Yongchun, and Jieyun Chen. "“Student as Producer” and Its Applicants in Film Studies at a China’s College Education Practice." In Proceedings of the 2019 International Conference on Pedagogy, Communication and Sociology (ICPCS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icpcs-19.2019.31.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lamers, Tina L., and R. Shane Fazzio. "Accelerating Development of a MEMS Piezoelectric Microphone." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-34958.

Full text
Abstract:
MEMS projects are well known for their lengthy development times, hindering a company’s ability to make MEMS product development profitable. This paper describes a three-pronged methodology for rapid development of a piezoelectric MEMS microphone, utilizing concurrent design and prototyping, leveraged process technology, and a modified version of Quality Function Deployment (QFD). Avago Technologies has produced more than 300 million Film Bulk Acoustic Resonator (FBAR) piezoelectric band pass filters. FBAR uses Aluminum Nitride (AlN) as the piezoelectric film. Volume production of FBAR makes Avago the world’s only high volume producer of thin-film AlN products. This high-volume FBAR production process was greatly leveraged to enable fast prototyping of piezoelectric MEMS microphones. The concurrent design concept of simultaneously iterating on technical theory, finite element modeling, and prototyping with confirmation from testing was employed as another means of enabling swift development progress. QFD helps designers utilize the ‘voice of the customer’ to determine which product specifications are the most essential, and has long been used as a successful design methodology in the heavy industrial and automotive industries [1]. QFD and most other design methodologies have rarely been applied to MEMS products [2]. The second phase of QFD was modified for better application to MEMS products. Both Phase I and Phase II of QFD were then employed to guide the development process, giving insight into which elements of the design to focus on, which design concepts had the most merit, and which potential applications were the best fit to the technology. The combined effect of these three methods was extremely rapid development, enabling prototyping of hundreds of design variations and brisk improvement of measured results during the first eight months of the program. Achieving technical results quickly while assessing potential applications can aid in identifying a fast path to market. The methods used in this case study can easily be generalized for application to other MEMS development programs, potentially enabling MEMS products to reach production more quickly and generate increased profitability through addressing applications that best fit the technology and design.
APA, Harvard, Vancouver, ISO, and other styles
4

Wei, Bing, Qiong Yang, Runxue Mao, Qingtao Tian, Dianlin Wang, and Jun Lu. "Direct Visualization and Quantification of NCF-Strengthened CO2 Foam Generation, Propagation and Sweep in a 2D Heterogeneous Fracture Network Model." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206011-ms.

Full text
Abstract:
Abstract CO2 foam holds promising potential for conformance improvement and mobility reduction of CO2 injection in fractured systems. However, there still exists two main issues hampering its wide application and development, 1. Instability of CO2 foam lamellae under reservoir conditions, and 2. Uncertainties of foam flow in fracture systems. To address these two issues, we previously developed a series of functional nanocellulose materials to stabilize the CO2 foam (referred to NCF-st-CO2 foam), while the primary goal of this paper is to thoroughly elucidate foam generation, propagation and sweep of NCF-st-CO2 foam in fractured systems by using a self-designed visual heterogeneous fracture network. We found that NCF-st-CO2 foam produced noticeably greater pressure drop (ΔP) than CO2 foam during either co-injection (COI) or surfactant solution-alternating-gas (SAG) injection, and the threshold foam quality (fg*) was approximately 0.67. Foam generation was increased with total flow rate for CO2 foam and stayed constant for NCF-st-CO2 foam in fracture during COI. CO2 breakthrough occurred at high flow rates (&amp;gt;8 cm3/min). For SAG, large surfactant slug could prevent CO2 from early breakthrough and facilitate foaming in-situ. The increase in sweep efficiency by NCF-st-CO2 foam was observed near the producer for both COI and WAG, which was attributed to its better foaming capacity. Film division and behind mainly led to foam generation in the fracture model. Gravity segregation and override was insignificant during COI but became noticeable during SAG, which caused the sweep efficiency decreased by 3~9% at 1.0 fracture volume (FV) injected. Due to the enhanced foam film, the NCF-st-CO2 foam was able to mitigate gravitational effect, especially in the vicinity of producer.
APA, Harvard, Vancouver, ISO, and other styles
5

Beyler Çiğil, Aslı. "Biobased intelligent packaging application." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p40.

