Academic literature on the topic 'Film trade publications'

Women's marginalization in the British feature film industry is well documented: gender discrimination, and sometimes overt segregation, shut most women out of senior creative roles after the introduction of sound. What has received less critical attention is their participation in nonfiction filmmaking, which offered women greater employment opportunities, especially in the decades after World War II as Britain rebuilt its economy. This article provides the first historical mapping of women's involvement in sponsored nonfiction filmmaking in Britain in the period between 1945 and 1970, using newly available statistical data from Britain's film trade union, the Association of Cinematograph, Television and Allied Technicians (ACTT). It also draws on oral histories, extant films, and specialist trade publications to outline two case studies, one featuring three editors, and the other a director (Sarah Erulkar) who between them produced, directed and edited more than two hundred shorts on topics ranging from mineshaft sinking to French cookery. It argues that evidence of women's creative agency in this sector offers new ways of thinking about film history.

Even though the volume of trade in goods and service increases in some advanced economy countries, trade in cultural goods and services remain in neglected terrain within multilateral frameworks. WTO has indeed highlighted the importance of cultural goods’ protection; however, its meaning and scopes, terms of protection, and dispute settlement on cultural goods and services have remained vague. On the other hand, UNESCO shed some lights on the trade of cultural goods and services, but some of the articles in its convention arises some contradiction with WTO clauses. The cases presented in this paper are all related to the culture trade, namely Canada for a periodical case (DS31), Turkey’s taxation of foreign film (DS43), Canada’s case on film distribution service (DS117), and China’s case on publications and audiovisual products (DS363). This paper aims to analyze how those cases were handled in the dispute settlement of WTO and supposed to be handled by both UNESCO and WTO. I would like to draw some lessons from the inadequate dispute settlement in WTO on culture trade, then proceed to formulate some suggestions of how cultural trade-related disputes are supposed to be formulated.

AbstractIn China–Audiovisuals, a series of Chinese restrictions on the importation and distribution of certain ‘cultural’ or ‘content’ goods and services were found to violate GATT, GATS, and China's Accession Protocol. This paper reviews the definition of what is a ‘good’ (is a ‘film’ a good or a service?) and the extent to which GATT Article XX exceptions can justify violations under WTO instruments other than the GATT itself. We argue that trade volumes are unlikely to significantly rise as a result of this ruling as it does not affect China's right to keep out foreign films and publications if China finds them objectionable. However, foreign producers of audiovisuals can now gain potentially large economic rents, by being able to export and distribute their products into the Chinese market. Finally, we discuss the issue of the protection of cultural goods and review the recent literature on trade and culture that has put forward economic arguments to justify, under some conditions, the protection of cultural goods.

IntroductionTobacco imagery in films and television increased in India after it ended conventional tobacco advertising in 2004. The Ministry of Health and Family Welfare (MoHFW) introduced rules to eliminate this tobacco imagery in 2005 which took effect in amended form in 2012. This study presents the enablers and barriers in development and implementation of the regulations to curb tobacco imagery in films and television in India.MethodWe reviewed legislation, evolving regulations, parliamentary questions, judicial decisions, Bollywood trade publications and relevant news articles from 2003 to 2019 and interviewed key informants.ResultsBased on the WHO reports and civil society demands, the MoHFW issued a complete ban on tobacco imagery in movies and television programmes in 2005. The Ministry of Information and Broadcasting (MoIB) joined the film industry in opposing the rules. A filmmaker challenged the rules in court, which ruled that they violated constitutional freedoms. On appeal by MoHFW, the Supreme Court allowed the rules to take effect. Continuing opposition by MoIB and the film industry weakened the rules and delayed implementation until 2012. As of 2020, rather than a ban, all films with tobacco imagery require strong editorial justification, 100 s of antitobacco messages produced by the MoHFW, and a static health warning at the bottom of screen during tobacco imagery display. In 2015, less than 48% of movies had tobacco imagery compared with 89% in 2005.ConclusionsAlthough, not a ban, MoHFW, supported by local advocates and WHO, issued regulations that resulted in a substantial drop in on-screen tobacco imagery and increased exposure to antitobacco messages. India’s experience informs WHO Framework Convention on Tobacco Control parties as they develop and implement policies to curb tobacco imagery in entertainment media.

