Relevant bibliographies by topics / Movie distribution

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

Academic literature on the topic 'Movie distribution'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Movie distribution"

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Ocheretko, O. Y., and H. M. Rozorinov. "DIGITAL MOVIE DISTRIBUTION AND PROTECTION TECHNOLOGIES." Scientific notes of Taurida National V.I. Vernadsky University. Series: Technical Sciences 4, no. 2 (2019): 151–58. http://dx.doi.org/10.32838/2663-5941/2019.4-2/25.

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Ma, Jingpei, and Wenli Li. "Optimal Distribution Strategy for Movie Product." International Journal of Economics, Finance and Management Sciences 8, no. 1 (2020): 31. http://dx.doi.org/10.11648/j.ijefm.20200801.14.

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Silver, Jon, and Frank Alpert. "Digital dawn: a revolution in movie distribution?" Business Horizons 46, no. 5 (September 2003): 57–66. http://dx.doi.org/10.1016/s0007-6813(03)00072-7.

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Lehmann, Donald R., and Charles B. Weinberg. "Sales through Sequential Distribution Channels: An Application to Movies and Videos." Journal of Marketing 64, no. 3 (July 2000): 18–33. http://dx.doi.org/10.1509/jmkg.64.3.18.18026.

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This article focuses on the sale of a product across channels that are entered sequentially. Using a two-channel model, the authors derive the optimal time to enter the second channel and then obtain a specific parametric solution for movie distributors regarding theater attendance and subsequent sales to video stores. Using data from 35 movies, the authors estimate exponential sales curves for both theater attendance and video rentals and demonstrate how knowledge of the sales parameters in the first channel (theaters) helps predict sales in the second channel (video rentals). Finally, from the movie distributor's perspective, the authors calculate optimal release times based on the model and its estimated parameters. The results suggest that profits would increase if movies were released to video sooner than is the current practice.
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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.
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Bretthauer, Lars. "„Film ab“." PROKLA. Zeitschrift für kritische Sozialwissenschaft 36, no. 145 (December 1, 2006): 497–518. http://dx.doi.org/10.32387/prokla.v36i145.534.

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With the implementation of digital technologies in the movie industry, the established relations of distribution and consumption were partly undermined by peer-to-peer-filesharingnetworks and the private use of CD- and DVD-burners. This process was accompanied by heavy protests and campaigns of the movie industry labelling “movie piracy” as a serious crime. Drawing on the framework of materialist state theories, this article examines the struggles in the legal re-regulation of the German Urheberrecht concerning the accepted use of digital technologies for private use in the process of movie distribution and consumption (forms of intervention), and the institutional selective access of social forces to the political decision process’ in the state apparatus’ (forms of representation). Secondly, this article is concerned with the struggles in the German civil society that are centred around the initiation of a new hegemonic world-view consisting of the acceptance of the industry’s private property rights on digitalised movies: the included the different threat and surveillance strategies pursued by the movie industry and the different forms of protest and resistance against it.
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LaRose, Robert, and David Atkin. "Attributes of movie distribution channels and consumer choice." Journal of Media Economics 4, no. 1 (March 1991): 3–17. http://dx.doi.org/10.1080/08997769109358200.

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Natividad, Gabriel. "Financial Slack, Strategy, and Competition in Movie Distribution." Organization Science 24, no. 3 (June 2013): 846–64. http://dx.doi.org/10.1287/orsc.1120.0765.

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McKenzie, Jordi. "Movie producers and the statistical distribution of achievement." Applied Economics Letters 17, no. 17 (November 2, 2010): 1657–61. http://dx.doi.org/10.1080/13504850903194183.

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Seonghee Seo. "A Study on Distribution Market of Korean Movie." Film Studies ll, no. 35 (March 2008): 379–400. http://dx.doi.org/10.17947/kfa..35.200803.013.

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Dissertations / Theses on the topic "Movie distribution"

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Andrle, David. "Vliv nových médií na filmovou a video produkci." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-124779.

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The work is focused on the influence of movie and video production in connection with the new media. It is focused to map how the new media influenced the distribution of movie and video production, depending on their use on the market. The work defines the basic concepts and direction of new media. Characterizes the divergence of terms like old and new media, what are their differences, specifics and how they change film and video distribution channels. It creates complete list and comparison of existing providers of video on demand services. It brings up specified criteria and on base of them compares the most popular video hosting sites. The work includes and specify other channels, which facilitate the spread of film or video and was build up by Web 2.0. Because of the frequent encounters of the Copyright Act in connection with the illegal distribution, especially in the film, this theme is also included in the content.
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Dayan, Hélène. "La représentation du Pouvoir depuis 1990 par les réalisateurs Italiens : un nouveau cinéma politique engagé?" Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030176.