Full text
Abstract:
Changes in consumer preferences in order to reach safe food have led to innovations in packaging technologies. Intelligent and active packaging is a constantly developed packaging technology that plans to offer safer and higher quality products. Active packaging refers to the inclusion of additives in the package in order to maintain and / or extend shelf life and product quality. Intelligent systems, on the other hand, are systems that monitor the status of packaged food during this entire period to provide information about the quality of the packaged during storage and transportation. The aim of this study is to produce a completely natural intelligent packaging material using rosehip extract and biopolymer, which is a substance that naturally changes color with pH. In this study, cellulose acetate butyrate biobased films containing different rates (1, 2.5, 5, 10 wt%) of rosehip extract were produced by solvent casting method. The chemical structure the rosehip containing biobased film and blank biobased film were characterized by ATR-FTIR. The transparency of prepared five different films were determined by UV spectroscopy. The color characteristic of blank and rosehip containing films measured with spectrophotometer. Surface energy of all films and contact angles were determined with goniometer. Biobased films were printed and printability parameters such as color, gloss, contact angle, surface tension were examined. It is concluded that blank biobased film is colorless, transparent and all biobased films have good printability. It was determined that the amount of rosehip extract increased the color change visibly. The biobased films obtained are pink in acidic medium and yellow-green in alkaline medium. The results prove that biobased film produced with rosehip extract and cellulose acetate butyrate can be used in intelligent packaging applications.
APA, Harvard, Vancouver, ISO, and other styles
6

Marquès, Anna, and Carlos Aguilar-Paredes. "“S1PE”: Gamificación para conocer el sector audiovisual. Una propuesta de innovación docente en el grado de Comunicación Audiovisual - [“I am an Executive Producer”: immersion throught gamification to know the businnes. A proposal of innovative educational project in Film Production at Film Studies]." In IV Congreso Internacional Sobre Aprendizaje, Innovación y Competitividad. Servicio de Publicaciones Universidad, 2017. http://dx.doi.org/10.26754/cinaic.2017.000001_036.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Loch, M., and G. Barbezat. "Characteristics and Potential Application of Thermally Sprayed Thin Film Coatings." In ITSC 2000, edited by Christopher C. Berndt. ASM International, 2000. http://dx.doi.org/10.31399/asm.cp.itsc2000p1141.

Full text
Abstract:
Abstract LPPS Thin Film is a new technology for the production of thin functional coatings. The coatings produced can fill the well known gap of coating thickness between conventional thin films (PVD, CVD and others) and conventional thermally sprayed coatings (Plasma, HVOF and others). The application is successful, if the advantages of the new technology (large areas can be dense coated within a very short time) are combined with the specific properties of thermally sprayed coatings to the benefit of the intended application. Beside the technology of LPPS Thin Film and it's characteristics the paper will summarise important properties of Alumina described in the literature and present some corresponding properties of Aluminium oxide coatings produced by LPPS Thin Film.
APA, Harvard, Vancouver, ISO, and other styles
8

Noguchi, K., K. H. Kishimoto, K. Makino, N. Sasaki, and Bruce Berke. "“A Review of the Fuji Super F-Series of Motion Picture Products”." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00564.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cheng, Q., and K. Komvopoulos. "Surface Chemical Patterning for Controlled Cell Adhesion." In ASME/STLE 2009 International Joint Tribology Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/ijtc2009-15134.

Full text
Abstract:
Thin films exhibiting nonfouling behavior toward protein and cell attachment were grafted onto different substrates by plasma polymerization and deposition. By combining nonfouling film grafting and partial film etching by Ar ion sputtering through the windows of a shadow mask (Si or PDMS), chemical patterns of different shapes and sizes were produced on polymer substrates. Results from cell culture studies illustrate the effectiveness of the present fabrication process to produce surface micropatterns for controlling the cell shape and morphology, with direct implications in vascular pathology.
APA, Harvard, Vancouver, ISO, and other styles
10

Hirasawa, Shigeki, Yoko Saito, Tatsuyuki Saito, and Hizuru Yamaguchi. "Flow Profile Simulation of Heated Copper Films on Substrates With Micro-Trenches." In ASME 1998 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/imece1998-0651.

Full text
Abstract:
Abstract It is important that copper films fill the sub-micron trenches on silicon substrates in order to produce high-density electronic devices. In this paper, changes of the copper film profiles in trenches on silicon substrates during the reflow process were numerically calculated by 2- and 3-dimensional analyses. Calculation results from a model of atomic surface diffusion in a thin layer on the film were similar to experimental results. The relationship between the change of the film profile and the geometric parameters was determined. The results show that a uniform and thick initial film on the side walls of a trench is important to avoid film-bridge and void formation in the trench. In order to increase flow rate into the trenches, narrow trenches with a thick initial film on the bottom of the trench are effective.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Film producer"

1

Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

Full text
Abstract:
The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
APA, Harvard, Vancouver, ISO, and other styles
2

Chisholm, Darlene, Margaret McMillan, and George Norman. Product Differentiation and Film Programming Choice: Do First-Run Movie Theatres Show the Same Films? National Bureau of Economic Research, 2006. http://dx.doi.org/10.3386/w12646.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Patel, Yusef. File to Factory: A case study of automated prefabrication house-building methods for small-to-medium enterprises. Unitec ePress, 2017. http://dx.doi.org/10.34074/ocds.0823.

