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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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Vertido, Cris. "The Filipino Film Industry." Media Asia 15, no. 3 (January 1988): 128–33. http://dx.doi.org/10.1080/01296612.1988.11726283.
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Anwar, Rosihan. "The Indonesian Film Industry." Media Asia 15, no. 3 (January 1988): 134–37. http://dx.doi.org/10.1080/01296612.1988.11726284.
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Putra, Achmad Eriansyah Utama, Agnes Juliarti, Dimas Mohammad Wibowo, Figra Ardham, and Vera Julianti. "Studi Aktivitas Pemasaran Film Independen: Kasus di Indonesia." Indonesian Business Review 2, no. 2 (February 6, 2020): 400–437. http://dx.doi.org/10.21632/ibr.2.2.400-437.
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The independent film industry in Indonesia is both interesting and unique sector because it has different characteristics from the commercial film industry. The study was conducted to identify independent film marketing activities through a marketing mix and the factors that can influence the marketing activities of independent films in Indonesia. This is a qualitative research using in-depth interview as the main method. Interviews were conducted to nine participants in the film industry representing three chains of production, distribution and exhibition that forms the synergies in the film industry. The main research finding is eight factors influenced independent film marketing activities: idealism, story line, expressions, aspirations, actualization, film distribution channels, promotional activities, and regulation.
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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (December 1, 2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.
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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Shestak, Viktor, and Yulia Plutalovskaya. "History of international legal regulation of genetics." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 118–23. http://dx.doi.org/10.31166/voprosyistorii202012statyi38.
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The authors analyze in retrospect the impact of the film industry on society. Crimes «inspired» by cinematography are considered, as well as crimes that became the basis for popular films. Both recently released films and other products of the film industry are analyzed, as well as works that are internationally recognized as “masterpieces” of cinema. The authors study the impact of the film industry on ordinary people, especially young people and people with an unstable psyche, and also consider such a phenomenon as «copycat crimes» and identify its possible causes.
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V, Prabakaran. "Digital Platforms and Tamil Film Industry: The New Business Horizons." Journal of Advanced Research in Journalism & Mass Communication 05, no. 04 (October 31, 2018): 101–3. http://dx.doi.org/10.24321/2395.3810.201837.
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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (May 18, 2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.
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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.
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Doobo Shim. "WHITHER THE KOREAN FILM INDUSTRY?" Acta Koreana 14, no. 1 (June 2011): 213–27. http://dx.doi.org/10.18399/acta.2011.14.1.010.
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Horrocks, Roger. "Creating a Feature-Film Industry." Journal of Popular Culture 19, no. 2 (September 1985): 149–58. http://dx.doi.org/10.1111/j.0022-3840.1985.00149.x.
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Philpot, Justin. "The Contemporary Hollywood Film Industry." Journal of Film and Video 63, no. 1 (2011): 71–72. http://dx.doi.org/10.1353/jfv.2011.0006.
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Hyun, Daiwon. "Renaissance of Korean Film Industry." Asian Cinema 12, no. 2 (September 1, 2001): 8–19. http://dx.doi.org/10.1386/ac.12.2.8_1.
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Ernawati, Arni. "Studi Kasus Politik Identitas Perempuan dalam Film Ada Apa dengan Cinta." Nyimak: Journal of Communication 4, no. 1 (March 24, 2020): 53. http://dx.doi.org/10.31000/nyimak.v4i1.2297.