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Comment considérer le cinéma italien des vingt dernières années ? Si en France il est associé à quelques réalisateurs qui luttent contre Berlusconi et contre un système politique et économique corrompu, tels que Roberto Benigni, Nanni Moretti, Sabina Guzzanti, et plus récemment Paolo Sorrentino ou Matteo Garrone, il ne trouve pas la même estime chez ses compatriotes qui, comme en témoignent les résultats du box-office, le considèrent tout au plus comme un moyen de divertissement. La critique des deux pays s’accorde cependant pour dire que l’on assiste depuis une dizaine d’années à un retour du cinema d’impegno (cinéma d’engagement) cher aux réalisateurs des années 1960-1970. Sorrentino et Garrone auraient repris respectivement les flambeaux de Elio Petri et de Francesco Rosi… Peut-on parler d’une nouvelle vague de cinéastes engagés et d’un nouveau cinéma politique italien ? Pour répondre à cette question, nous nous sommes penchés sur quatre films en particulier qui traitent de thèmes explicitement politiques et proposent une représentation de l’homme de Pouvoir différente de celle officielle : Il portaborse de Daniele Luchetti, Il Caimano de Nanni Moretti, Il Divo de Paolo Sorrentino et Qualunquemente de Giulio Manfredonia. Après avoir analysé la façon dont l’homme de Pouvoir est dépeint par ces cinéastes, nous avons essayé de comprendre si ces films sont l’expression d’un engagement réel et d’une volonté de dénonciation ou s’ils répondent à la demande d’une économie de marché et au besoin d’entendre un discours rassurant de la part du public. Dans une société où dire du mal de Berlusconi a permis à certains de s’enrichir et de se faire connaître, et où les systèmes de production et de distribution cinématographiques semblent verrouillés, l’existence d’un véritable cinéma politique est problématique. Il semble en effet difficile d’envisager qu’une œuvre exprime une opposition si elle est acceptée et financée par les entreprises de l’homme qu’elle critique. Face à ce contexte et aux témoignages de nombreuses personnalités du cinéma, nous avons cherché à comprendre si le sens et les critères sur lesquels repose la notion de cinéma politique sont à redéfinir
How can we consider the Italian cinema of these past twenty years? In France it is associated with a few movie directors such as Roberto Begnini, Nanni Moretti, Sabina Guzzanti and more recently Paolo Sorrentino or Matteo Garrone, who fight against Berlusconi and a corrupt political and economic system, but it isn't received with such esteem in Italy where it is considered at the most as a means of entertainment, as indicated by box-office results.In both countries, reviewers however agree to say that for about ten years we have been witnessing a return to a « cinema d'impegno » (politically-motivated films), a form of cinema which is dear to the directors of the 60´s and 70's. Sorrentino and Garrone would have respectively taken over from Elio Petri and Francesco Rosi... Can we talk about a new wave of politically and socially-aware movie directors and about a new political Italian cinema? To answer this question, we have been studying four films in particular, which deal with themes that are explicitly political and which offer a different representation of the man of Power from the official one.: Il portaborse by Daniele Luchetti, Il Caimano by Nanni Moretti, Il Divo by Paolo Sorrentino and Qualunquemente by Giulio Manfredonia. After analysing the way the man of Power is depicted by these movie directors, we have tried to understand if these films are the expression of a real political commitment and of a will to denounce or if they only meet the demand of a market economy and the need for people to hear a reassuring speech. In a society where speaking badly of Berlusconi has allowed some to grow richer and make themselves known, and where movie production and distribution systems seem closed, the very existence of a political cinema appears problematic. Indeed, it seems difficult to consider that a cinematographic work can express some opposition if this work is accepted and financed by the undertakings of the man it criticizes. Faced with this context and with the testimonies of numerous leading figures of Italian cinema, we have been trying to understand if the meaning and the criteria on which the notion of political cinema is based have to be redefined
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Nielsen, Joy. "Developing a Digitally Transformed Business Model." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20720.

