Relevant bibliographies by topics / The Film Industry

Contents

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

Academic literature on the topic 'The Film Industry'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "The Film Industry"

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Singh, M. Bimolchandra. "Manipuri Film Industry." Journal of Advanced Research in Journalism & Mass Communication 05, no. 01 (February 27, 2018): 25–30. http://dx.doi.org/10.24321/2395.3810.201805.

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Гайдученко, К. "Film industry." Іноземні мови в школах України, no. 1 (77) (2016): 25–28.

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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.

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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role as historian, educator, and entertainer, with an overriding interest in building a sustainable film industry in the Caribbean. Films reviewed include: Outloud, A Safe Space, Sweet Micky for President, and My Father's Land.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.

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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Apriliani, Tri. "HUBUNGAN KERJA DALAM INDUSTRI FAST FASHION: ANALISIS ISI TERHADAP FENOMENA EKSPLOITASI (STUDI KASUS FILM THE TRUE COST DAN NIKE SWEATSHOPS)." INFORMASI 46, no. 1 (June 14, 2016): 33. http://dx.doi.org/10.21831/informasi.v46i1.9647.

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The fast-fashion industry is one of the manufacturing industry that is associated with the developing countries as a producer of their products. Authors carriying an issue of labor relations in the fast-fashion industry which is very important to be studied due to exploitation issues. The main focus of the study is to assess the film “The True Cost” which describes the fast-fashion industry in Bangladesh and “Nike Sweatshops” which describes the fast-fashion industry in Indonesia. This study sought to answer whetherthe exploitation occurs in fast-fashion industry are presented in the movie “The True Cost” and “Nike Sweatshops” and how the mechanism of the exploitation is working. By using the content analysis method, it was found that in both films the exploitation did occur, but both films have similarities and differences of the dominant aspects of exploitation based on wages, health insurance, safety insurance, time, physical violence and the formation of unions. In addition besides the findings of the movie, the context of the economic, social, and political in certain periods and employment policies contribute to the occurrence of labor exploitationIndustri fast-fashion merupakan salah satu jenis industri manufaktur yang tidak terlepas kaitannya dengan negara-negara berkembang sebagai penghasil produknya. Penulis mengangkat sebuah isu tentang hubungan kerja di dalam industri fast-fashion yang sangat penting untuk dikaji karena maraknya isu eksploitasi.Fokus utama penelitian adalah mengkaji film “The True Cost” yang menggambarkan industri fast fashion di Bangladesh dan “Nike Sweatshops” yang menggambarkan industri fast fashion di Indonesia. Penelitian ini berusaha untuk menjawab apakah eksploitasi terjadi pada industri fast-fashion yang disajikan dalam film “The True Cost” dan “Nike Sweatshops”serta bagaimana mekanisme eksploitasi tersebut bekerja. Dengan menggunakan menggunakan metode analisis isi, didapati bahwa dalam kedua film ini eksploitasi memang terjadi namun kedua film ini memiliki kesamaan dan perbedaandari aspekdominan eksploitasi berdasarkan upah, jaminan kesehatan, jaminan keselamatan, waktu, kekerasan fisik dan pembentukan serikat. Selain temuan dari film tesebut, didapati bahwa konteks ekonomi, sosial, dan politik pada periode tertentu serta kebijakan ketenagakerjaan turut mendukung terjadinya eksploitasi tenaga kerja.
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Murphy, Art, Richard Alleman, and Steven Bach. "Film Industry Today." Communication Booknotes 16, no. 12 (December 1985): 140–41. http://dx.doi.org/10.1080/10948008509488358.

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Rajan, R. V. "Indian Film Industry." Media Asia 15, no. 3 (January 1988): 123–27. http://dx.doi.org/10.1080/01296612.1988.11726282.

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Kim, Minjeong, and Rachelle J. Brunn-Bevel. "Hollywood’s Global Expansion and Racialized Film Industry." Humanity & Society 44, no. 1 (April 1, 2019): 37–66. http://dx.doi.org/10.1177/0160597619832045.