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Media audiovisual seperti film diyakini bisa menjadi alat penyampai pesan paling ampuh untuk masyarakat. Tidak heran banyak industri film semakin tumbuh subur untuk berlomba-lomba membuat film. Tema film yang hadirkan pun bermacam-macam, dan tema percintaan masih mendominasi dalam industri perfilman kita. Salah satu film yang turut meramaikan industri perfilman adalah film Ada Apa dengan Cinta (AADC) yang dirilis pada 7 Februari 2002. Film ini bisa dikatakan sebagai film pelopor dan paling laris pada masanya untuk kategori film pop-remaja atau percintaan platonis remaja. Film ini mengandung pesan penting bagi perempuan. Penelitian ini bertujuan untuk membuka dan menganalisis pesan menyangkut politik identitas perempuan yang dibawakan dalam film AADC. Penulis mencoba mengamati setiap alur dan adegan dalam film. Film ini membawakan tentang perempuan yang dalam tekanan patriarki dan perempuan yang berjuang keluar dari tekanan tersebut. Hasil yang didapat dalam penelitian ini berupa hasil studi kasus atau analisis yang berhubungan dengan politik identitas dalam film.Kata Kunci: Politik identitas, perempuan, analisis film ABSTRACTAudio-visual media like film as the most powerful message delivery tool for public. No wonder many film industries are floushing to compete making movies. The theme of the film has been introduced with variuos kinds, and romance films still win our film industry. One of the titles the film present, which helped enliven the film industry is the film Ada Apa dengan Cinta (AADC). The film is a teenage love story by Rudi Soedjarwo success kicked off the Indonesia film market. The film background is about Rangga and Cinta with the spices of romance in adolescene, arguably the forerunner and most film best-selling in his time for the category of pop-teen film or teen platonic romance. Besides this film about important messages about and for women. This research tries to opened and analyzed messages about the identity politics of women presentedin the film. The authors tries to withdraw every plot and scene in the film.This film tells about womwn under patriarchal pressure and women who struggle to get out of that pressure. to get a guess and analyzing messages containing identity politics delivered. The result obtained in this research consist of case studies and anlyzes relating to identify politics film.Keywords: Identity politics, women, film analysis
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Spicer, Andrew. "The Impresario in British Cinema: Bernard Delfont at EMI." Journal of British Cinema and Television 18, no. 1 (January 2021): 7–33. http://dx.doi.org/10.3366/jbctv.2021.0553.
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The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film. In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry. Delfont made a series of bold choices. The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent. The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen. Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business. He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money. This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer. This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player. Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units. Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.
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Косинова, Марина, and Marina Kosinova. "Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”." Servis Plus 9, no. 3 (August 28, 2015): 59–69. http://dx.doi.org/10.12737/12541.
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The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.
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Herawati, Erni. "Pornografi dalam Balutan Film Bertema Horor Mistik di Indonesia." Humaniora 2, no. 2 (October 31, 2011): 1408. http://dx.doi.org/10.21512/humaniora.v2i2.3209.
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The film industry in Indonesia has been through ups and downs. As an industry, thus there are usual things the film creators done to take financial benefit from the film industry. Some researches show that messages brought by mass communication media is no more that political and economic efforts from media to get much more benefits. Therefore, it is acknowledged that Indonesian films lately put horror and mystic theme beneath in order to get closer with Indonesia culture as the consumers. However, it is issued when the mystic theme influenced along with pornography. Ethics development efforts and law enforcement must be the continuous material to discuss the problem solving.
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Косинова, Марина, Marina Kosinova, Артур Аракелян, and Artur Arakelyan. "Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry." Servis Plus 9, no. 4 (December 1, 2015): 17–26. http://dx.doi.org/10.12737/14569.
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In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of
Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in
the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66
new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily
increase the production. The growth of the film industry contributed to the cinema spreading and film distribution.
In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in
1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957,
and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted
of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered
new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully
mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from
films increased annually in largely through the construction and commissioning of new cinemas, and due to
the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly
centralized administrative-command system which had been formed in the 1930s continued to operate until
the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the
estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the
film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films.
Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have
the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.
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Ohtsuka, Masaaki, Hideaki Matsuoka, Yukio Hirose, and Hitoshi Ishii. "The X-ray Study on Diamond Film." Advances in X-ray Analysis 39 (1995): 413–20. http://dx.doi.org/10.1154/s0376030800022825.
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The properties of the surface on various machine parts are very important. We are required to improve wear resistance, fatigue strength and thermal properties of the surface. Recently, ceramic films coated on various parts were widely used in industry, where they were improved the properties of the surface. Diamond is a new coating film deposited by the CVD method giving a film which is very hard and excels in wear resistance. In the past few years, a diamond film deposited by CVD method has become available for use in industry, however, the properties of the film remain unknown, and it is important to determine these properties.