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Online movie distribution has become a common practice after giants such as HBO and Netflix have entered the scene. Despite the new digital technologies, the Danish movie industry are having a hard time benefitting from these. While watching the Danish movie ticket sales decrease, the film industry can observe the increasing number of people staying at home watching Netflix. Therefore, it is essential that the movie industry start looking at their business- and distribution models in order to find out where they can optimize their businesses. By using a qualitative inductive approach, this study explored how the Danish movie industry’s traditional business- and distribution models can be adjusted; in order to meet customer demands and be able to compete with its digital competitors. Focus groups with movie customers as well as interviews with industry experts were conducted. The main results were that the participants preferred watching Danish content at home, because of the lack of special effects; because of the cinema ticket prices; as well as the many different options they have at home. Furthermore, it was found that the film industry has difficulties creating content that is embracing new technologies such as 3D; that they are still focusing on the mass when producing movies; and they are not able to get first-hand data from customers. Based upon these results, new business models and distribution models were created. These implement concepts of how the Danish movie industry can meet the requirements of the audience and be able to compete with its digital competitors. The business models include a varies of factors such as Virtual Reality, 3D, data-driven marketing, audience co-creation, new niche subsidy possibility, crowdfunding, more film club memberships and QR codes. The new flexible distribution model makes it possible for a movie to move into the Video-on-Demand window as soon as the movie stops selling in the cinema. These models propose that by implementing these concepts in their business models, the film industry can attract more customers to Danish movies as well as move toward a digital transformation, letting them benefit from the new technologies and be able to compete with its digital competitors. Thereby this study contributes with the first steps for the Danish movie industry to go through a digital transformation.
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Cho, Ju-eun. "Impact de l'internet sur le cinéma : avec des exemples de trois pays : la France, les Etats-Unis et la Corée du Sud." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080002.

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Depuis les années quatre-vingt-dix, la propagation de l’internet et de ses périphériques a permis à de nombreux producteurs, distributeurs et spectateurs de cinéma de modifier leurs attitudes vis-à-vis des films. Notre travail a consisté à démontrer que les caractères techniques de l’internet, ainsi que l’hypertextualité et l’interactivité, expliquent les changements des activités liées au cinéma et au film même. Bien que la réception de l’internet de la part du public ait été extraordinairement rapide, la part du marché du film en ligne n’est cependant pas encore notable. Nonobstant cela, la croissance de la génération numérique et la simplification des techniques nous encouragent à confirmer le potentiel de l’internet. La filière de la distribution est davantage influencée par l’internet. La concurrence s’est multipliée et l’évolution de la chronologie des médias était inévitable. Malgré la menace de la piraterie et la formation du réseau interne des méga-médias, il semble que l’internet soit un canal on ne peut plus utile en ce qui concerne les films indépendants. Dans la production, toutes les étapes deviennent participatives. L’interaction entre les cinéastes et les spectateurs et entre ceux-ci et les oeuvres a donné lieu aux films participatifs ainsi que les films en forme de multi-histoires, les films de jeu et les films de relais. Comme l’a montré l’étude des caractères techniques de l’internet, la producion et la distribution ainsi que le visionnage des films sont influencés par l’internet au sens de l’instantanéité et de la massification – qui peut se traduire par la participation du public –. Ces deux principaux effets n’ont pas produit un changement radical dans le domaine mais une transformation qui est, à notre sens, on ne peut plus significative
Since the nineties, the spread of the internet and its devices has enabled many producers, distributors and moviegoers to change their attitudes towards movies. Our work has focused on demonstrating that the technical characteristics of the internet like the easy access, the hypertextuality and the interactivity can explain the changes noticed in the activities linked to the cinematographic field and the film itself.Although the reception of the internet by the public is extraordinarily fast, the market share of online film is still not really significant. Nevertheless, the growth of the digital generation and the simplification of techniques encourage us to believe in the potential of the internet.The distribution sector is the most influenced by the internet. The increased competition and the evolution of media chronology were inevitable. Despite the threat of easy piracy and the formation of the internal network of mega-media, it seems obvious that the internet will be a useful channel for independent films.Concerning the production area, all stages become participatory. The interaction between filmmakers and the audience and between the future audience and the works created new modes of movies as multi-stories movie, game movies, relay movies and movies with subsidiary texts.Glimpsed with the evocation of the technical features of the internet, the production and the distribution and the viewing of films are influenced by the internet in the sense of a popularization – which can result in public participation – and of immediacy. These two main effects were not synonym with a radical change in the area but, according to us, with a significant transformation in the cinematographic field
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Lesson, Benjamin. "La torpille numérique : problématiques métier de l’exploitation cinématographique à l’heure des multiplexes et des diffusions multi-supports." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20090/document.