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A theory on the political economy of image production argues that the U.S. film industry, namely, Hollywood, prioritizes financial considerations over racial justice or political correctness. Decisions made in the production and marketing processes are to minimize financial risks, but they often limit the representation of racial–ethnic minority filmmakers and actors. At the same time, Hollywood incorporates foreign-born directors and actors to reach international audiences. This article assesses how Hollywood’s “going global” impacts local racial–ethnic minority politics in the U.S. film business. As a part of a larger study examining the 100 top-grossing films in the United States from 1995 to 2014, we closely examine films where racial–ethnic minorities comprise the majority of the cast or films where minorities are the lead actors. We argue that the incorporation of foreign-born directors and actors undermines U.S. racial–ethnic minority filmmakers’ efforts to tell cinematic narratives from a critical perspective. Also, Hollywood fails to promote black films and black actors based on the assumption that they cannot appeal to international audiences, but our findings illustrate that black films directed by black directors perform well domestically and they show great potential with more support from Hollywood.
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Jacka, Liz. "The Film Industry in Australia: Trends in the Eighties." Media Information Australia 42, no. 1 (November 1986): 17–21. http://dx.doi.org/10.1177/1329878x8604200103.

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In this companion to Thomas Guback's paper on the American film industry I survey the changes in the film industry in Australia. One could as well say, echoing his title, the American film industry in Australia because the cinema trade here is still dominated by Hollywood. To illustrate this, in 1980 there were 223 movies from the US registered in Australia and only 20 from Australia.1 Although 827 films in total were registered that year (including 176 from Hong Kong), the vast majority of these films received no major theatrical release. Movies emanating from the traditional American-owned sources continue to dominate the major city cinemas.
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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.

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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.
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Dissertations / Theses on the topic "The Film Industry"

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Li, Yan 1959. "The Chinese Film Industry After 1976." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.

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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 1976 and 1988 in the Chinese film history and its influence on the development of the Chinese film industry; it concludes with the discussion of the direction the Chinese film industry is heading in the future.
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Dim, A. R. "A review of the Malaysian film industry : towards better film workflow." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/27557/.

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This thesis investigates the existing film workflow processes in Malaysia and aims to explore, review and reflect on the expectations, experiences and preferences and problems experienced by practitioners in the Malaysian film industry. Part of that exploration is an in-depth examination of real practices of colour film workflow, investigating the common myth amongst Malaysian filmmakers that environmental colour temperature affects the image quality of Malaysian films. Analysis of this myth may help to establish why many Malaysian films have been processed through foreign laboratory facilities using foreign expertise. The argument and analysis are based on background analysis and interviewing using video documentation of Malaysian film workflow practices, which provides valuable data for the benefit of the Malaysian film industry. All the processes and evidence from the Malaysian film industry were recorded through qualitative video documentation, alongside quantitative data from filmstrip testing. This mixed action research method forms the main approach together with the use of participatory action research as a tool to narrate the development of the research. In justifying the use of all the data, an explanatory mixed method design has been applied. Indeed, the cooperation with expert witnesses in finding a solution to the research problem brought to the circle of practice-based research processes that validated the research. This validation becoming a central of investigation about the Malaysian film workflow complication. The initial technique (pursing the myth of colour temperature variation) proved inadequate, and, consequently, a broader action research methodology was adopted. As such, the filmstrip test data were used more as a tool to enhance the contributions of the expert witnesses, thereby shifting the direction and strengthening the research findings. It is hoped that the methods used could be transferred to solve other film industry problems This research also proves that the method applied has created new evidence of knowledge transfer in historical and film development context, which benefits the film industry in Malaysia. This development of new knowledge could provide a significant opportunity for future potential research, which will strengthen the colour workflow processes and lead to the development of film practices in Malaysia and the surrounding areas. It is the aim of this research to suggest solutions to the current problems of workflow practices among educators, government agencies and filmmakers in the Malaysian film industry.
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Fox, Neil James. "How film education might best address the needs of UK film industry and film culture." Thesis, University of Bedfordshire, 2014. http://hdl.handle.net/10547/575401.

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This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-­engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.
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Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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Hope, Cathy, and n/a. "A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.