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Puccini, Monica, Maurizia Seggiani, Domenico Castiello, Gianluigi Calvanese, and Sandra Vitolo. "Novel Thermoplastic Materials from Wastes of the Leather Industry." Applied Mechanics and Materials 467 (December 2013): 41–48. http://dx.doi.org/10.4028/www.scientific.net/amm.467.41.
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Hydrolyzed collagen from leather industry is a natural polymer easily available at low cost and its use is not in competition with food industries or other main applications because it is a waste material and a by-product of the tanning process. In this work, polyethylene-collagen hydrolizate blends, at ratios of 100/0, 90/10 and 80/20, were processed using a blow film line equipped with a single screw extruder. Film blowing is a shaping technique used extensively to produce most plastics films and bags for packaging applications. The effect of processing parameters on the physical properties of blown films was investigated. The extruded films were characterized through mechanical testing, scanning electron microscopy, and thermal analysis. The manufactured films showed satisfactory mechanical and thermal properties, thus polyethylene-collagen hydrolizate blends appears as promising candidate for the production of innovative material suitable for production of thermoplastic items for applications in packaging and agricultural segments.
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Richeri, Giuseppe. "Global film market, regional problems." Global Media and China 1, no. 4 (December 2016): 312–30. http://dx.doi.org/10.1177/2059436416681576.
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In the global film market, China is gaining more and more importance. The Chinese box office and film admissions are growing year after year and Chinese film and related companies are able to make business more and more abroad. On the contrary, US and European film markets are flat and the production costs of their film are growing. Both are trying to enter the Chinese film market and cooperate with Chinese film companies. The article reviews the Hollywood strategies towards China and analyses the advantages and problems that will be found following this way and the reason why China is interested to cooperate with Hollywood. But also, in that case, there are advantages and problems to analyse. The place of European film industry and market is different because Europe has a lot of problems to deal with: industry and market fragmentation, little cooperation among member states, lacking distribution of European film outside national markets and too large box office share of Hollywood films. European companies would like to improve cooperation with China, but they have few financial resources to invest in co-productions, they do not have blockbusters to push the China box office and they have no know-how to offer for gaining on the global film market. They can only offer cultural, artistic and creative competences, but is that what Chinese film industry is looking for?
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Horváth, Ádám, and Balázs Gyenge. "Service Marketing Analysis Of Movies As Unique Service-Products." SocioEconomic Challenges 4, no. 2 (2020): 44–55. http://dx.doi.org/10.21272/sec.4(2).44-55.2020.
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One of the features of films compared to other cultural products is the possibility of their use for advertising and information activities and influence on the formation of needs and audience preferences, as well as different patterns of consumer behavior. The urgency of this scientific problem is that the sale of cinema products today is impossible without a marketing system. The application of different marketing strategies depending on the specific tasks allows a differentiated approach to each project and achieve the goals both from the standpoint of contribution to the development of culture and in terms of obtaining economic effects from the film industry. The main purpose of the study is to substantiate and determine the features of the use of marketing tools in the film industry. The study of marketing services for film production was carried out in accordance with the logical structure of the concept of “7P” (product, promotion, location, price, staff, physical environment, and the process of providing services). Recommendations for the marketing of services in the film industry: first, the choice of methods for watching movies depends on the type of media environment (traditional, digital), secondly, the choice of ways to obtain movies depending on their genre and subject, thirdly, in order to effective promotion of content and perception of the film identified the basic requirements for its trailer. The article proves that the marketing of services in the film industry is aimed not only at meeting the socio-cultural needs of the population but also at the commercialization of the industry, ensuring audience access to films, as well as creating market conditions for its sustainable development. The research materials are the basis for further research on current issues of modern film practice, integration of film production and film consumption. Keywords: movie consumption, service marketing, consumer behavior, cultural marketing.