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L’exploitant de cinéma articule l’espace public cinématographique et l’espace public ; il offre une définition, une objectivation du cinéma au sein de l’espace public, dans la manière dont il construit un cadre d’expérience esthétique. Il est donc à la croisée des chemins : il doit veiller à donner un site (matériel et symbolique) à l’expérience esthétique, selon les logiques propres à son champ et en considérant la « demande » du public.Les problématiques de son métier concernent aussi bien son positionnement concurrentiel, que son positionnement au sein de l’espace public cinématographique ainsi qu’au sein de l’espace public. La présente thèse vise à en rendre compte, de manière transdisciplinaire et engage également une réflexion sur le discours porté sur le cinéma au sein de l’espace public ainsi que la fonction que lui accorde cet espace. Les nouveaux dispositifs numériques peuvent conduire à la radicalisation du caractère mass media du film (en multipliant les modalités de réception), mais ils offrent également nouvelles configurations esthétiques; le cinéma doit donc être (re)défini en fonction de ces nouvelles possibilités (partie 1).C’est toute l’institution cinématographique qui est confrontée à la problématique de l’émergence des nouveaux médias et qui, malgré elle, tend à réduire la valeur expérientielle du cinéma au caractère mass media du film. Or, c’est le marché qui capte et exploite le plus cette logique (partie 2).Cependant, l’exploitant n’est pas seulement un diffuseur ; le travail de l’exploitant est également d’opérer une médiation. Ainsi, il s’agit de considérer les problématiques de sociabilité engagées par la salle de cinéma et les conditions de création de micro-agora, de micro espace public par l’exploitation (partie 3).Ce n’est que dans une saisie globale des deux aspects du cinéma (mass media et micro agora) que l’exploitant a une fonction claire et importante, qu’il convient de revaloriser au sein de l’espace public cinématographique (conclusion)
The movie theatre manager articulates the cinematographic public place and the public place. He proposes a definition and an objectification of the cinema within the public place, depending how he « builds » an aesthetic experiment frame. Thus, the movie theatre manager is on a « crossroad ’: he has to ensure the (material and symbolical) frame required for an aesthetic experiment, depending on institutional practices and according to the spectators « demands». The business challenges of the movie theatre manager concern as well its competitive location, as its location within the cinematographic public place as well as within the public place. This thesis aims at reporting it, in an interdisciplinary way. It also commits a comment on the definitions of the cinema belonging to the public place as well as the function that this space grants it.The new digital devices can drive to the radicalisation of the mass media aspect of the movie (by multiplying the ways of reception). But they also offer new aesthetic configurations. Thus, the cinema has to be (re) defined according to these new possibilities (Part 1).It is all the film institution which is concerned by the problems due to the new technologies emergence and which tends to reduce the cinematographic experiential value to the mass media of the film aspect. Now the market exploits this logic more than the institutions do and so appears as the only guarantor of the quality (Part 2).However, the movie theatre manager is not only a diffuser; his work also is to proceeds a mediation. So, it is a matter of considering the sociability problematics committed by the theatre space and the conditions of creation of micro- agora, micro public place by the movie theatre (Part 3).It is only in a global seizure of both aspects of the cinema (mass media and micro-agora) that the movie theatre manager has a clear and an important function, that it must be revalued within the film public place (conclusion)
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Ranni, Davide. "La produzione di videoclip attraverso le sue trasformazioni economiche, sociali e distributive." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23538/.

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Questo lavoro intende dimostrare in quali modi e tramite quali strumenti la produzione di videoclip sia cambiata nel corso degli anni attraverso le sue trasformazioni nei campi della distribuzione, della legislazione e dei finanziamenti al videoclip. Comprendere cosa voglia dire oggi produrre un videoclip significa constatare come questi tre macro-argomenti abbiano influenzato, secondo diverse sfaccettature, i budget e gli investimenti monetari da parte delle case discografiche. Inoltre, non si vuole dare un giudizio sulla natura stilistica dei videoclip o fare una critica su quelli che stilisticamente si avvicinano a una bellezza cinematografica, ma affermare che una buona produzione e un discreto budget, uniti a una buona collocazione distributiva e l’uso di finanziamenti pubblici e privati, può far sì che il videoclip sia ancora un mezzo remunerativo, sia a livello economico sia a livello di immagine dell’artista. L’obiettivo principale, quindi, del videoclip è riferito alla sua funzione sociale e non alla finalità economica; l’engagement tra artista e audiece non comporta un ritorno ecnomico, ma un guadagno sociale, di immagine e di fidelizzazione perché un’artista, che sia un cantante, un attore o un qualsiasi performer nell’industria dell’entertainment, è possibile assimilarlo a un brand, a un’azienda che ha bisogno di “fedeli seguaci” che supportino il prodotto, il quale, in questi casi, coincide con la persona stessa.
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Ventura, Marcelo dos Santos. "Monte Carlo simulation studies in log-symmetric regressions." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8278.