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This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.
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McGuffie, Allison Doris. "African educational film and video: industry, ideology, and the regulation of Sub-Saharan sexuality." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1695.

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This thesis examines the industry of non-profit educational filmmaking in Sub-Saharan Africa, from the 1930's to the present, with particular attention on the contemporary period of video production from the late 1980's to approximately 2010. This thesis, first, identifies that there is a consistent industrial infrastructure around non-profit educational filmmaking in Sub-Saharan Africa, which has not previously been articulated. Second, it describes the industry's historical origins and contemporary manifestation, delineating the pathways for funding, systems for production, and avenues of distribution and exhibition, as well as the ideological underpinnings of each. Finally, this thesis proscribes alternative industrial practices for the imagination and execution of non-profit educational videos that alleviate some of the otherwise deeply engrained hierarchical features of the industry by drawing on several examples of recent innovations in the industry. This thesis claims that the standard procedures by which non-profit educational films and videos in Sub-Saharan Africa come to be are problematic in the way that they maintain colonial hierarchies between Western philanthropic funders, cosmopolitan humanitarian professionals acting as producers, African casts and crews, and audiences that are necessarily objectified in order to be studied quantitatively. This structure has profound effects on content, most recently evident in neoliberal ideas that valorize the privatization of solutions to public health problems and quaint stories designed to encourage audiences to emulate ideal behavior based on Western gender norms as a primary solution to complex social problems, such as HIV/AIDS. Drawing on examples from recent innovations in the industry, this thesis finally proposes that changes in the balance of decision-making power in the African educational film and video industry - changes such as sourcing audiences for stories addressing HIV/AIDS, integrating with existing media markets, or more loosely providing international support to existing local initiatives that pinpoint local concerns - are necessary in order to better realize the potential of cinema to effectively address the myriad of social, environmental, political, economic, and medical challenges faced by real and distinct Sub-Saharan audiences.
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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry." Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.

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Sedgwick, John. "The British film industry and the market for feature films in Britain 1932-37." Thesis, London Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260284.

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Yap, Soo Ei. "Migration and film industry : Chua Boon Hean in Singapore." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/881.

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As a respected cultural figure in Singapore who was posthumously honoured at the Pioneer Generation Tribute organised by the Ministry of Culture, Community and Youth in 2015, the story of Chua Boon Hean is one that goes beyond his role as an established poet in the field of Chinese literature in post-independence Singapore. This dissertation is an effort to elaborate on the story of Chua in Singapore and will attempt to examine his multiple roles and contributions in the socio-historical context of the film industry prior to 1965. Notably, he had played the role of an extraordinary assistant to the Shaw Brothers (Runme and Run Run Shaw) who would qualify as the two most important tycoons to exert profound changes in the development of the Chinese and Malay film industries by the mid-20th century. His life and career with the Shaw Brothers for over three decades since the late 1920s, prove to be critical to our understanding of the overall development of the film industry in Singapore, especially in the period before the colonial city became an independent nation on its own. This dissertation seeks to build on existing scholarships with a greater attention being placed on introducing the different participants involved in the film industry in Singapore before 1945 and how the industry gradually developed into an inter-locking "business of culture" during the early 20th century. It reveals that the development of the film industry in Singapore should be best studied together with its intersection with the field of literature, translation, advertisement (art studios) and amusement parks, as well as its instrumental role in shaping the mundane day-to-day experience for the local population. Contrary to the traditional framework of analysis of the Singapore film industry which tended to focus solely on film production and its content such as genres or storylines, emphasis will be placed on other aspects of the film industry especially exhibition and distribution, in order to present a more comprehensive background to its genesis. It hopes to illuminate how the multi-cultural character of the film industry was a product of the historical agency of individuals living through the period. This case study of Chua also illuminates the dynamism and diverse connections among different Chinese dialect groups in Singapore and the Straits-born Chinese during the early 20th century. Contrary to the perception that the overseas Chinese had been a homogenous group, it is critical to account for the heterogeneity which can offer a more nuanced picture of the Chinese society. Through the unique story of Chua, this dissertation seeks to enrich existing scholarships on Chinese migration and the film industry in Singapore. In the process, we also chart the multi-faceted and multi-ethnic interactions of the Chinese diaspora in Southeast Asia in the early 20th century
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Houcken, Robin. "The international feature film industry : national advantage and international strategies for European fim companies /." [S.l.] : [s.n.], 1999. http://aleph.unisg.ch/hsgscan/hm00111812.pdf.