This article considers the urban landscape of New York City’s theatre district in the 1970s and how its identity as a contested space provides insight into key cultural shifts, including changes to the regulation of media, variance and convergence between industrial practices in the film industry, and discursive struggles between culture and capital. With many of the city’s luxurious picture palaces converted into movie theatres with cheaper ticket prices and more genre fare in the wake of the Great Depression, critics sought to contain ‘low’ media such as horror and pornography to prevent their spread from grind houses to prestigious milieus. Using the case study of Snuff (The Findlays, 1976) and its run at the National Theatre on 44th Street and Broadway, I argue that dailies and trade publications were more concerned with the choice of exhibition venue than the content of the low-budget exploitation feature from Monarch Releasing Corporation. Consequently, objections to the film were informed by broader contexts of gentrification, tastemaking and cultural distinctions, with hyperbolic images of the imagined audiences for Snuff generated by tastemakers when they were unable to convincingly critique the National itself.

This article places 1950s women story editors in television in the context of the studio system and explains the particular labor of the story and script editors in film and TV. It examines the extant records and archival sources (including newspapers, industry trade publications, and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men.” These “infamous” (or, more appropriately, un-famous) women story editors become visible as they are being penalized, disciplined, or fired—which is to say, they only appear in the historical record when they are being pushed out or when they push back. As Hechtlinger writes in an angry memo to a supervisor at The United States Steel Hour (ABC, 1953–55; CBS, 1955–63), “I think it was a shameful omission that I was not permitted to attend today’s meeting.” For decades, women like Hechtlinger and Wood have suffered such “omissions” within television history. This essay seeks to integrate their stories, work, and subjectivities into the field of postwar media industry studies while revealing how this hidden history invites a rereading of media texts from the period.

Few good texts for use in teaching a garden center management course are currently in print. But a wealth of excellent information exists in the form of trade journal articles and business management publications. The second edition of The Garden Center Management Manual combines pertinent articles into 21 categories (chapters). Each chapter begins with a “fill-in-the-blank” summary designed as a guide for note-taking. A teacher's edition is available with the completed summaries. The articles in each chapter appeared in trade journals or other publications between 1985 and 1990. This text can serve as the basis for a garden center management course or as a reference for garden center managers.

PurposeThis paper discusses the well-publicized labor shortages in the building trades, reviews the causes for the deficiencies, and presents prescriptions for how career counselors and schools can play a critical role in encouraging young adults to consider construction occupations.Design/methodology/approachUsing data from government agencies, trade organizations, and scholarly publications, this paper describes the categories of the building trades as well as their employment trends and compensation prospects. It also reviews the personal and environmental factors that could lead to the “construction of a construction career.”FindingsThis article documents the reasons for the labor shortages in the construction industry and then offers recommendation on how younger adults could be encouraged to consider the building trades as viable career alternatives.Social implicationsLabor shortages in the construction industry have a direct and indirect deleterious effect on the economic well-being of every country. This article provides suggestions on how to inspire young adults to consider the building trades as worthwhile career pursuits.Originality/valueThere is a limited amount of scholarly attention given to career decision making related to occupations that do not require a college degree, including the building trades. This paper attempts to fill this gap in the literature by focusing on the individual characteristics and environmental factors that might prompt consideration of a career in the building trades. It also describes the educational, governmental, and corporate initiatives that work to encourage individuals, working in conjunction with their career counselors, to consider careers in the construction industry.

Combining archival and ethnographic fieldwork, this piece reflects on the scope of film publicity through the author’s conversations with the proprietor-editor of the oldest film magazine in Pakistan, The Nigar Weekly. Offering a larger view from post-colonial Karachi of political and national transitions, Nigar’s brand of film commentary in the 1950s and 60s, reveled in connecting and cohabiting the multiple film centers in South Asia: Karachi, Lahore, Dhaka and Bombay. Foregrounding the muhajir background of its founders and its self-styled relationship with the film industry, the piece draws attention to a distinctive characteristic of the publication: its satirical visual content. The magazine while borrowing select content from a Bombay film magazine in its early years, vividly commented on issues such as film trade with India, censorship and public morality in Pakistan, cross-border film intimacies, film exhibition practices, and local production strategies. The cartoons, while directly connected to the written content, could also exaggerate and provoke as can be expected of visual satire. And it is in this less restrained feature of Nigar that a cautionary critique and a calculated celebration of the Pakistani cinema emerges.

