Dissertations / Theses on the topic 'Movie distribution'

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.

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

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.

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

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)

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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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.

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.

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.

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.

碩士
國立臺灣大學
經濟學研究所
95
Time plays an important role in movie industry. And there is a close relation between box office market and video market. This paper aims to connect the box office market and video market by the distributor’s time decision and analyze the key effects of the two-stage time decision of the distributor. Besides opening effect and decay rate, this paper finds that the play length is longer if the movie releases on Spring break. Video is distributed early if the movie is released in theater in the peak months. However, the stronger substitute effect between box office and video markets is, the later video is distributed. Compared with USA, video market in Taiwan is not that prosperous. The sale of video is related with the box office, and is negative to sequel.

The diploma thesis Contemporary Czech film trailer and its role in the promotion of the film in the context of foreign production deals with the film trailer. The first part deals with the development of the film trailer abroad, particularly in the United States of America. It describes every single time period up to the present day and outlines the future trends in its development. The second part comprehensively analyzes all components of cinematic trailer. It describes the process of making movie trailers, classifies it in the film marketing communication mix and examines its role in the film promotion. It refers to manipulative function of trailer and deals with its control. Finally, describes the process of distribution trailer and shows the various distribution channels. All of these issues compare the situation in the U.S. and the Czech Republic. The final section focuses on the Czech film trailer. First, it maps its history from the beginning to the present. Then it puts these findings into the context of the Czech film history and the history of the Czech movie promotion. Further thesis will focus on the current situation in the Czech trailer. Analyzes it from the perspective of film critics and trailer makers and presents all factors influencing the form of trailers. In conclusion, the...

碩士
世新大學
傳播管理學研究所(含碩專班)
100
According to box office records in Taiwan in recent years, it demonstrated that the capability of Taiwanese distributor has been built up. In order to fine out why and how could the Taiwanese distributor build up its capability and explore the issue of how to upgrade the Taiwanese film industry, we focus on two research areas. We will (1) explore the process of distributor capability building in Taiwanese movie industry and (2) analyze the reason why those smaller and younger distributors could build their capability within short period. In order to broaden academic views of movie distribution industry in Taiwan, this study integrated the Resource-based view and Dynamic capability theory through literature discussion to model the operation of distribution within different type of Taiwanese film distributors and its implications on the learning process and capability building in the cooperation relationships. The study conduct cases studies using exploratory case method and secondary data to test our theory on the origins of organizational capability. There were three distributors were selected during their operative pattern were different. The result shows that some of the film distributor has built their capability though “experience accumulation”, others explored their capability by “learning from partners”. Moreover, according to the type of distributor is, the process of distributor capability building will be different in order to suit with its operation. Thus, we argue the smaller and younger film distributor can benefit from the cooperation with others, and build up their capability through exploiting the experience.

Данная магистерская диссертация представляет собой обоснованное теоретическое и практическое исследование продюсерского кино как феномена аудиовизуального творчества. Феноменальность его обуславливается многими факторами, рассматриваемы в данном исследовании, в особенности значительное внимание уделено симбиозу бизнеса и искусства.
Following thesis represents reasonable theoretical and practical research of producer movie as phenomenon of audiovisual creativity. Its aspects are caused by many factors, that are considered in given research, in particular the considerable attention is paid to symbiosis of business and art.

This theoretical and empirical interdisciplinary thesis examines censorship in cinematographic import to Czechoslovakia during the 1960s and 70s. Specifically we focus on English-spoken movies dubbed into Czech. The thesis summarizes existing theoretical research on the present topic and complements it with data acquired through interviews with contemporary witnesses. This information is then used for an analysis of two movies released to cinemas in Czechoslovakia during the researched period - The Entertainer (in Czech Komik, 1960) and Twelve Angry Men (in Czech Dvanáct rozhněvaných mužů, 1957). The thesis ends with a comparison of these two dubbings in their respective context and of the 1960s and 1970s from the perspective of the Czechoslovak dubbing. Finally, it offers several topics for further research.

Esta dissertação centrou-se num estudo de caso sobre a distribuidora cinematográfica Midas Filmes, que tem como foco o cinema independente, o cinema europeu e o cinema português. A metodologia mobilizada foi mista, articulando a observação de práticas da distribuidora e entrevistas com o diretor e funcionários da empresa, com a análise de dados secundários oficiais num nível de análise mais macro sobre o mercado de distribuição e exibição de cinema em Portugal. Esta análise possibilitou uma reflexão sobre fatores importantes para empresas com esse mesmo foco: as janelas de exploração comercial das obras, as práticas mais comuns no mercado, os desafios e apoios para a sustentabilidade deste tipo de cinema no país. Foi possível constatar que há no país um deficit de salas de exibição voltadas para o cinema independente, que aliada a dificuldades na formação de público acarreta baixos índices de espectadores neste nicho cinematográfico.
This dissertation was centered in a case study about the Cinema Distribution Company: Midas Filmes, which focuses on independent cinema, European cinema and Portuguese cinema. The methodology used for this study was mixed, articulating the micro observation of company’ practices throughout interviews with the director and its employees; and the macro analyses of official data about the market of cinema distribution and exhibition in Portugal. These analyses enabled a reflection regarding important factors for companies with the same focus: the exploitation windows for commercial contents; the most common market practices; main challenges and support mechanisms for the sustainability of this category of cinema in the country. Results showed that there is a deficit of independent cinema theaters in the country, that combined with audience engagement struggle results on low indexes of spectators for this cinema niche.