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This work deals with two Monte Carlo simulation studies in log-symmetric regression models, which are particularly useful for the cases when the response variable is continuous, strictly positive and asymmetric, with the possibility of the existence of atypical observations. In log- symmetric regression models, the distribution of the random errors multiplicative belongs to the log-symmetric class, which encompasses log-normal, log- Student-t, log-power- exponential, log-slash, log-hyperbolic distributions, among others. The first simulation study has as objective to examine the performance for the maximum-likelihood estimators of the model parameters, where various scenarios are considered. The objective of the second simulation study is to investigate the accuracy of popular information criteria as AIC, BIC, HQIC and their respective corrected versions. As illustration, a movie data set obtained and assembled for this dissertation is analyzed to compare log-symmetric models with the normal linear model and to obtain the best model by using the mentioned information criteria.
Este trabalho aborda dois estudos de simulação de Monte Carlo em modelos de regressão log- simétricos, os quais são particularmente úteis para os casos em que a variável resposta é contínua, estritamente positiva e assimétrica, com possibilidade da existência de observações atípicas. Nos modelos de regressão log-simétricos, a distribuição dos erros aleatórios multiplicativos pertence à classe log-simétrica, a qual engloba as distribuições log-normal, log-Student- t, log-exponencial- potência, log-slash, log-hyperbólica, entre outras. O primeiro estudo de simulação tem como objetivo examinar o desempenho dos estimadores de máxima verossimilhança desses modelos, onde vários cenários são considerados. No segundo estudo de simulação o objetivo é investigar a eficácia critérios de informação populares como AIC, BIC, HQIC e suas respectivas versões corrigidas. Como ilustração, um conjunto de dados de filmes obtido e montado para essa dissertação é analisado para comparar os modelos de regressão log-simétricos com o modelo linear normal e para obter o melhor modelo utilizando os critérios de informação mencionados.
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Su, Yu-Chieh, and 蘇郁婕. "The Digimarketing Strategy of The Movie Distribution Companies in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/34610562590460429967.

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碩士
淡江大學
資訊傳播學系碩士班
98
Marketing is one of the most important parts of film industry, because the audiences would never know how a film is without any announce. In digital era, the movie distribution companies have to develop their marketing strategies in new media to contact more potential audiences. This study interviewes thirteen people who work in the movie distribution company or advertising agency, and focuses on digital marketing strategies of movie distribution companies in Taiwan with integrated marketing communication (IMC) theory and digital marketing related researches such as internet marketing, mobile marketing, word-of-mouth (WOM) marketing, viral marketing, and social media marketing. The study finds that both of the American distributors and domestic ones devote part of their budget on internet display ads, search engine optimization (SEO), affiliate programs and social networking. To follow the rapid raising of the number of Facebook users in Taiwan, the movie distribution companies also start to use Facebook Fans’ Page to communicate with audiences in 2009. The suggestions for movie distribution companies are to observe the new media using habits of audiences, to plan the form and exposure timing of viral contents and agendas, and to design the activities in real channel to appeal the audiences to search more information on new media to achieve more marketing effects.
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Mondor, Pierre. "La distribution de films au Québec en 2011." Thèse, 2011. http://hdl.handle.net/1866/8321.

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En 2010, les écrans du Québec étaient occupés par des films américains dans une proportion de 78,4 %. Ce mémoire veut mettre en lumière les mécanismes de la distribution de films au Québec et la responsabilité des distributeurs dans l'offre cinématographique nationale. Après avoir décrit les cinq étapes de la fabrication d'un film, nous dressons l'inventaire des politiques fédérales et provinciales qui régissent la distribution au Québec. Nous établissons ensuite des parallèles entre les politiques nationales et celles de pays de l'Union européenne afin de considérer comment et pourquoi, pour protéger leur identité « de la déferlante américaine », ces pays tentent de réglementer l'industrie cinématographique. Par la suite, nous observons quel est le rôle de la distribution dans la filière économique en général et dans l'industrie québécoise du cinéma en particulier à travers une série d'entrevues semi-dirigées avec les principaux protagonistes du milieu. Nous nous intéressons subséquemment à l'avenir de la distribution cinématographique relativement à la dématérialisation des images et du son. Finalement, nous concluons que le menu cinématographique québécois est composé par le positionnement des distributeurs américains et québécois en réponse à une demande artificielle des consommateurs reflétée par la billetterie (box-office); positionnement légitimé par les politiques gouvernementales.
In 2010, 78,4 % of the films shown in Quebec were American. This thesis intends to shed light on the mechanisms at play when it comes to film distribution in Quebec and the responsibility that distributors have with respect to national film offerings. After having described the five steps involved in making a film, we draw up the inventory of federal and provincial policies that govern distribution in Quebec. We then establish parallels between national policies and those of European Union countries in order to consider how and why, as a way to protect their identity « from the American tidal wave », those countries try to regulate the film industry. We subsequently examine the role that distribution plays in the economic chain in general and in the Quebec film industry in particular through a series of semi-structured interviews with leading protagonists in the field. We then take a look at the future of film distribution as it relates to the dematerialization of images and sound. Finally, we conclude that the Quebec film menu is made up by the positioning of American and Quebec distributors in response to an artificial consumer demand that is reflected by the box-office, legitimized by the governments.
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Parayre, Ariane. "L'utopie numérique : discours et réalités sur la numérisation des salles de cinéma illustrés par le cas de l'entreprise DigiScreen." Thèse, 2011. http://hdl.handle.net/1866/6053.