Purpose The purpose of this study is to identify factors that have led to the rebirthing of the illicit cultivation of tobacco in Australia known as chop-chop. Limited research has been conducted on the Commonwealth policing of tobacco-related criminal activity, but no prior studies have investigated domestic cultivation since the tobacco farming ceased legal production. Design/methodology/approach To fill the void of the literature, this study used data collected from Australian Government publications, court cases and newspapers to develop an understanding of the financial aspects and policing of the rebirth of chop-chop. Newspaper articles for a range of publications for a two-year period were used to examine policing efforts to disrupt criminals engaged in domestic cultivation of tobacco. Findings As tobacco was first legally grown in Australia, authorities have always faced the problems associated with the illicit cultivation of tobacco. Findings indicate that as a result of the increased number of successful interception of illicit tobacco at the border, the domestic cultivation of chop-chop is growing as criminal enterprises find alternative means to fund their activities. Originality/value The paper improves upon a neglected topic by offering a current contribution to a topic looking at the illicit tobacco, chop-chop trade.

Cette étude s’inspire de questionnements soulevés, dans le cadre de leur recherche, par deux spécialistes du cinéma. Une première piste de recherche concerne l’histoire du cinéma des premiers temps et les sources documentaires, que l’historien Jan Olsson a défini comme un « domaine discursif » (“discursive domaine”) à part entière. Une deuxième piste de recherche s’inspire d’une remarque du philosophe et théoricien Murray Smith à propos de la manière dont les spectateurs se représentent mentalement les films qu’ils ont vus comme un domaine de la recherche cinématographique inexploré (“unchartered territory”). Cette thèse se concentre sur la « conscience cinématographique », c’est-à-dire sur la capacité du spectateur à se représenter mentalement un objet filmique ou à penser cinématographiquement. Cette formulation désigne des phénomènes particuliers. Historiquement, cette « conscience » est une forme de « sensibilisation au cinéma » (« movement of consciousness »), phénomène dont on peut observer les effets dans les textes consacrés au cinéma dans les années 1907-1912. Cette « sensibilisation » se manifeste par un intérêt grandissant pour les films, par l’invention de termes et de notions permettant de parler de cinéma, par des études spécialisées, portant sur le spectatorat ou la critique, montrant que les contemporains avaient conscience de cette « sensibilisation » (« self consciousness »). Ce questionnement de fond sur les sources documentaires, en tant qu’elles sont le révélateur d’une « conscience cinématographique », a une implication historiographique et méthodologique importante. L’apparente naïveté des sources d’époque a conduit certains historiens à décrire les spectateurs de l’époque comme étant, eux aussi, naïfs. Or, en réalité, la perception des phénomènes filmiques par les contemporains était plus complexe et nuancée que ce que les sources ne laissent le dire. Cette approche, qui porte sur les mentalités de l’époque et l’impact du cinéma sur les spectateurs, conduit à chercher les traces de cette « sensibilisation » dans les textes d’époque, à prendre compte des champs lexicaux et de leur évolution dans le temps. Elle permet également, pour l’historien, de tenir compte de la subjectivité des textes d’époque plutôt que de ne s’attacher qu’à des sources objectives ou des témoignages. Dans le cadre de cette thèse, la formulation « conscience cinématographique », dont l’occurrence n’est pas rare dans la littérature consacrée à l’histoire du cinéma, désigne cette partie de la conscience qui est façonnée par le cinéma. Cette conscience a plusieurs fonctions qui correspondent, chacune, à diverses catégories de conscience cinématographique. Il s’agit de la « sensibilité à l’esthétique du film », la « sensibilité à la technicité du film », la « sensibilité à la culture cinématographique », la « sensibilité au cinéma en tant qu’objet de pensée » ainsi que d’autres éléments permettant à la conscience de s’exercer (le lieu de la mémoire où reposent les souvenirs de films, les moments de cinéma associés à une identité personnelle, la faculté d’être conscient de sa propre conscience filmique et la conscience filmique subjective, forme de conscience et de sensibilité liée à une grande connaissance du cinéma. Ces diverses catégories de « sensibilité » à la chose cinématographique forment un vaste champ d’étude permettant de prendre la mesure de la transformation des mentalités et de cartographier le territoire inexploré évoqué par Murray Smith. Chacune de ces catégories représente un domaine de recherche spécifique, avec ses questionnements et ses enjeux propres, mais prend place dans un champ plus vaste, celui de « conscience cinématographique ». Quand cette approche s’applique aux sources documentaires portant spécifiquement sur le cinéma et son évolution, il est possible de voir à quel point le cinéma transforme les mentalités.
This thesis attempts to follow through on two “calls for further research” from recognized film scholars. One line of research centers on early cinema and especially on early American film publications (from 1906 to 1913), which Jan Olsson has defined as a “discursive domain calling for analysis as a phenomenon in its own right,” as opposed to only being “source material” film historians use for writing about early cinema. Another line of research concerns the “relationship between consciousness and film” that Murray Smith argues is an “unchartered territory” in film studies. In this thesis, this relationship between “consciousness and film” is defined from the perspective of ‘film consciousness’, which is a formulation with several functions. In some contexts, it refers to a “movement of consciousness” that appears in early film publications over the course of several years (between 1907 and 1912) manifested in a growing recognition of the constructed, aesthetic nature of film, changes in terminologies for naming and defining the object of cinema, in particular activities showing an appreciation of the contextual meaning of films, and in self-consciousness, such as in the study of audiences and meta-criticism. These parallel lines of research have an important scientific and methodological implication, in that early film publications are sometimes implicitly seen as displaying a “naïve consciousness” that is transposable onto early spectators broadly. A “film consciousness” approach recognizes a more complex consciousness that is revealed in subtle changes in language-use and behaviour over a period of time. It also allows for the study of the subjectivity of the writers as well, which is often revealed indirectly to the film historian, as opposed to explicit descriptions of subjective film experience. The formulation ‘film consciousness’ – which is occasionally used in film discourse, though usually without an institutional definition – is also regarded in this thesis as presenting its own ontological nature in the way it brings two semantic fields (“consciousness” and “film”) into relation. From this formulation, several “categories of film consciousness” are constructed. These include “film aesthetic awareness,” “film production awareness,” “film culture awareness,” “ways of existing towards film,” and several “entities of consciousness” (an imagined place in consciousness assumed to contain past film experiences, conscious phenomena derived from film experiences that are seen as bound to personal identity, a faculty that determines the way reality is engaged with, and a particular kind of conscious experience, defined as “subjective film consciousness.”) These categories of film consciousness collectively constitute an imagined “field of film consciousness” that serves to conceptualize the “unchartered territory” Murray Smith defines. Each category represents an individual area of research with concomitant questions and criteria that nevertheless exist on a continuum that the key term ‘film consciousness’ brings into constant rhetorical relation. When this field is applied to a set of film-related data, such as early film discourse, a set of connections between different regions of film consciousness emerges, thus allowing for the description of film consciousness at various levels.

The chapter covers Edith’s research into the oil industry and multinational companies, and the rise of the Organization of Petroleum Exporting Countries, including publication of The Large International Firm in Developing Countries (1968), which challenged the traditional theories of international trade and investment as they applied to the oil industry. She was the first to discover the significance of transfer pricing and tax avoidance. She started seminars on the international petroleum industry with Peter Odell and later with Robert Mabro, at St Anthony’s College, Oxford. Edith travelled extensively, analysing the impact of multinationals on the economic welfare of the countries in which they operated, focusing on the efforts made by governments to retain as much as possible of their economic and political sovereignty, while still benefiting from the resources and capabilities of foreign investors. By the time of the ‘oil crisis’ of 1973 she was considered one of the top oil economists in the world.

This chapter gives an overview of British popular culture in 1960, looking at society in post-war Britain and showing how different Peeping Tom was to other films released that year. It then looks in detail at the critical response to the film at the time it came out, trying to unpick why the most influential critics of the time responded to it in such a negative way, writing damning reviews that had a devastating effect on the future of the film and its director Michael Powell. We also look at the lesser known, more positive reviews from foreign and trade publication film critics.

The film technicians who used and managed the technology within the Hollywood studios themselves, such as cameramen and electricians, take center stage in this chapter, focusing on how the technical work of motion picture production was understood, managed, and promoted within the new “factory” system of Hollywood. The primary case study here is the cameramen, who used their organization, the American Society of Cinematographers, and its publication, American Cinematographer, to establish their status as the chief technicians in motion picture production in the silent period, often by resisting unionization and by touting their special knowledge of the tools of the trade. The cinematographers positioned themselves as “engineers” within the studio, a position that the incursion of trained sound engineers into Hollywood challenged.