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Abbass, Ansar, Abdul Khaliq, and Roman Khan. "Service Marketing Analysis of Movies in Pakistan." Journal of Social Sciences Research, no. 68 (August 11, 2020): 745–54. http://dx.doi.org/10.32861/jssr.68.745.754.
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One of the features of films compared to other cultural products is the possibility of their use for advertising and information activities and influence on the formation of needs and audience preferences, as well as different patterns of consumer behavior. The urgency of this scientific problem is that the sale of cinema products today is impossible without a marketing system. The applications of different marketing strategies depending on the specific tasks allows a differentiated approach to each project and achieve the goals both from the standpoint of contribution to the development of culture, and in terms of obtaining economic effects from the film industry. The main purpose of the study is to substantiate and determine the features of the use of marketing tools in the film industry. The study of marketing services for film production was carried out in accordance with the logical structure of the concept of "7P" (product, promotion, location, price, staff, physical environment and the process of providing services). Recommendations for the marketing of services in the film industry: first, the choice of methods for watching movies depends on the type of media environment (traditional, digital), secondly, the choice of ways to obtain movies depending on their genre and subject, thirdly, in order to effective promotion of content and perception of the film identified the basic requirements for its trailer. The article proves that the marketing of services in the film industry is aimed not only at meeting the socio-cultural needs of the population, but also at the commercialization of the industry, ensuring audience access to films, as well as creating market conditions for its sustainable development. The research materials are the basis for further research on current issues of modern film practice, integration of film production and film consumption.
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Díaz-González, María-Jesús, and Almudena González-del-Valle. "Film Policies and Film Production in Spain during the Economic Crisis (2007–2017)." Palabra Clave 24, no. 1 (March 4, 2021): 1–27. http://dx.doi.org/10.5294/pacla.2021.24.1.3.
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Europe’s leading film-producing countries are France, Germany, Italy, Spain, and the United Kingdom. They were all hit by the global economic crisis, which had a particularly severe impact on Europe in 2010–2012. The consequences of this crisis for film policies and the film industry are understudied. Spain is a unique case for this study because it had to ask the European Union for a financial assistance programme. What changes were made to State film policies as a result of the crisis? How did those changes reflect on the feature film production? This article aims to answer these questions. The method used includes an analysis of film-industry policy documents and official data, and in-depth interviews. The period studied is 2007–2017. The results refer to topics such as State aid for film production; tax incentives; value-added tax (VAT); the obligation to provide advance funding for European audiovisual production, and the number, genre, and mean cost of the feature films produced.
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Спивакова, Карина, Karina Spivakova, Артур Аракелян, and Artur Arakelyan. "ANALYSIS OF THE CURRENT STATE OF THE DOMESTIC FILM INDUSTRY." Servis Plus 10, no. 3 (August 31, 2016): 42–52. http://dx.doi.org/10.12737/21122.
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The formation of scientifically grounded approaches to improve the management of the film industry needs to analyze the contemporary state of film industry in order to identify its most important problems and untapped opportunities for further dynamic and effective development. The analysis of the status and trends of Russian cinema-business development, the peculiarities of its historical development and study of logic interdependent processes are relevant prerequisites for solving the problem of forming of risk management system of project im- plementation; because in many cases these risks are caused by the specificity of Russian cinema and features of its functioning. The article is devoted to the analysis of the contemporary state of the domestic film industry based on which it is possible to make the conclusion about the need to improve management. The author analyzes the main economic indicators of the industry and describes the main development trends and their positive and negative features. The author studies thoroughly such indicators as dynamics of film distribution in the Russian film market, divided into the percentage of domestic and foreign films, attendance of cinemas in Russia, the number of cinemas and particular cinema hall in the country, takings of the Russian and foreign film projects, the production facilities of film studios, etc. A detailed analysis of the statistical data for the last 10 years allows the author to make the main conclusion about the origin of real prerequisites for the formation and development of scientifically based management systems in general and risk management system in particular in the production of Russian film projects.
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Mujitahid, Herio, and Halim Al Hafizh. "Penerapan Pajak Terhadap Industri Film Di Masa Pandemi." Jurnal Locus Delicti 2, no. 1 (July 1, 2021): 36–48. http://dx.doi.org/10.23887/jld.v2i1.457.
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Taxes are compulsory contributions to the state that are owed by individuals or entities that are compelling based on law, without receiving direct compensation and used for the state’s needs for the greatest prosperity of the people. Tax payments are used to finance state households so that the benefits are felt by the wider community or for the public interest. The film industry is a creative industry engaged in the media, arts and culture. Compared to other creative industry sectors, the film, video and photography industries have the highest creativity and knowledge capital, as forms of intangible assets. Effectiveness means that the goals that have been planned before can be achieved or in other words, the targets are achieved because of the activity process. With the existence of an open letter and protests by the film industry, it has resulted in the provision of relief and incentives from the finance minister for entertainment tax, especially for films.
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Ağın, Besna. "An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan." Etkileşim 2, no. 4 (October 2019): 220–35. http://dx.doi.org/10.32739/etkilesim.2019.4.71.
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Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.
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Hill, Rowland. "Films for Use in Canadian Industry." Relations industrielles 7, no. 4 (February 26, 2014): 341–45. http://dx.doi.org/10.7202/1023037ar.
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In this article, the author emphasizes that moving-pictures, formerly identified with entertainment and more recently as an aid to education, have been used by industry, but that there still remains much to do to cover the field of usefulness of the film itself. Movies had an active part during the war and should continue this function during peace. The Federal Department of Labour is attempting to promote a wider use of movies concerned with the field of labour and is doing this by means of a catalogue and films supplement, of filmstrips and of library. The author, moreover, suggests the different possible sources for obtaining available films.
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Taylor, Jeremy. "“Our native place — our cinema”: Nation, State and Colony in the Amoy-Dialect Film Industry of the 1950s." Journal of Chinese Overseas 5, no. 2 (2009): 235–56. http://dx.doi.org/10.1163/179303909x12489373182939.
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AbstractThis paper explores the origins, rise, and rapid decline of the Amoy-dialect film industry — an industry which was centered on the production of commercial Hokkien films in Hong Kong for mass consumption amongst Hokkien-speaking audiences throughout East and Southeast Asia in the 1950s. Building on recent research into “Diasporic Chinese film markets,” it examines this industry in light of the social and political changes (e.g. decolonization, the formation of new, postcolonial nation-states, etc.) that were occurring throughout the course of the 1950s in those areas in which substantial Hokkien-speaking communities existed. It also suggests that the very nature of the Amoy-dialect film industry should prompt us to rethink how we approach the study of “national” and “transnational” cinemas in Asia during the postwar period.
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Stoneman, Rod. "The academy and the industry." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 13–25. http://dx.doi.org/10.33178/alpha.17.01.
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The following polemical and fallible perspectives on universities and on the television and film industries derive from a personal trajectory through immersive experiences in different occupations—I worked for ten years at Channel 4, followed by a decade in the Irish Film Board and then ten years in Huston School of Film & Digital Media (which is part of the National University of Ireland, Galway). Each role took place during the initial phase of these very different entities—formative stages which involved rethinking mistakes, making modifications and facilitating development
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Аракелян, Артур, and Artur Arakelyan. "Formation of conditions for increasing the investment attractiveness of the film industry in Russia." Servis Plus 10, no. 2 (July 4, 2016): 74–79. http://dx.doi.org/10.12737/19459.
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For a long time the industry of cinematography in Russia has been unprofitable, which in turn determines the difficulty in finding investment for new film projects. The part of Russian films in total box office of domestic distribution is negligibly small, the most produced Russian film projects do not pay back the investment made in them. The situation is critical and requires a comprehensive approach to the analysis of all the possible causes of this situation and to develop measures and create conditions to increase investment attractiveness
of this industry in Russia. They are still making incompleted attempts to reform the industry, for example, an adjustment has been made in the distribution system of state support, multiple meetings with theater owners have been held where they taked about a voluntary increase of quotas on rolled domestic films and a number of other measures. However, all these measures are chaotic, and therefore futile, attempts to correct the current situation, do not have single cohesive system of designed reforms that will help to improve the overall
investment attractiveness of this industry. The article attempts to analyze the reasons that have not allowed the domestic film industry to become powerful, profitable and, most importantly, attractive for investment for a long time. The article also suggests actions that should be implemented and adapted to the Russian realities, to increase the investment attractiveness of the film industry in Russia that can serve as a locomotive for the
output of the industry from years of systemic crisis.
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Lisiecka-Muniak, Małgorzata. "Educational Offer at Polish Film Festivals Directed at Film Industry Representatives." Panoptikum, no. 18 (December 29, 2017): 216–26. http://dx.doi.org/10.26881/pan.2017.18.13.
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The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
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Muhsin Ibrahim, Muhammad. "Kannywood : creating a new film industry." Journal of African Films & Diaspora Studies 2, no. 1 (June 15, 2019): 81–94. http://dx.doi.org/10.31920/2516-2713/2019/2n1a5.
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Moudio, Rebecca. "Nigeria’s film industry: a potential goldmine?" Africa Renewal 27, no. 1 (May 31, 2013): 24–27. http://dx.doi.org/10.18356/ae9f2032-en.
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Petley, Julian. "Is There a British Film Industry?" Journal of British Cinema and Television 1, no. 1 (May 2004): 129–36. http://dx.doi.org/10.3366/jbctv.2004.1.1.129.
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RAWLS, REBECCA. "Fire toxicity film angers plastics industry." Chemical & Engineering News 63, no. 36 (September 9, 1985): 25. http://dx.doi.org/10.1021/cen-v063n036.p025.
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Leung, Wing-Fai, and Sangjoon Lee. "The Chinese film industry: Emerging debates." Journal of Chinese Cinemas 13, no. 3 (September 2, 2019): 199–201. http://dx.doi.org/10.1080/17508061.2019.1678235.
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Javed, Saleem. "Economic transformation in hindi film industry." Mass Communicator: International Journal of Communication Studies 13, no. 3 (2019): 34. http://dx.doi.org/10.5958/0973-967x.2019.00018.8.
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Jäger-Waldau, Arnulf. "Thin Film Photovoltaics: Markets and Industry." International Journal of Photoenergy 2012 (2012): 1–6. http://dx.doi.org/10.1155/2012/768368.
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Since 2000, total PV production increased almost by two orders of magnitude, with a compound annual growth rate of over 52%. The most rapid growth in annual cell and module production over the last five years could be observed in Asia, where China and Taiwan together now account for about 60% of worldwide production. Between 2005 and 2009, thin film production capacity and volume increased more than the overall industry but did not keep up in 2010 and 2011 due to the rapid price decline for solar modules. Prices for photovoltaic electricity generation systems have more than halved over the last five years making the technology affordable to an ever-increasing number of customers worldwide. With worldwide over 60 GW cumulative installed photovoltaic electricity generation capacity installed in November 2011, photovoltaics still is a small contributor to the electricity supply, and another 10 to 15 years of sustained and aggressive growth will be required for photovoltaic solar electricity to become one of the main providers of electricity. To achieve this, a continuous improvement of the current solar cell technologies will be necessary.
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Boon, Tim. "Scientific advice in the film industry." Metascience 22, no. 2 (October 16, 2012): 517–20. http://dx.doi.org/10.1007/s11016-012-9733-7.
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Shehu, Ibrahim. "HAUSA FILM INDUSTRY: SUCCESSES AND CHALLENGES." Bulletin of The Faculty of Languages & Translation 19, no. 2 (July 1, 2020): 37–45. http://dx.doi.org/10.21608/bflt.2020.166097.
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전우형. "The Vernacularization and Otherization of Independent films in Film Industry." Journal of Popular Narrative 22, no. 3 (August 2016): 435–66. http://dx.doi.org/10.18856/jpn.2016.22.3.013.
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