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Le présent mémoire se propose de démontrer l’impossible concrétisation du « mythe de la disruption numérique d’Hollywood » tel que décrit par Kira Kitsopanidou et, par extension, l’augmentation de la diversité cinématographique en salles due à l’arrivée de la technologie numérique. Ce mythe, qui entretient l’idée de la mort d’Hollywood, a été véhiculé par certains textes (dont plusieurs provenant des médias de masse) qui participent à ce que nous pourrions appeler, à la suite de Foucault, une véritable « formation discursive » concernant les technologies. Ainsi, le premier chapitre fera l’analyse des principaux écarts entre ce discours utopique et la réalité en s’appuyant sur les facteurs socio-économiques qui touchent le processus d’adoption des innovations, particulièrement ceux qui ont trait à la salle de cinéma. Deuxièmement, nous étudierons les réalités qui touchent l’implantation de la technologie numérique dans les salles. Avantageusement, elles expliquent aussi la lenteur de ce processus que le discours a qualifiée de retard. Le troisième chapitre permettra d’illuster les concepts abordés précédemment grâce à l’étude du cas de l’entreprise DigiScreen qui souhaitait augmenter la diversité cinématographique en salles au Québec en proposant aux exploitants de l’équipement numérique à prix réduit. Elle constitue, en quelque sorte, l’incarnation de certains espoirs discursifs. Finalement, nous verrons l’héritage contemporain laissé par les tentatives de numérisation des salles au début du XXIe siècle.
The goal of this thesis is to demonstrate the impossible realization of the "myth of Hollywood digital disruption" as described by Kira Kitsopanidou. This idea put simply suggests the enlargement of film diversity in theaters due to the advent of digital technology. This myth, which perpetuates the idea of Hollywood’s death, was carried by several texts (espacially thoses produced by mass media) and participate in what can be qualified, following Foucault, as a "discursive formation" revolving around technology. The first chapter will analyze the main differences between this utopic discourse and reality based on the socio-economic factors affecting the processes of innovation’s implementation, particulary thoses related to the movie theaters. Secondly, we will consider the realities that affect the implementation of digital technology in movie theaters. Advantagously, these also explain the slowness of this process, a situation that was interpreted by the discourse as a delay. The third chapter will illustrate the concepts discussed in the previous chapters, using as a case study the example of DigiScreen, a company that wanted to increase film diversity in movie theaters by providing theatre owners with digital equipment at discounted prices. DigiScreen in some ways encapsulates the hopes generated by the digital utopia. Finally, we will look at different cases which draw a portrait of the digitization of theatres in the early years of the twenty-first century.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Books on the topic "Movie distribution"

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Lukk, Tiiu. Movie marketing: Opening the picture and giving it legs. Los Angeles: Silman-James Press, 1997.

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Groenewald, Charl. The laws of movie-making: Production and distribution of independent films. Pretoria: Van Schaik, 2006.

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Rosenbaum, Jonathan. Movie wars: How Hollywood and the media limit what films we can see. Chicago, Ill: A Cappella, 2000.

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Rosenbaum, Jonathan. Movie wars: How Hollywood and the media limit what films we can see. London: Wallflower Press, 2002.

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Movie wars: How Hollywood and the media conspire to limit what films we can see. Chicago, IL: A Cappella, 2000.

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Land of a thousand balconies: Discoveries & confessions of a B-movie archeologist. Manchester: Headpress, 2003.

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Screen traffic: Movies, multiplexes, and global culture. Durham: Duke University Press, 2003.

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Motion picture marketing and distribution: Getting movies into a theatre near you. Boston: Focal Press, 1991.

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Harmon, Renee. The beginning filmmaker's business guide: Financial, legal, marketing, and distribution basics of making movies. New York: Walker, 1994.

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1959-, Skerbelis Monika, ed. The complete filmmaker's guide to film festivals: Your all access pass to launching your film on the festival circuit. Studio City, CA: Michael Wiese Productions, 2012.

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Book chapters on the topic "Movie distribution"

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Gunter, Barrie. "What About Distribution, Exhibition and Timing Factors?" In Predicting Movie Success at the Box Office, 51–70. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_4.

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Saraswat, Mala, and Shampa Chakraverty. "Emotion Distribution Profile for Movies Recommender Systems." In Communication and Intelligent Systems, 365–73. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1089-9_30.

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Sinha, Sitabhra, and Raj Kumar Pan. "Blockbusters, Bombs and Sleepers: The Income Distribution of Movies." In New Economic Windows, 43–47. Milano: Springer Milan, 2005. http://dx.doi.org/10.1007/88-470-0389-x_5.

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Fiadeiro, José Luiz, and Antónia Lopes. "CommUnity on the Move: Architectures for Distribution and Mobility." In Formal Methods for Components and Objects, 177–96. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30101-1_8.

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Morkel, T., J. H. P. Eloff, and M. S. Olivier. "Using Image Steganography for Decryptor Distribution." In On the Move to Meaningful Internet Systems 2006: OTM 2006 Workshops, 322–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11915034_56.

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Mendoza, Sonia, Alberto L. Morán, Dominique Decouchant, Ana María Martínez Enríquez, and Jesus Favela. "Access Control-Based Distribution of Shared Documents." In On the Move to Meaningful Internet Systems 2004: OTM 2004 Workshops, 12–13. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30470-8_6.

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Rouzée, Arnaud, Ymkje Huismans, Freek Kelkensberg, Aneta Smolkowska, Julia H. Jungmann, Arjan Gijsbertsen, Wing Kiu Siu, et al. "Molecular Movies from Molecular Frame Photoelectron Angular Distribution (MF-PAD) Measurements." In Springer Series in Chemical Physics, 1–24. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-02051-8_1.

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Kirsch-Pinheiro, M., Y. Vanrompay, K. Victor, Y. Berbers, M. Valla, C. Frà, A. Mamelli, et al. "Context Grouping Mechanism for Context Distribution in Ubiquitous Environments." In On the Move to Meaningful Internet Systems: OTM 2008, 571–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-88871-0_41.

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Chang, Po-Hao, and Gul Agha. "Supporting Reconfigurable Object Distribution for Customizable Web Applications." In On the Move to Meaningful Internet Systems 2006: OTM 2006 Workshops, 32–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11915034_15.

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Hamdeni, Chamseddine, Tarek Hamrouni, and Faouzi Ben Charrada. "Barycenter-Based Placement Strategy Towards Improving Replicas Distribution Quality." In On the Move to Meaningful Internet Systems: OTM 2016 Conferences, 570–86. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48472-3_34.

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Conference papers on the topic "Movie distribution"

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Xiaofei Wang, Xiaojun Wang, Chengchen Hu, Keqiang He, Junchen Jiang, and Bin Liu. "Measurements on movie distribution behavior in Peer-to-Peer networks." In 2011 IFIP/IEEE International Symposium on Integrated Network Management (IM 2011). IEEE, 2011. http://dx.doi.org/10.1109/inm.2011.5990585.

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Mannaert, H., and P. Adriaenssens. "A Web-Based Operational Support System for Digital Movie Distribution." In Advanced Int'l Conference on Telecommunications and Int'l Conference on Internet and Web Applications and Services (AICT-ICIW'06). IEEE, 2006. http://dx.doi.org/10.1109/aict-iciw.2006.40.

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Sussner, Julia, Ludvig Lohse, Maureen Thomas, Gustavo Garcia, Isabel Alonso, and Alberto Munoz. "3D Navigable Interface for Interactive Movie Gormenghast Explore." In 2006 Second International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'06). IEEE, 2006. http://dx.doi.org/10.1109/axmedis.2006.2.

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Byers, Simon, Lorrie Cranor, Dave Korman, Patrick McDaniel, and Eric Cronin. "Analysis of security vulnerabilities in the movie production and distribution process." In the 2003 ACM workshop. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/947380.947383.

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Hirakawa, Manabu, and Junichi Iijima. "Application of digital watermark technology for movie data in streaming distribution service." In EM). IEEE, 2010. http://dx.doi.org/10.1109/ieem.2010.5674545.

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Kozuka, Masayuki. "An overview of Blu-ray disc application format for HD-movie distribution." In Optical Data Storage Topical Meeting 2004, edited by B. V. K. Vijaya Kumar and Hiromichi Kobori. SPIE, 2004. http://dx.doi.org/10.1117/12.557000.