Full text
Abstract:
The Eco-Digital Fabrication (EDFAB) research project aimed to investigate how automated prefabrication technologies and off-the-shelf construction products can be employed to disrupt building industry norms. The aim of this research – conducted at the University of Auckland and Unitec Institute of Technology from 2014 onward – was to provide small-to-medium enterprises in the construction industry with a pathway to upskill and increase construction productivity through the use of these processes. The availability of automated machines and easy-to-use fabrication software is increasing dramatically and this can be paired with readily available construction products to produce novel mass-customised housing solutions. The application of basic automated technologies – such as CNC (Computer Numerical Control) routers – allowed researchers to create ‘recipes’ that can be adopted and adapted relatively easily. By no means did the research favour digital manufacture or assembly processes over traditional analogue construction techniques – the goal was to provide logical, productive and accessible blended solutions for greater affordability and flexibility in design. For example, the designed experiments were required to be built from readily available products, and used simple readymade screw fixings rather than digitally produced custom fixings or joining mechanisms. The research project aimed to generate discussion and provide recommendations on how the construction industry might support the adoption of automated prefabrication technology in small-to-medium enterprise (SME).
APA, Harvard, Vancouver, ISO, and other styles
4

Jovanovic, Boyan. Product Recalls and Firm Reputation. National Bureau of Economic Research, 2020. http://dx.doi.org/10.3386/w28009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Tull, J., R. Belles, D. Bonner, and L. Carroll. NARAC Products File Description Version 2.1. Office of Scientific and Technical Information (OSTI), 2004. http://dx.doi.org/10.2172/15009765.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Villacis, Alexis, Victor Barrera, Jeffrey Alwang, Carlos Caicedo, and James Quiroz. Strategies to strengthen Ecuador's high-value cacao value chain. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0003960.

Full text
Abstract:
Since the early nineteenth century, cacao has been an important export earner for Ecuador. Today the importance of this sector remains, as Ecuador is the main producer and exporter of Fine and Flavor cacao worldwide. Motivated by the main transformations of the global food systems and the increasing demand for multidimensional credence attributes, this study examines the present state of Ecuador's cacao industry, identifies areas of opportunity, and discusses how the private and public sectors can work together to meet existing and emerging challenges. Findings are supported by interviews conducted with the principal actors in the Ecuadorian cacao industry and two case studies. The first case study focuses on how associativity can help cacao farmers producing high-quality beans to differentiate themselves and succeed in modern agri-food markets. The second case study explores the success of a local chocolate firm and its links with local cacao farmers. Findings suggest that market trends have created new business opportunities for cacao producers and chocolate processors. These opportunities are most open to firms who can personalize and differentiate their products, for example, through the use of quality certifications such as organic, fair trade, reduced carbon load, etc. More importantly, market developments are driving exporters to enhance the performance of cacao value chains in the country, but the sector requires coordination to capture reputation and credence-based demands for the local cacao.
APA, Harvard, Vancouver, ISO, and other styles
7

Liu, Mengxiao, and Daniel Trefler. What's the Big Idea? Multi-Function Products, Firm Scope and Firm Boundaries. National Bureau of Economic Research, 2019. http://dx.doi.org/10.3386/w26320.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Conlin, Jeremy, and R. Seamon. Producing the Fission-Product-Isotope File KIDMAN. Office of Scientific and Technical Information (OSTI), 1989. http://dx.doi.org/10.2172/1810498.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Moore, Randall A., Joseph M. Benedetto, Judith T. McCullen, and James M. McGarrity. A Preliminary Examination of Y1" (a Proprietary Thin-Film Ferroelectric Produced by Symetrix Corporation)". Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada255692.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Braguinsky, Serguey, Atsushi Ohyama, Tetsuji Okazaki, and Chad Syverson. Product Innovation, Product Diversification, and Firm Growth: Evidence from Japan’s Early Industrialization. National Bureau of Economic Research, 2020. http://dx.doi.org/10.3386/w26665.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Film producer' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography