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Journal articles on the topic 'Film producer'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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‘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'.
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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.
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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.
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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.
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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.
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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.
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Romero-González, Francisco, and María Luisa Palma-Martos. "AUDIO-VISUAL PRODUCTION AS A PATH OF COOPERATION IN EUROPE. EURIMAGES FUNDS." Scientific Annals of Economics and Business, Special Issue (2019): 113–39. http://dx.doi.org/10.47743/saeb-2019-0023.
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The aim of this paper is to analyse co-production in Europe through the funds of the Eurimages program from its origin, in 1989 to 2016, and to determine a pattern of co-production among the main film producer nations in Europe: France, Germany, Italy and Spain. For that purpose, a statistical analysis is carried out using several data sources: the Lumiere database, the reports from the European Audiovisual Observatory, as well as those from several national film institutions (such as the ICAA in Spain, or the CNC in France), or even the webpages of the Eurimages program and the Ibermedia one. Among the main results, it should be underlined that Eurimages has contributed to the increase of European films through co-production, but not to the increase of film audience, being far from that of American films. Nevertheless, if compared to national films, Eurimages has favoured both the transnational circulation of films and their consumption. Moreover, the main reasons to choose partners to co-produce are both cultural and economic, based on language, geographical proximity, common history and having a more developed film industry with a generous film support. With this article we want to contribute to update the literature about co-production in Europe using Eurimages funds.
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Hardt, Ursula. "Erich Pommer and Ufa: A Weimar Film Producer." Journal of Communication Inquiry 13, no. 1 (1989): 51–69. http://dx.doi.org/10.1177/019685998901300104.
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YUSUPOVA, GALIYA M. "FILM AND TELEVISION: FINANCIAL SUPPORT FACILITIES IN MODERN EUROPE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 275–94. http://dx.doi.org/10.30628/1994-9529-2021-17.2-275-294.
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Modern global filmmaking is fed by more than 120 public support mechanisms. Depending on the degree of government involvement in film industry market regulation, the national models in this area may vary. When it comes to European feature films, the producers ride on five main sources: direct government funding, broadcasting investment, producer investment, pre-sales, and tax incentives. The most important here are the first two, which focus 26% and 21% of support, respectively. Most European countries today provide their film industries by investing in the production process directly—through the pre-acquisition and/or co-production of films and television programs, and indirectly, by contributing to their national film funds. Such forms of investment are constantly evolving, since they have already proven themselves to be very effective. Other market players—exhibitors, distributors of audiovisual content and creators of film content on physical media—support national and European film production through compulsory contributions to cinema funds. The emergence and popularity of video-on-demand platforms has boosted broadcasters’ financial commitments. The article also provides information on the technical details of this multi-step process: the author classifies the existing types of broadcasters’ obligations, and analyzes the mechanisms of financial support for film production by television channels.
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Włodek, Roman. "Joseph Green, producent polskich filmów jidyszowych." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (2019): 77–101. http://dx.doi.org/10.14746/i.2019.35.04.
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Włodek Roman, Joseph Green, producent polskich filmów jidyszowych [Joseph Green, producer of Polish Yiddish-language films]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 77–101. ISSN 1731-450X. DOI 10.14746/i.2019.35.04.
 Joseph Green (1900–1996), born Josef Chaim Grinberg in Łódź, was one of the most important producers of films in Yiddish. At the beginning of the sound era in the United States, he worked on dubbing in Yiddish for Jewish films, including Joseph in the Land of Egypt. He received a copy of the film as a royalty, which he then used with great success. The money helped him produce four Jewish films in Poland between 1936 and 1938: Yiddle with His Fiddle, The Jester, Little Mother and A Letter to Mother. Green left Poland in the spring of 1939. When the world of Shtetls – evoked by him – disappeared as a result of the Second World War, he ceased making films.
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Lavreniuk, Sergii. "Producer in the culture of audiovisual production." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 80–86. http://dx.doi.org/10.32461/2226-0285.1.2021.238549.
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The purpose of the article is to determine the features of functioning and motivation of the film producer in the culture of audiovisual production and to outline scientific vectors that will serve as a comprehensive analysis of the phenomenon of production in the intercultural space. Methodology. In elaborating the topic, a theoretical method was used to typify the functional features of the producer's activity; analytical method and methods of scientific analysis, comparison, generalization, which were useful in the process of establishing the creative and production features of the film producer in the culture of the audiovisual field. For the sake of art history and culturological aspects of studying the problem, methods of systematization and analysis were used. The scientific novelty of the study is that the problem of functioning and motivation of the producer in the context of the culture of audiovisual production has become the subject of a special comprehensive study; the content of the concept of "audiovisual creativity" as a certain specific integrity and unity of interconnected elements is argued and clarified; the expediency of using the comparative method for the study and manifestation of the peculiarities of producer's creativity in the film production process is proved. Conclusions. Acquaintance with the materials of this study, enriches the vast knowledge of the specifics of the producer in the culture of audiovisual production and provides a scientific basis for their use in courses on the theory and history of culture, including filmmaking, production and directing.
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Willemin, Rémi. "Monter une histoire, montrer l’Histoire, table ronde sur le film documentaire historique." Didactica Historica 3, no. 1 (2017): 15–19. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.15.
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Seven film directors – Mehran Tamadon, David Korn-Brzoza, Jean-Gabriel Périot, Frédéric Gonseth, Stéphane Goël, Daniel Wyss et Alex Mayenfisch – discussed the four key-steps in historic documentary film production. Their seven points of view diverged on why and how films should and can portray History. From the roundtable brilliantly moderated by Anaïs Kien, producer for La Fabrique de l’Histoire at France Culture radio station, there emerged a variety of film-making practices – from purists of audiovisual archives to illusionists of high definition colour movies.
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Lloyd, Michael. "Reflections on Poverty: A Film Review and Interview with Film Producer Keith Kilty." Journal of Poverty 15, no. 3 (2011): 371–73. http://dx.doi.org/10.1080/10875549.2011.589292.
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Lavreniuk, Sergey. "Activity of a film producer within the cultural space of Ukraine." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 93–99. http://dx.doi.org/10.32461/2226-3209.2.2021.239954.
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The purpose of the article is to identify problems in the development of production in Ukraine and outline ways to overcome them. Methodology. In elaborating the topic, the historical method was used to identify the peculiarities of the origin and development of the profession of film producer, in particular, in Ukraine; analytical method and methods of scientific analysis, comparison, generalization, which came in handy in the process of establishing the creative, production and economic and legal features of the film producer in the cultural space of Ukraine. Methods of systematization and analysis were used for art and cultural aspects of studying the problem. The scientific novelty of the study is that the problem of functioning and motivation of the producer in the context of the cultural space of Ukraine is the subject of a special comprehensive study; the content of the concept of "film producer" as certain specific integrity and unity of interconnected elements is argued and clarified; the expediency of using the comparative method for the study and manifestation of the peculiarities of production activity in the film-making process of the domestic cultural space is proved. Conclusions. Acquaintance with the materials of this study enriches the arsenal of knowledge about the specifics of the producer's activity in the culture of film production in Ukraine and forms the scientific basis for their use in courses on theory and history of culture, including cinema, production, and directing.
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Wongso, Esther Natasia, and Annita Annita. "Producer's Role in Music Licensing For Short Movies." ULTIMART Jurnal Komunikasi Visual 7, no. 1 (2016): 13–24. http://dx.doi.org/10.31937/ultimart.v7i1.376.
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The licensing process of copyrighted materials, especially songs and music for a film, is one of the responsibilities that a producer should fulfill, aside from other responsibilities like financing the film and managing all the needs of the cast and crew. However, the knowledge and awareness about copyright and music licensing are still very low in Indonesia. In this research, the writer will find out about the process of music licensing for a short movie. Through this research, we will look into the music licensing process for film, and national and international film festivals.
 Keywords: Producer, Music Licensing, Short Movie
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Harrod, Mary. "Channeling globalism: Canal+ as transnational French genre film producer." Contemporary French Civilization: Volume 46, Issue 3 46, no. 3 (2021): 285–307. http://dx.doi.org/10.3828/cfc.2021.18.
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This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities.
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Ross, M. "The film festival as producer: Latin American Films and Rotterdam's Hubert Bals Fund." Screen 52, no. 2 (2011): 261–67. http://dx.doi.org/10.1093/screen/hjr014.
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Kalay, Nelson Semol. "FILM “TANDA TANYA” SEBAGAI PRODUK BUDAYA POPULER DAN PERANNYA DALAM KONTEKS PLURALISME AGAMA DI INDONESIA." Jurnal Teologi Cultivation 2, no. 1 (2018): 29–40. http://dx.doi.org/10.46965/jtc.v2i1.178.
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AbstractIn this article I would like to discuss about one of the popular cultures that is a film entitled “Tanda Tanya” (Question Mark) by focusing on its narrative. The film was produced by Indonesian producer to provoke religious pluralism, but at the end the film raised a series of controversies by the public due to the issue it brings. I herewith want to see how we understand the film as a product of popular culture and understanding the story based on the theological concept of religious pluralism. Finally, I will see how such a film gives a contribution for Indonesian Religious Plurality.Keywords: Tanda Tanya, religious plurality
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Feng, Jian, and Bin Liu. "Goodwill and System Dynamics Modeling for Film Investment Decision by Interactive Efforts." Discrete Dynamics in Nature and Society 2018 (September 13, 2018): 1–10. http://dx.doi.org/10.1155/2018/7521689.
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Academic research pertaining to the marketing of film industry has identified advertising, film-making, and star power as the important factors influencing a movie’s market performance. Prior research, however, has not investigated the joint influences of these factors. The current study has extended previous research by analyzing the investment decision of studios or investors. In order to analyze the optimal film investment decision in advertising, film-making, and stars power, this paper develops a goodwill model and system dynamic (SD) model, which allow us to disentangle the effects of advertising, film-making, and star power on film market performance. The results show that the film producer should increasingly lay emphasis on investing in advertising to absorb moviegoers’ attention. Then the film producer should focus on investing in film-making when film quality has a great impact on the movie's reputation and audience's viewing decision. Furthermore, the film producer should pay more attention to the higher cost-performance stars who have more reasonable remuneration, better acting skills, and bigger box-office guarantee. Moreover, the numerical analysis reveals that rational audience contribute more than fans to a movie's box-office and bankable stars contribute more than high-profile stars to a movie's returns. Through SD simulation analysis, the film series yields higher profits than new theme movies although the cost of investment is the same.
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Mitchell, Tony. "Migration, Memory and Hong Kong as a 'Space of Transit' in Clara Law's Autumn Moon." Cultural Studies Review 9, no. 1 (2013): 139–58. http://dx.doi.org/10.5130/csr.v9i1.3589.
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Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director husband Eddie Fong have produced a transnational output of films which are beginning to receive critical recognition as major contributions to contemporary cinema. These ‘films of migration’ explore what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emigration, immigration, cultural hybridity, migrancy, exile, and nomadism—together termed the “Chinese diaspora”’. The self-imposed ‘relocation’ of Law and Fong to Australia in 1994 was the result of increasing frustration with the rampantly commercial imperatives of Hong Kong cinema and its lack of appreciation for the auteur cinema they wanted to pursue.
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Mitric, Petar. "Empowering the minority co-producer through European financial co-productions: The case of DFI International." Journal of Scandinavian Cinema 10, no. 2 (2020): 151–67. http://dx.doi.org/10.1386/jsca_00020_1.
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The article introduces the notion of the European financial co-production, characterized by the mandatory cultural value of the script and empowerment of the minority co-producer through risk-sharing in financing. Eurimages, the Council of Europe’s film fund, inaugurated the first policies promoting European financial co-productions more than two decades ago by introducing the European Convention on Cinematographic Co-production. Many European film funds have followed the same policies on the national level, but the Danish Film Institute has been by far the most innovative. This article explores in more detail the DFI’s internationalization policy actions, particularly its minority co-production scheme, which democratized the practice of European co-production that traditionally had been the sole purview of a narrow circle of high-profile European producers. The shift enabled young Danish producers to engage in minority co-productions, popularizing co-production as a model among Danish producers of all calibres and triggering a dynamic knowledge transfer between co-producers.
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Stubbs, Jonathan. "Unproductive Co-production: European Integration, the British Film Industry and the Franco-British Co-production Agreement of 1965." Journal of British Cinema and Television 18, no. 2 (2021): 152–75. http://dx.doi.org/10.3366/jbctv.2021.0564.
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The negotiation of bilateral co-production agreements had a major impact on European film-making from the 1950s to the 1970s. These agreements also provided the basis for the closer integration of Europe's film industries within what was then the European Economic Community (EEC). However, the British government was slow to adopt co-production arrangements and British film-makers tended to be more reticent about using them once they were made available. This article examines the British experience of European co-production during this period, focusing on the negotiation and implementation of the Franco-British co-production agreement of 1965 in the context of broader debates about film production and policy within the EEC. Particular attention is given to Someone Behind the Door (1971), a proposed Franco-British film which was ultimately made as a collaboration between French and Italian production companies after delays on the British side caused the French producer to withdraw from the UK. The correspondence collected by the Department of Trade and Industry (DTI) as the proposal for Someone Behind the Door was processed – including input from film union and producer associations – provides a unique insight into the bureaucratic policies and procedures which encumbered European co-production in Britain. While continental film-makers established comfortable habits of cooperation, British co-production was stymied from the outset by a misalignment between the interests of Britain's government, its film unions and its producers.
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Vande Winkel, Roel. "Vlaanderen te weer? Het verzwegen parcours van Flandria Film in de Tweede Wereldoorlog." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 67, no. 3 (2008): 210–35. http://dx.doi.org/10.21825/wt.v67i3.12492.
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In aanvulling op de boekpublicatie Filmen voor Vlaanderen: Vlaamse beweging, propaganda en film reconstrueert dit artikel de complexe oorlogsgeschiedenis van Flandria Film. Zaakvoerder Clemens De Landtsheers hoopte zijn filmactiviteiten na mei 1940 te hervatten. Hij botste op de realiteit van een op Duitse leest hervormd filmlandschap. Als filmverdeler was Flandria Film ongewenst. Op basis van zijn in het interbellum gerealiseerde producties, kon men De Landtsheer echter de status van producent niet ontzeggen. De uitdaging om zelf korte ‘cultuurfilms’ te produceren, bleek te moeilijk. Flandria Film werd zo een lege doos, een vlag waar andere Vlaamsgezinden met filmambities graag onder kwamen schuilen. De Landtsheer experimenteerde hiermee door Lode De Kempeneer Zingend Vlaanderen (1942) te laten maken, waarbij hij als nominaal producent nog een zekere vorm van controle behield. Door die controle uit handen te geven, ging hij een stap verder. Dat Flandria Film onder leiding van Frans Develter films als De Brigade waakt (1944) en Vlaanderen te weer (1944) draaide, zette De Landtsheer ertoe aan deze episode na de oorlog te verzwijgen.Als venster op de microkosmos van filmproductie in bezet België belicht dit artikel, aansluitend bij recent onderzoek naar Henri Storck, de activiteiten van ‘zwarte’ filmmakers, die na de Bevrijding uit de filmsector verdwenen, evenals van sommige ‘witte’ collega’s, die blijkbaar ‘grijzer’ waren dan tot dusver werd aangenomen.________Flanders resist? The concealed track record of Flandria Film during the Second World WarIn addition to the publication of the book Filmen voor Vlaanderen. Vlaamse beweging, propaganda en film (Filming for Flanders: Flemish Movement, Propaganda and Film) this article reconstructs the complex war history of Flandria Film. The business manager Clemens De Landtsheers hoped to resume his filming activities after May 1940. However, he was confronted with a film landscape that had been reformed according to a German model. As film distributor Flandria Film was unwanted. But on the basis of the productions he had realised during the Interbellum period it was impossible to deny De Landtsheer the status of producer. The challenge of producing short ‘cultural films’ himself proved to be too difficult. Thus Flandria Film became an empty shell, a flag that other supporters of the Flemish Movement with film ambitions liked to use for shelter. De Landtsheer experimented with this by allowing Lode De Kempeneer to make the film Zingend Vlaanderen (Singing Flanders) (1942), which still afforded him as the nominal producer a certain kind of control. He went one step further by releasing that control all together. The fact that Flandria Film produced films such as De Brigade waakt (The Brigade keeps vigil) (1944) and Vlaanderen te weer (Flanders in opposition) (1944), directed by Frans Develter caused De Landtsheer to keep silent about this episode after the war. This article casting a light on the microcosm of film production in occupied Belgium, following on from recent research about Henri Storck exposes the activities of ‘black filmmakers’ who disappeared from the film sector after the Liberation, as well as those of some ‘white’ colleagues, who apparently were ‘a darker shade of grey’ than had been assumed until now.
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Ma, Youwen, and Yi Wan. "Data Analysis Method of Intelligent Analysis Platform for Big Data of Film and Television." Complexity 2021 (April 16, 2021): 1–10. http://dx.doi.org/10.1155/2021/9947832.
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Based on cloud computing and statistics theory, this paper proposes a reasonable analysis method for big data of film and television. The method selects Hadoop open source cloud platform as the basis, combines the MapReduce distributed programming model and HDFS distributed file storage system and other key cloud computing technologies. In order to cope with different data processing needs of film and television industry, association analysis, cluster analysis, factor analysis, and K-mean + association analysis algorithm training model were applied to model, process, and analyze the full data of film and TV series. According to the film type, producer, production region, investment, box office, audience rating, network score, audience group, and other factors, the film and television data in recent years are analyzed and studied. Based on the study of the impact of each attribute of film and television drama on film box office and TV audience rating, it is committed to the prediction of film and television industry and constantly verifies and improves the algorithm model.
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Doghudje, Roselyn Vona. "Balancing gender stereotypes in Nollywood: a consideration of Genevieve Nnaji’s Lionheart." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 83–97. http://dx.doi.org/10.4314/ejotmas.v7i1-2.6.
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The current increase in the protest for women’s right all over the world, amidst the resurgence of feminist critical thinking in mainstream culture, is giving film researchers a lot to reflect on. Based on previous researches, it can be deduced that very little progress has been made to correct the stereotypical portrayal of women in Nollywood films by both male and female producers. In order to examine the stereotypes and investigate the extent to these stereotypes reflect the social reality of both genders in real life, Lionheart, a movie produced by a veteran Nollywood actress, Genevieve Nnaji, with an average rating of 5.6/10 on IMDB (Internet Movie Database) and was nominated for an Oscar award was selected. Quantitative content analysis was applied and findings revealed that there was an effort by the producer to ‘demystify’ the power of men. The issues raised in the movie are topical and relevant to the feminist discourse on women’s representation in film and in the media generally. The movie also provides a way forward for gender-based discourse and serves as a point of reference for other female directors willing to interpret the role of women in a manner that is more accurate and truthfully reflective of their strengths and capacities. The study is anchored on stereotype content model (SCM).
 Keywords: Gender stereotypes, Nollywood films, Lionheart, Feminist critical thinking, SCM
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Kirchoff, Alisha, and Fabio Rojas. "Transgender Depictions in Film and Television." Contexts 20, no. 3 (2021): 8–9. http://dx.doi.org/10.1177/15365042211035326.
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This interview with Disclosure director Sam Feder and producer Amy Scholder takes a deep dive into the development of the critically acclaimed film highlighting transgender representation in Hollywood.
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Szűcs, Maja. "George Pal, de vergeten Hongaarse Oscarwinnaar." Acta Neerlandica, no. 16-17 (March 1, 2021): 53–77. http://dx.doi.org/10.36392/actaneerl/2020/16-17/4.
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The name of the Hungarian animation film maker and producer George Pal (1908–1980) is almost unknown both in his home country Hungary and in the Netherlands, even though he played a key role in the formation of the Dutch animation film industry and was later granted with eight Oscars after he had emigrated to the USA. Once personally for the invention of a new animation film making technique, the so-called Puppetoon system. In this article I would like to summarize and fill his biography with until now unknown facts. Besides that, I would like to introduce his development, the puppetoon-system and demonstrate why we should see Pal as the founder of the Dutch industrial animation production.
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Romli, Rosnandar, Mella M. Roosdinar, and Aat Ruchiat Nugraha. "Representasi Perempuan dalam Film Ayat-Ayat Cinta." Jurnal Komunikasi Global 7, no. 2 (2019): 183–204. http://dx.doi.org/10.24815/jkg.v7i2.11239.
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Film as part of mass communication has a considerable influence on the formation of opinions that occur in society. One of the best-selling films in 2008 was the film Ayat-Ayat Cinta. This research was carried out with assumptions about the existence of ideological battles that took place in a media discourse and representation of women in a film. The purpose of this research was to find out the representation of women in the film Ayat-Ayat Cinta through events in film stories that were commodified by cinematographers and audiences. The type of research method used is qualitative descriptive research analyzing media content with critical discourse analysis methods by Sara Mills. The research was conducted by dissecting the text in the film, looking at the subject-object position and the producer-reader position in climax scenes, to see how women are represented in the scenes. The results showed that the film still uses male perspectives in viewing the events; women are still represented more as objects than subjects; women are still viewed from the perspective of other parties (mostly men); the film leads the audience to identify themselves with male figures; and this film still affirms the patriarchal ideology
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Wildermuth, David. "Unsere Mütter, Unsere Väter: War, Genocide and “Condensed Reality”." German Politics and Society 34, no. 2 (2016): 64–83. http://dx.doi.org/10.3167/gps.2016.340204.
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By most accounts, the March 2013 television event Unsere Mütter, Unsere Väter (UMUV) marks an important milestone in the evolving cinematic treatment of the Third Reich, World War II, and the Holocaust. Winner of the Goldene Kamera for best television film of 2013, UMUV could boast such positive reviews and sensational viewer ratings as few other television films in the almost seventy-year existence of the Federal Republic. Frank Schirrmacher, co-editor of the Frankfurter Allgemeine Zeitung, credited the film with ushering in “a new phase of the cinematic-historic treatment of National Socialism,” specifically praising Nico Hofmann, the film’s producer, for his “seriousness, attention to detail, and uncompromising” approach to the film. The Süddeutsche Zeitung praised it as “epochal” and “awaking the war in its entire monstrosity.” Der Spiegel lauded the film as “a new milepost of German cultural remembrance,” for posing “the most important [entscheidende] question for those born after: “how would I have acted?” Even Martin Schulz, the German president of the European Parliament, weighed in on the film, praising the film’s emphasis on the subjective perspectives of the protagonists. His argument for the innate power of the cinematic medium over the written word was echoed by screenwriter Stefan Kolditz, who asserted that the film—like all films—represents, “condensed reality.”
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Ayres, John D. "Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64." Journal of British Cinema and Television 17, no. 3 (2020): 355–74. http://dx.doi.org/10.3366/jbctv.2020.0533.
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This article considers the working practices of British cinema's only major female film producer during the early-to-mid post-Second World War era, Betty E. Box (1915–99). Via reference to her extensive archive at the British Film Institute and the films Campbell's Kingdom (1957), The Wind Cannot Read (1958) and Hot Enough for June (1964), the article charts how Box initially envisaged multi-generational casting for roles that were eventually taken by long-term collaborator Dirk Bogarde. It considers the manner in which she approached the diplomatic complexities of location shooting, with particular focus on Ralph Thomas's military romance The Wind Cannot Read, the first British film to be shot in India for twenty years at the time of its production. The reasoning for Box's ongoing absence, as a female creative figure, from scholarship addressing British cinema, and film production more generally, will also be addressed.
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DIANE CARSON. "Let’s Not Compromise: An Interview with Independent Film Producer Maggie Renzi." Journal of Film and Video 62, no. 1-2 (2010): 86. http://dx.doi.org/10.5406/jfilmvideo.62.1-2.0086.
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Carson, Diane. "Let’s Not Compromise: An Interview with Independent Film Producer Maggie Renzi." Journal of Film and Video 62, no. 1 (2010): 86–95. http://dx.doi.org/10.1353/jfv.0.0059.
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Kiselyova, Olga I., Sergey V. Lutsenko, Natalia B. Feldman, et al. "The structure of Gluconacetobacter hansenii GH 1/2008 population cultivated in static conditions on various sources of carbon." Vestnik Tomskogo gosudarstvennogo universiteta. Biologiya, no. 53 (2021): 22–46. http://dx.doi.org/10.17223/19988591/53/2.
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Bacterial cellulose (BC) is a natural polymer that has a number of unique properties that determine the need to synthesize large amounts of it and to search the ways to increase the productivity of strains and to optimize the nutritive media. It is known that the choice of the producer for BC synthesis has an impact on its final properties and on the productivity of this polymer production. Under static liquid phase cultivation conditions, all cellulose-producing bacteria form a uniform film on the medium surface that serves as a scaffold for cells immobilization, thus providing them with the access to the air/liquid interface, where the access to oxygen is not limited. Meanwhile, when cultivation goes under agitating conditions, most of Gluconacetobacter xylinus strains produce less cellulose in form of globules of various sizes, despite the better oxygen access. Several authors explain the lower cellulose outcome when cultivated under agitated conditions by the appearance of spontaneous mutants that do not produce cellulose in the population. It was revealed that when grown on agarized media, cellulosenon- producing mutants form colonies of a specific mucoid type, while non-mucoid phenotype cells form smooth colonies of non-mucoid type. To our knowledge, there is no published research on the impact of cultivation conditions and nutritive medium composition on the appearance of spontaneous phenotype mutations in the population of Gluconacetobacter hansenii representatives. The aim of the present research is to elucidate the impact of the carbon source on the productivity of G. hansenii strain and the appearance of cellulose-negative mutants under static cultivation conditions. We studied the strain G. hansenii GH 1/2008 (VKPM В-10547) as a BC source. Liquid phase static cultivation of G. hansenii GH 1/2008 was carried out using the modified Hestrin-Schramm (HS) medium, containing 4% of monosaccharides (glucose, fructose and galactose) or disaccharides (sucrose, maltose, lactose) as carbon sources. The occurrence of mutants was calculated considering phenotypes of colonies obtained by seeding the samples of cultural liquid and wash-offs of cells from films produced by the cultivation of the producer on modified agarized HS media. The polymer outcome was expressed as the film absolute dry weight (a.d.w.) per cultivation medium volume unit. We studied the morphology of the producer’s wild type and mutant cells by means of atomic force microscopy (AFM) (See Fig. 8). The structural organization of the produced films and gel was revealed by means of scanning electron microscopy (SEM) performed after freeze-drying. The composition of the fibers was checked acquiring FTIR Spectroscopy. We established that G. hansenii GH 1/2008 produces a dense film on media containing fructose, glucose and sucrose, while the polymer has gel consistence when grown on maltose, galactose and lactose (See Fig. 1). The maximal quantity (a.d.w.) of polymer was produced on fructose- and sucrose-containing media. The overall number of immobilized producer cells was considerably higher when grown on media with glucose, fructose and sucrose than on gels grown on those containing maltose, galactose and lactose (See Table 1). SEM imaging revealed considerable difference in the microscale organization of films and gels produced by G. hansenii GH 1/2008 on various carbon sources (See Fig. 2). Fructose-containing medium yields the densest structure with dense layers separated by 2μm thick areas filled with non-ordered BC fibrils. The microscale organization of sucrose- and glucose-based films were very similar and had a cell-like structure. In cases where the synthesized polymer had squeezable gel consistence, its microstructure was not layered but close to isotropic. The studies of gels by means of FTIR spectroscopy showed that the gels are also formed of BC molecules; the spectra were almost identical (See Fig. 4). The only difference, i.e. the intensity of the 1638 см-1 peak, can be explained by the presence of a higher amount of bound water in the latter. It is known that some strains of this species may produce glucuronic acid oligomers under unfavorable conditions, but peaks corresponding to carboxyl or carbonyl groups were not revealed in the spectra. This is the evidence that no detectable amounts of glucuronic acid were produced under conditions studied. The analysis of colonies of G. hansenii GH 1/2008 cultivated under static conditions on media containing various carbon sources revealed colonies with two dominating phenotypes: non-mucoid smooth convex colonies and mucoid flat ones (See Fig. 5). The number of cells forming smooth non-mucoid colonies on agarized media was maximal in the inoculations of cultural liquids after the cultivation on media containing fructose and sucrose, i.e. those carbon sources that demonstrated high productivity per 1L of cultural liquid (See Fig. 6). In the inoculations of the cultural liquid and wash-offs of cells immobilized on gels obtained by the cultivation on media containing galactose and lactose, the number of mucoid colonies was considerably higher (See Table 2). The clones forming mucoid type colonies did not produce BC films when reinoculated in liquid media, while those forming colonies of mucoid (smooth) type produce films on the 3rd day of cultivation (See Fig. 7). The analysis of cells shape and sizes by means of AFM did not reveal any statistically valid difference between the mutants and the wild type. The present research shows that the source of carbon is a selective factor in the formation of the inner composition of the population of clones of the bacterial cellulose producer Gluconacetobacter hansenii GH 1/2008. The proliferation of cellulosenegative cells arouses competition for the substrate with cellulose-positive cells of G. hansenii GH 1/2008 that reduces the number of the latter and the production of the exopolymer.
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Spicer, Andrew. "The Impresario in British Cinema: Bernard Delfont at EMI." Journal of British Cinema and Television 18, no. 1 (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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Hutapea, Loretta Kainary, and Amilia Wulansari. "The Marketing Communication Strategy of Indonesian Film A Study Case: Laskar Pelangi Film." Malaysian Journal of Social Sciences and Humanities (MJSSH) 6, no. 10 (2021): 567–91. http://dx.doi.org/10.47405/mjssh.v6i10.1131.
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The purpose of this study is to present the appropriate marketing communication strategy for a film based on the marketing mix and communication mix strategy. Promotion is considered to be the most important sector in film where it is also determined as the first stage to introduce the new release film to the audiences. Therefore, promotions are used by the home production as a tool to provide the film information that aimed to create the public awareness towards the film and decide to watch it in cinema without taking the risk of being unsatisfied. The study will be in the form of a study case taking the well-known Indonesian film “Laskar Pelangi” as the object research. The methods that used are a descriptive qualitative approach through research, observation, and interview with the publicist team of Laskar Pelangi film. The finding shows that PT Miles Films as the home production of Laskar Pelangi using the Integrated Marketing Communication (IMC) such as advertising, direct marketing, sponsorship marketing, exhibitions, point of sale and merchandising, and Word of Mouth (WOM) by considering its target consumer which is the family and Laskar Pelangi novel’s reader. Furthermore, the company use the Unique Selling Point (USP) in terms of casting, producer, director, and also the moral value of the film affecting to improve the interest and consumer’s desire to watch the film. The overall research documents that for the film industry to perform well, the company needs to define the marketing tools based on the target market.
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Bakker, Gerben. "Selling French Films on Foreign Markets: The International Strategy of a Medium-Sized Film Company." Enterprise & Society 5, no. 1 (2004): 45–76. http://dx.doi.org/10.1017/s1467222700013185.
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Foreign markets largely shaped the business strategy of Les Films Albatros, a medium-sized, internationally networked specialty producer of films in interwar France. Depending more on foreign revenues than did the Hollywood studios, Albatros also realized higher gross returns. Because films were capital goods providing a perishable product (seats at a specific time), their price depended on both expected performance and the threshold ticket-selling capacity necessary to recoup cinema fixed costs; some films could not be sold at any price. Given the small potential market for its films, Albatros had to find an intricate balance between producing at low cost and delivering films with at least threshold ticket-selling capacity. It did so by differentiating its films, entering film distribution in France, coproducing internationally, and cooperating with Pathé and Gaumont, the two largest French film companies. While its larger European rivals were obsessed with operational effectiveness vis-à-vis Hollywood, Albatros, by adopting a distinct strategic position, hardly had to pay attention to operational effectiveness at all. It was making a differentiated product for needs unserved by Hollywood.
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Edwards, Alexandra. "Hollywood Regionalism." Feminist Media Histories 6, no. 2 (2020): 16–42. http://dx.doi.org/10.1525/fmh.2020.6.2.16.
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In her sixty years on earth, Gene Stratton-Porter was many things: a women's club organizer, nature photographer, naturalist, conservationist, best-selling novelist, and a burgeoning film producer who died just as her film studio began to realize her mission of adapting her novels into movies that could further her education and conservation efforts. By 1960, eight of her books had been turned into twenty-one films—silent and sound, black and white and color, from Poverty Row studios to members of the Big Five. This article examines how Stratton-Porter and others translated her regionalism and conservationism to film across a span of forty-three years that saw major revolutions in Hollywood filmmaking. The Hollywood studio system, I argue, appropriated her successful brand of regionalism and her audience of women's club members, while also augmenting her problematically genteel mode of activism.
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Vinod Rao, N., and R. Rajeshwari. "OTT as New Platform of Cinema Exhibition: Opportunities and Challenges for Kannada Films." Asian Review of Social Sciences 10, no. 1 (2021): 48–51. http://dx.doi.org/10.51983/arss-2021.10.1.2681.
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COVID-19 pandemic has affected many areas including cinema exhibitions. Due to non-opening of cinema theatres film makers found the platform that is over-the-top (OTT). Before COVID-19 OTT was not able to compete with theatrical release. However, the pandemic situations changed the way of movie release through OTT platforms such as Netflix, Amazon Prime, Hot-star and others. The usage of OTT increased during the period of lockdown. According to Boston Consulting Group, subscriptions increased 60% and average watching hours increased to 14.5%. In the Kannada film industry, the well-known actor and producer Punith Rajkumar’s two films titled Law and French Biriyani were released on India's second largest OTT platform Amazon Prime during the lockdown period. In this context, this research tried to find prospects of Kannada film exhibition through OTT platform. The specific objectives are to explore the opportunities for releasing Kannada films through OTT, to study the challenges ahead in this way. The study used both quantitative and qualitative research methods. Online surveys conducted with structured questionnaires among 100 OTT users and in-depth interviews conducted among the people who are involved in film making from Kannada film industry to answer the research questions. This study would help filmmakers who are intended to release their film through OOT in future.
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Emelonye, Obi, and Françoise Ugochukwu. "Exploring the diasporan dimension of Nollywood – a conversation with Obi Emelonye." Issue 1 1, no. 1 (2018): 41–51. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a3.
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Obi Emelonye, born on March 24, 1967 in Port-Harcourt (Nigeria), settled in London in the 1990s. A prolific film producer and director with a passion for excellence, he has greatly contributed to the professionalization of the Nigerian cinema in diaspora. A graduate of Theatre Arts from the University of Nigeria, Nsukka, with a Law degree from the British University of Wolverhampton, he turned to film production and direction after a short spell as a lawyer. He has since secured international distribution for most of his films, which treat a variety of contemporary subjects, and is now recognised as a truly international leader in the profession. In this personal interview dated August 23, 2018, he offers a panoramic view of his films and reveals the professionalism, passion and hard work which characterise his production and endeared his films to both Nigerian and international audiences.
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Musser, Charles. "Discovering Union Films and Its Archives." La quête du document 24, no. 2-3 (2014): 125–60. http://dx.doi.org/10.7202/1025151ar.
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This article begins by providing a narrative account of the (re)discovery of Union Films, the leading producer of left-wing documentaries in the United States in the immediate post-World War II era. Because of the Red Scare and blacklist, the organization has gone unmentioned in histories of documentary and radical filmmaking. The Orphan Film Movement has provided a cultural formation that has enabled this reclamation to unfold, providing a synergy between scholars, archives and labs. The question is then raised: where does the Union Films Project go from here?
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Islam, Md Mohiul. "Madam Fuli: An Echo of the Struggles of Women in Bangladeshi Society." Jurnal Pengajian Media Malaysia 22, no. 2 (2020): 17–30. http://dx.doi.org/10.22452/jpmm.vol22no2.2.