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Peng, Young, Michelle Wang, Declan Kelly, and Wouter Leibbrandt. "An overview of the Blu-ray disc application format for HD-movie distribution." In Seventh International Symposium on Optical Storage (ISOS 2005), edited by Fuxi Gan and Lisong Hou. SPIE, 2005. http://dx.doi.org/10.1117/12.649803.

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Chen, Yishuai, Yong Liu, Baoxian Zhang, and Wei Zhu. "On distribution of user movie watching time in a large-scale video streaming system." In ICC 2014 - 2014 IEEE International Conference on Communications. IEEE, 2014. http://dx.doi.org/10.1109/icc.2014.6883588.

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Yazawa, Kazuaki, Dustin Kendig, and Ali Shakouri. "Time-Resolved Thermoreflectance Imaging for Thermal Testing and Analysis." In ISTFA 2013. ASM International, 2013. http://dx.doi.org/10.31399/asm.cp.istfa2013p0194.

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Abstract High speed, time-resolved, thermoreflectance imaging is a novel way to locate defects or regions of potential failures in microelectronic devices. This paper reports on our thermoreflectance technique for dynamic imaging of circuit temperature distributions. This transient imaging method is based on a precise electrical lock-in technique with image processing similar to an old fashioned animation movie. An ordinal shutter speed camera is used in conjunction with an illumination LED that is pulsed for sampling the temperature distribution. This paper presents the method and gives a description of the system hardware. A theoretical comparison to lock-in thermography, which is based on infrared emission imaging, will be given. Limitations of thermoreflectance and the driving factors for spatial and time resolution will be discussed. Finally, we highlight and provide examples of near infrared (NIR) wavelength imaging, to enable both through-silicon thermal imaging and emission imaging in the same system. The combination of these two techniques is expected to enable hotspot temperatures and any anomalous emission sites to be correlated, hopefully leading to a better understanding of the nature of the defect.
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Wang, Xiaoping, Makoto Watanabe, and Masahiro Shoji. "Characteristics of Water Flow in a Vertical Micro Tube." In ASME 2003 1st International Conference on Microchannels and Minichannels. ASMEDC, 2003. http://dx.doi.org/10.1115/icmm2003-1081.

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Fluid flow and heat transfer in micro-channel has received attention in developing electronic element cooling systems and in designing thermal elements of micro machines and refrigerators. In the present experiment, pressurized water in the chamber flushed out of a vertical capillary tube of 0.5mm in inner diameter and 1150mm in length. The outer surface of the tube was insulated. The chamber excess pressure was changed from 0.1 MPa to 0.6 MPa and also the inlet water temperature was widely varied. At low excess pressures, the flow is liquid single-phase flow but at high excess pressures, phase change (flushing) takes place inside and/or near the exit end of the tube and the flow becomes two-phase flow of oscillatory or intermittent. Mass flow rate as well as tube wall temperature (distribution and fluctuation) were measured, and the aspect of flushing at the tube exit end was observed using high-speed video movie. It is found that the flow regime can be classified into three (single-phase, two-phase and transient flow regimes) depending on the chamber excess pressure.
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Reports on the topic "Movie distribution"

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HYSTERETIC PERFORMANCE OF WEAK-AXIS CONNECTION WITH I-SHAPED PLATES IN STEEL FRAME. The Hong Kong Institute of Steel Construction, September 2021. http://dx.doi.org/10.18057/ijasc.2021.17.3.1.

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This paper elucidates numerically the behavior of weak-axis moment connections proposed by welding I-shaped plates in the H-section column to increase connection strength and ductility in steel frame. After validating the numerical methods through comparing the results of numerical analysis and experiments, the effectiveness of the proposed weak-axis connection were examined through comparing to the traditional weak-axis connection. The proposed weak-axis connection could move the highest stresses away from the start-stop points of a weld, and thus preventing the premature brittle fracture of the beam flange welds. The plastic hinge formed away from the beam-column interface, while the local buckling occurred in the weld access holes region in the traditional weak-axis connection. The proposed weak-axis connections can be classified as rigid in a strong-bracing system, and be classified as semi-rigid in weak-supported or unsupported system. And then a series of parametric studies was conducted to better understand the behavior of proposed weak-axis moment connections. The force-displacement relationships, location of the plastic hinge, Mises index (MI), triaxiality index (TI) and rupture index (RI) distributions at the beam flange welds were reported in detail. According to the numerical analysis, the design variables of I-shaped plates and widened flange plate are suggested, along with a design procedure.
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