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Books on the topic "The Film Industry"

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Non-Theatrical Film Industry Task Force. The other film industry: L'autre industrie du film. Ottawa: Government of Canada, 1986.

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Thabet, Madkour. Egyptian film industry. Guizeh: Ministry of Culture, Foreign Cultural Information Dept., 1998.

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Great Britain. Parliament. House of Commons. National Heritage Committee. The British film industry. London: HMSO, 1995.

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Taylor, Michael. Britain's film & TV industry. London: Foreign and Commonwealth Office, 1999.

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The Asian film industry. London: Christopher Helm, 1990.

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The Asian film industry. Austin: University of Texas Press, 1990.

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Great Britain. Parliament. House of Commons. National Heritage Committee. The British film industry. London: HMSO, 1995.

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Great Britain. Parliament. House of Lords. Select Committee on the European Communities. European film and television industry. London: HMSO, 1995.

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Hollywood 101: The film industry. Los Angeles: Renaissance Books, 2000.

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Canada. Non-Theatrical Film Industry Task Force. The other film industry: Report of the Non-Theatrical Film Industry Task Force. [Ottawa: Government of Canada], 1986.

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Book chapters on the topic "The Film Industry"

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De Vinck, Sophie, and Sven Lindmark. "The Film Industry." In Digital Media Worlds, 118–32. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137344250_8.

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Lacey, Nick. "Film as Industry." In Introduction to Film, 99–146. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21155-1_4.

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Gibbs, A. M. "The Film Industry, 1946." In Shaw, 392–93. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_234.

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Spicer, Andrew. "Writing film industry history." In The Routledge Companion to Media Industries, 429–38. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429275340-43.

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Nikolić, Sandra, and Biljana Mitrović. "The contemporary Serbian film industry." In Contemporary European Cinema, 134–46. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Cultural politics of media and popular culture: Routledge, 2018. http://dx.doi.org/10.4324/9781315122427-10.

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Miskell, Peter. "Entertainment and the film industry." In The Routledge Companion to the Makers of Global Business, 377–91. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions in business, management and accounting: Routledge, 2019. http://dx.doi.org/10.4324/9781315277813-24.

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Mennel, Barbara. "City film industry: Hong Kong." In Cities and Cinema, 83–104. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge critical introductions to urbanism and the city: Routledge, 2019. http://dx.doi.org/10.4324/9781351016193-7.

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Higson, Andrew. "Fiction and the Film Industry." In A Concise Companion to Contemporary British Fiction, 58–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757673.ch3.

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Barber, Sian. "Film and Government." In The British Film Industry in the 1970s, 23–37. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137305923_4.

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Barber, Sian. "Film and Cultural History." In The British Film Industry in the 1970s, 4–14. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137305923_2.

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Conference papers on the topic "The Film Industry"

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Kumar, Kurichi, Chetan Desai, and Mike Flinn. "A CFD Study of Squeeze Film." In Earthmoving Industry Conference & Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1994. http://dx.doi.org/10.4271/941083.

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Panuju, Redi, and Stefanus Rodrick Juraman. "Politics of Film Needed by National Film Industry in Indonesia." In Proceedings of the 1st Annual Internatioal Conference on Social Sciences and Humanities (AICOSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aicosh-19.2019.28.

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Sun, Jing. "On Film and Television Education for Film and Television Industry." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesame-18.2018.31.

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"1995 IEEE Annual Textile, Fiber and Film Industry Technical Conference." In 1995 IEEE Annual Textile, Fiber and Film Industry Technical Conference. IEEE, 1995. http://dx.doi.org/10.1109/texcon.1995.471077.