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Madam Fuli(1999) is an award winning creation of Shahidul Islam, the director of the film. It is one of the most remarkable films in Dhallywood, the Film Industry of Bangladesh, which won the National Film Award afterwards for its storyline and stunning acting by the protagonist’s (Fuli) cast Shimla. This film gave a jolt to the contemporary social systems of Bangladesh regarding our attitude towards the skin color of women and also towards our concept of beauty. Through the portrayal of various stage of Fuli’s life, the director, Shahidul Islam Khokon, who is the producer and the screen-play writer of this film, takes attempts to show what are the things and incidents a girl or a woman go through in the society in Bangladesh. By putting a tagline as ‘Fight for Right’ the director wants to visualize the struggle of a woman in the society of Bangladesh. But somehow, this film actually encourages the same follies and vices of the social practices that it intends to resist. This article shows how Madam Fuli actually waters into the roots of the same old racist concept of beauty.
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Akser, Murat. "Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training." CINEJ Cinema Journal 9, no. 1 (2021): 1–13. http://dx.doi.org/10.5195/cinej.2021.414.
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This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.
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Hong, Yanyan. "The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China." Global Media and China 6, no. 3 (2021): 345–63. http://dx.doi.org/10.1177/20594364211022605.
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India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews with 32 Indian-film audiences residing across 14 different cities in mainland China. Thematic analysis identified the following five appealing factors, which explain why the Chinese enjoy Indian films: content-driven story, social values, star power, audience reviews and cultural connections. While a comprehensive list of opportunities was derived showing the potential future of Bollywood in China, results found that China’s unique institutional context and an ongoing India–China geopolitical tensions also present challenges, which in turn add to the overall complexity of films’ success in the Chinese market. This article argues the powerful role of Bollywood in bridging cultures and improving India–China ties, as Indian films have made Chinese people more aware of India in a favourable way.
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Mubarak, Makbul. "Censorship and Adult Film Stars in Contemporary Indonesian Horror Cinema." ULTIMART Jurnal Komunikasi Visual 9, no. 1 (2018): 38–40. http://dx.doi.org/10.31937/ultimart.v9i1.735.
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There were uproars when film producer Ody Mulya Hidayat initiated to cast adult film stars in his film. It was Sora Aoi, a Japanese porn screen star. These uproars indicated multiple things. Some people are afraid that Aoi will nakedly act in front of Indonesian audiences. However, some others couldn’t wait the release date t0 be announced and buy tickets. All sights are suddenly upon the Indonesian Film Censorship Board, who is responsible to institutionally neutralize all the uproars. The formerly questionable institution is now at a big stake.
 Keywords : film, porn star, censorship
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Jones, Huw David. "UK/European Co-productions: The Case of Ken Loach." Journal of British Cinema and Television 13, no. 3 (2016): 368–89. http://dx.doi.org/10.3366/jbctv.2016.0325.
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Ken Loach stands out as one of the few British directors whose films are regularly co-produced with European partners. Of the nineteen films he has directed since 1990, fourteen have been UK/continental European co-productions. This article draws on interviews with Loach's long-term producer Rebecca O'Brien, content analysis of his films and the statistical analysis of box-office data to examine how and why Loach came to work with continental European co-production partners and how these partnerships have affected the cultural identity of his films and their box-office performance. It argues that while some of Loach's co-production partnerships were initiated for creative reasons, most have proceeded on a ‘finance-only’ basis, whereby the partners have had very little creative input into his films. Co-production has therefore allowed Loach to continue making ‘culturally British’ films without the creative interference which often comes with this mode of film-making. This creative freedom has been vital in terms of maintaining Loach's reputation as one of Europe's leading auteurs and attracting the attention of film festivals like Cannes and Berlin, which in turn has played a key role in the marketing of his films and increasing their admissions in key continental European territories. Co-production has also boosted the performance and circulation of Loach's films in mainland Europe by making it easier to access EU MEDIA distribution support. These findings not only offer new insights into Loach's films in terms of their production, content and reception, but also contribute to wider debates surrounding co-production and transnational cinema.
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Fanea-Ivanovici, Mina. "Prosumers." International Journal of E-Services and Mobile Applications 11, no. 3 (2019): 48–60. http://dx.doi.org/10.4018/ijesma.2019070104.
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During the current digital (r)evolution, consumer and producer roles have started to converge, with consumers becoming value creators and, to a certain extent, producers. This phenomenon is particularly enhanced on online platforms and social networks, especially in creative-cultural industries. The goal of this research is to discuss the role of the prosumer in the film industry in the context of crowdfunded projects, with a focus on the Romanian experience. Through an empirical analysis of successful filmmaking crowdfunding projects, the backers' role in the film production process is investigated. The eight cases analysed within this research represent the quasi-totality of the successfully crowdfunded filmmaking projects via Romanian crowdfunding platforms. The research reveals that the active involvement of backers-consumers into the film production process represents one of the most valuable rewards offered in exchange for the highest financial contributions, with the majority of successful filmmaking projects including it in their reward strategy. According to the research findings, filmmakers understand that, on the one hand, fans can financially contribute more by being provided with such an opportunity, and that, on the other hand, prosumers can use their skills and expertise and translate them into creative input, execution, assessment, and testing of the project. The author posits that the opportunity to become producer in a film is an incentive to financially (and additionally non-financially) contribute to the project, thus increasing the odds of the project to be successful. Such conclusion can improve the reward scheme in crowdfunded filmmaking projects as well as their rate of success.