The amount of trade and international business volume in the world has amounted considerably as a result of the fast moving globalization and declining borders especially after the 1990s. International business and trade are important tools for countries and enterprises to increase their volumes of production and commerce as well as enhance employment, increase the national income and raise revenue for enterprises to make further investments. Turkey is located at the threshold of Europe and Asia, consolidating East and West, and North and South at the convergence of various trade routes. However, despite of being close to various countries, a great deal of Turkey's export potential is focused on the EU and developed countries. However, the production means in Turkey are not adequate, so it imports factors of production from abroad by way of international business operations. Thus, the aim of this study is to review the theory of globalization, international business, firm internationalization process of businesses, impact direction of multinational businesses as well as the commercial operations of the Turkish enterprises, real and commercial abilities of the Turkish firms and international business activities on the global basis; compare this to its entire trade volume and propose comments on these issues resting on credible national and international publications and figures.

The amount of trade and international business volume in the world has amounted considerably as a result of the fast moving globalization and declining borders especially after the 1990s. International business and trade are important tools for countries and enterprises to increase their volumes of production and commerce as well as enhance employment, increase the national income and raise revenue for enterprises to make further investments. Turkey is located at the threshold of Europe and Asia, consolidating East and West, and North and South at the convergence of various trade routes. However, despite of being close to various countries, a great deal of Turkey's export potential is focused on the EU and developed countries. However, the production means in Turkey are not adequate, so it imports factors of production from abroad by way of international business operations. Thus, the aim of this study is to review the theory of globalization, international business, firm internationalization process of businesses, impact direction of multinational businesses as well as the commercial operations of the Turkish enterprises, real and commercial abilities of the Turkish firms and international business activities on the global basis; compare this to its entire trade volume and propose comments on these issues resting on credible national and international publications and figures.1

Country music was recorded in Nashville as early as the 1920s, but it was not until the mid-1950s that the city became a significant center for the production of recorded country music. This chapter traces the development of Nashville’s recording studio infrastructure from ad hoc facilities used in the decade following the end of World War II to the mid-1970s, when the city was home to several state-of-the-art permanent recording facilities. This chapter not only explores the business of recording in Nashville, but also examines how new technologies that were deployed within the city’s recording studios changed the ways in which musicians created their work (Horning 2013). Finally, this chapter considers how trade publications, the mainstream press, and films promoted Nashville as both a state-of-the-art recording center and a relaxed, small-town alternative to urban recording industries in New York, Chicago, and Los Angeles.

In this two-part publication, various aspects of thermo-fluid modelling for gas turbines are described and their impact on performance calculations and emissions predictions at aircraft system level is assessed. Accurate and reliable fluid modelling is essential for any gas turbine performance simulation software as it provides a robust foundation for building advanced multi-disciplinary modelling capabilities. Caloric properties for generic and semi-generic gas turbine performance simulation codes can be calculated at various levels of fidelity; selection of the fidelity level is dependent upon the objectives of the simulation and execution time constraints. However, rigorous fluid modelling may not necessarily improve performance simulation accuracy unless all modelling assumptions and sources of uncertainty are aligned to the same level. Certain modelling aspects such as the introduction of chemical kinetics, and dissociation effects, may reduce computational speed and this is of significant importance for radical space exploration and novel propulsion cycle assessment. This paper describes and compares fluid models, based on different levels of fidelity, which have been developed for an industry standard gas turbine performance simulation code and an environmental assessment tool for novel propulsion cycles. The latter comprises the following modules: engine performance, aircraft performance, emissions prediction, and environmental impact. The work presented aims to fill the current literature gap by: (i) investigating the common assumptions made in thermo-fluid modelling for gas turbines and their effect on caloric properties and (ii) assessing the impact of uncertainties on performance calculations and emissions predictions at aircraft system level. In Part II of this two-part publication, the uncertainty induced in performance calculations by common technical models, used for calculating caloric properties, is discussed at engine level. The errors induced by ignoring dissociation are examined at 3 different levels: i) component level, ii) engine level, and iii) aircraft system level. Essentially, an attempt is made to shed light on the trade-off between improving the accuracy of a fluid model and the accuracy of a multi-disciplinary simulation at aircraft system level, against computational time penalties. The results obtained demonstrate that accurate modelling of the working fluid is not always essential; the accuracy/uncertainty for an overall engine model will always be better than the mean accuracy/uncertainty of the individual component estimates as long as systematic errors are carefully examined and reduced to acceptable levels to ensure error propagation does not cause significant discrepancies. Computational time penalties induced by improving the accuracy of the fluid model as well as the validity of the ideal gas assumption for future turbofan engines and novel propulsion cycles are discussed.