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"1996 IEEE Annual Textile, Fiber and Film Industry Technical Conference." In 1996 IEEE Annual Textile, Fiber and Film Industry Technical Conference. IEEE, 1996. http://dx.doi.org/10.1109/texcon.1996.506344.

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"1997 IEEE Annual Textile, Fiber and Film Industry Technical Conference." In 1997 IEEE Annual Textile, Fiber and Film Industry Technical Conference. IEEE, 1997. http://dx.doi.org/10.1109/texcon.1997.598523.

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liu, yuheng, Cheng Zeng, and JinSong Xia. "Single polarization waveguide based on thin film lithium niobate." In Global Intelligent Industry Conference 2020, edited by Liang Wang. SPIE, 2021. http://dx.doi.org/10.1117/12.2588746.

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Zhang, Lei, Jun Wang, Jiafu Wang, Ying Zhu, and Shaobo Qu. "Infrared absorber based on Ti/ZnS composite multilayer film." In Global Intelligent Industry Conference 2020, edited by Liang Wang. SPIE, 2021. http://dx.doi.org/10.1117/12.2589998.

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"Chinese Dragon’s Rise in the Global Film Industry." In June 25-26, 2018 London (UK). Higher Education And Innovation Group, 2018. http://dx.doi.org/10.17758/heaig4.h0618502.

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Yothino, Metharat, Worasak Rueangsirasak, and Roungsan Chaisricharoen. "Visual effects production improvement for Thai Film industry." In 2014 4th Joint International Conference on Information and Communication Technology, Electronic and Electrical Engineering (JICTEE). IEEE, 2014. http://dx.doi.org/10.1109/jictee.2014.6804089.

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Reports on the topic "The Film Industry"

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Gil, Ricard, and Pablo Spiller. The Organizational Implications of Creativity: The US Film Industry in Mid-XXth Century. Cambridge, MA: National Bureau of Economic Research, July 2007. http://dx.doi.org/10.3386/w13253.

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2

Oyer, Paul, and Scott Schaefer. Firm/Employee Matching: An Industry Study of American Lawyers. Cambridge, MA: National Bureau of Economic Research, December 2012. http://dx.doi.org/10.3386/w18620.

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3

Griliches, Zvi, and Haim Regev. Productivity and Firm Turnover in Israeli Industry: 1979-1988. Cambridge, MA: National Bureau of Economic Research, April 1992. http://dx.doi.org/10.3386/w4059.

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4

Li, Chunding, and John Whalley. Chinese Firm and Industry Reactions to Antidumping Initiations and Measures. Cambridge, MA: National Bureau of Economic Research, October 2010. http://dx.doi.org/10.3386/w16446.

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5

Haltiwanger, John, and James Spletzer. Between Firm Changes in Earnings Inequality: The Dominant Role of Industry Effects. Cambridge, MA: National Bureau of Economic Research, February 2020. http://dx.doi.org/10.3386/w26786.

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6

Andrade, Philippe, Olivier Coibion, Erwan Gautier, and Yuriy Gorodnichenko. No Firm is an Island? How Industry Conditions Shape Firms' Aggregate Expectations. Cambridge, MA: National Bureau of Economic Research, June 2020. http://dx.doi.org/10.3386/w27317.

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7

Maksimovic, Vojislav, and Gordon Phillips. The Industry Life Cycle and Acquisitions and Investment: Does Firm Organization Matter? Cambridge, MA: National Bureau of Economic Research, June 2006. http://dx.doi.org/10.3386/w12297.

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8

Haltiwanger, John, Stefano Scarpetta, and Helena Schweiger. Assessing Job Flows Across Countries: The Role of Industry, Firm Size and Regulations. Cambridge, MA: National Bureau of Economic Research, April 2008. http://dx.doi.org/10.3386/w13920.

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9

Bregman, Arie, Melvyn Fuss, and Haim Regev. The Production and Cost Structure of Israeli Industry: Evidence From Individual Firm Data. Cambridge, MA: National Bureau of Economic Research, May 1992. http://dx.doi.org/10.3386/w4072.

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10

Chi, Ting. Market orientation, firm strategy, and business performance: an empirical study of Chinese apparel industry. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-860.

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