碩士
國立高雄第一科技大學
電腦與通訊工程所
94
Abstract For a peer-to-peer based system, it is hard to manage a system with large amount of dynamic users efficiently. The problem to transmit the multimedia data with real time requirement over a peer-to-peer communication system remains as a challenge until now. In this thesis we propose a new method to build a peer-to-peer based system in wireless networking environments for providing multimedia distribution services. First we used the R-tree data structure to manage the users in the system and construct the multicast tree. Instead of using the Internet router that supports the multicast routing scheme, we suggest using unicast for each pair of peers consisting of a parent node of the multicast tree and the corresponding child node of the multicast tree to carry on the job of multimedia data transmission through the multicast tree. Basically, local grouping of users provide us a chance to propose a user movement prediction model to further improve the performance of the user management scheme. Two prediction models are added to the R-tree data structure to account for the case of large dynamic users in the system. Finally we analyze the two methods theoretically and implement them for performance simulation. Experimental results show the good performance of the system.

Le présent mémoire se penche sur trois questions liées à la distribution d'oeuvres cinématographiques par Internet au Canada. Ces questions sont le reflet des principales préoccupations d'une industrie en pleine expansion et sont abordées sous un aspect pratique. La première question concerne l'applicabilité de la loi canadienne sur le droit d'auteur. L'aspect mondial du réseau Internet soulève en effet d'importantes questions de droit international privé. Il s'agit donc de connaître, à travers l'analyse de différentes hypothèses, les circonstances d'application et la portée de la loi canadienne. La deuxième question s'intéresse à la portée de la protection offerte. Les différents droits dévolus aux auteurs en vertu de la loi sont effectivement issus d'un environnement technique différent de celui proposé par Internet. Il s'agit donc d'analyser l'application de ces différents droits à la distribution d'oeuvres par Internet. Enfin, la troisième question se penche sur l'identité du titulaire des droits d'auteur sur une oeuvre cinématographique. La loi n'apporte en effet aucune réponse définitive à cette question et le processus de création particulier à la production d'une oeuvre cinématographique rend d'autant plus complexe la détermination du titulaire. Encore une fois, le présent mémoire tente de répondre à la question de la titularité par l'analyse successive de différentes hypothèses.
This work addresses three questions related to the distribution of cinematographic works by Internet in Canada. Those questions reflects the fundamental concerns of a budding industry and are examined under a practical angle. The first question deals with the applicability of the Canadian law regarding copyright. Indeed, the global aspect of Internet raises important issues related to international private law. We examine different scenarios in order to determine the scope and the circumstances under which the Canadian law applies. The second question examines the scope of the protection provided for under the Canadian law. The different rights provided to authors under the Canadian law were adopted before the Internet era and it is important to verify the applicability of those rights to the specifie technical environment of Internet. Finally, the third question addresses the issue of the ownership of a copyright related to a cinematographic work. The Canadian law doe not provide for an express answer to that question. Moreover, it is complicated by the specifie creation process leading to the production of a cinematographic work. This work undertakes to answer the question by examining different scenarios.
"Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit des technologies de l'information"

碩士
國立臺灣師範大學
大眾傳播研究所
97
When motion picture distributors try to control or bribe film critics with specific benefit for gaining or exchanging positive film reviews, the existent film critic researches apparently ignore the relationships between distributors and film critics which named “distributor bias” by Ravid, Wald, and Bsuroy’s study in 2006. Ravid et al. (2006) analyzed the market data and found that moviegoers relied more on the film critics with distributor bias than on the critics without bias. This confused result violates the presumption of attribution theories that people have the motivation of pursuing truth and accuracy, and cause the problem of why people relying more on the biased critics. In order to comprehend the role of critics’ distributor bias in film critic circumstance, and to test whether “customer-distributor identification” moderated the impact of distributor bias on customer acceptance of film critic’s reviews, this study conducted by using experimental approach. The independent variables were film critic’s review valence (positive/negative), critic’s distributor bias (biased/non-biased), customer-distributor identification (low/high), and dependent variable was customer acceptance of film critic’s review. The experimental analysis show that acceptance of critic’s positive film reviews was higher for the film critics without distributor bias than for the film critics with distributor bias. This finding was opposite to the result of Ravid et. al. (2006), and verified that customers actually relied less on critics with distributor bias than critics without distributor bias. The analysis also indicated that acceptance of critics’ positive film reviews was higher compared to negative film reviews, and acceptance of critics’ negative reviews was lower for the high distributor identification customers than for the low distributor identification customers. When film critics possessed distributor bias, the acceptance of biased critics’ negative film reviews was lower for the high distributor identification customers than for the low ones. On the other hand, when film critics didn’t have distributor bias, the acceptance of non-biased critics’ positive reviews was higher for the high distributor identification customers than for the low ones. Overall, the study considered that developing and applying customer-distributor identification was a way of film critic management and should not be disregarded by movie marketors, this way was also less controversial than bribing film critics. This is because high distributor identification customers could strengthen the impact of non-biased critics’ positive film reviews, and could resist the impact of the biased critics’ negative film reviews on customers, additionally this study found positivity effect of film critics’ review. Therefore this study suggest that distributors should try to develop customer-distributor identification to enhance the identification level of low distributor identification customers, and tried not to bribe film critics for maintaining and consolidating the impact of film critics’ positive film rating.