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Artículos de revistas sobre el tema "Motion picture industry"

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Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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1

Christopherson, S., and M. Storper. "The City as Studio; The World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry." Environment and Planning D: Society and Space 4, no. 3 (September 1986): 305–20. http://dx.doi.org/10.1068/d040305.

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Motion picture production is currently carried out by small firms under contract to an independent producer rather than in large integrated firms, the major studios. In this paper the emergence of this vertically disintegrated industry is traced and its impact on the location of the motion picture industry is analyzed. Vertical disintegration has led to a reagglomeration of motion picture employment and establishments in Los Angeles, despite the dispersal of film shooting throughout the world. The processes that are shaping the present-day organization of motion pictures can be observed across
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2

Lubbers, Charles A., and William J. Adams. "Merchandising in the Major Motion Picture Industry." Journal of Promotion Management 10, no. 1-2 (May 11, 2004): 55–63. http://dx.doi.org/10.1300/j057v10n01_05.

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3

Broderick, Suzanne. "Piracy In The Motion Picture Industry (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 1 (2004): 87–89. http://dx.doi.org/10.1353/flm.2004.0007.

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4

Einav, Liran. "Seasonality in the U.S. motion picture industry." RAND Journal of Economics 38, no. 1 (March 2007): 127–45. http://dx.doi.org/10.1111/j.1756-2171.2007.tb00048.x.

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5

Weinberg, Charles B. "Invited Commentary—Research and the Motion Picture Industry." Marketing Science 25, no. 6 (November 2006): 667–69. http://dx.doi.org/10.1287/mksc.1050.0164.

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6

Kim, Myeong Hwan. "Determinants of revenues in the motion picture industry." Applied Economics Letters 20, no. 11 (July 2013): 1071–75. http://dx.doi.org/10.1080/13504851.2013.783678.

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7

Sochay, Scott, and Barry Litman. "Export markets and the U.S. motion picture industry." Journal of Media Economics 5, no. 3 (September 1992): 31–55. http://dx.doi.org/10.1080/08997769209358226.

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8

Kraushaar, Andreas, and Dietrich Gall. "ICC Color Management in the Motion Picture Industry." Color and Imaging Conference 10, no. 1 (January 1, 2002): 212–16. http://dx.doi.org/10.2352/cic.2002.10.1.art00040.

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9

Goettler, Ronald L., and Phillip Leslie. "Cofinancing to Manage Risk in the Motion Picture Industry." Journal of Economics Management Strategy 14, no. 2 (June 2005): 231–61. http://dx.doi.org/10.1111/j.1530-9134.2005.00041.x.

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10

Fielding, Raymond. "Accounting practices in the early American motion picture industry." Historical Journal of Film, Radio and Television 12, no. 2 (January 1992): 115–25. http://dx.doi.org/10.1080/01439689200260071.

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11

Chernoyarsky, A. A., and V. G. Komar. "The Motion-Picture Industry and Technology in the USSR." SMPTE Journal 99, no. 3 (March 1990): 214–24. http://dx.doi.org/10.5594/j03926.

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12

Orgeron, M. "Rethinking Authorship: Jack London and the Motion Picture Industry." American Literature 75, no. 1 (March 1, 2003): 91–117. http://dx.doi.org/10.1215/00029831-75-1-91.

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13

Tremblay, Victor J. "Introduction to the Series on the Motion Picture Industry." Review of Industrial Organization 30, no. 4 (August 16, 2007): 253–54. http://dx.doi.org/10.1007/s11151-007-9137-9.

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14

Nelson, Otto. "1926 Early History and Growth of the Motion Picture Industry." SMPTE Journal 105, no. 10 (October 1996): 606–7. http://dx.doi.org/10.5594/j17186.

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15

Somlo, Barbara, Kumar Rajaram, and Reza Ahmadi. "Distribution Planning to Optimize Profits in the Motion Picture Industry." Production and Operations Management 20, no. 4 (September 24, 2010): 618–36. http://dx.doi.org/10.1111/j.1937-5956.2010.01166.x.

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16

McKenzie, Jordi, and Vladimir Smirnov. "Blockbusters and market expansion: evidence from the motion picture industry." Journal of Cultural Economics 42, no. 2 (September 22, 2017): 341–52. http://dx.doi.org/10.1007/s10824-017-9308-y.

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17

Basuroy, Suman, Kalpesh Kaushik Desai, and Debabrata Talukdar. "An Empirical Investigation of Signaling in the Motion Picture Industry." Journal of Marketing Research 43, no. 2 (May 2006): 287–95. http://dx.doi.org/10.1509/jmkr.43.2.287.

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18

Adaikkalam, P., N. Sathaiyan, and S. Visvanathan. "Electrolytic regeneration of bleach solution in the motion picture industry." Journal of Chemical Technology & Biotechnology 56, no. 4 (April 24, 2007): 389–92. http://dx.doi.org/10.1002/jctb.280560410.

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19

Vany, Arthur De, and W. David Walls. "Bose-Einstein Dynamics and Adaptive Contracting in the Motion Picture Industry." Economic Journal 106, no. 439 (November 1996): 1493. http://dx.doi.org/10.2307/2235197.

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20

Huang, Dongling, Andrei Strijnev, and Brian Ratchford. "Role of Advertising and Consumer Interest in the Motion Picture Industry." Review of Marketing Science 13, no. 1 (January 1, 2015): 1–40. http://dx.doi.org/10.1515/roms-2014-0005.

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AbstractAdvertising is commonly used as a major marketing tool by many firms to support their new product release. Quantifying the effectiveness of pre-release advertising campaigns, however, is both challenging, since no sales data are available, and costly, because of the need to conduct consumer surveys. This is especially true for movie industry for which the majority of advertising dollars are spent before the movie’s release. Using the recent availability of online data on consumer search behaviors on a popular website dedicated to the movie industry, we construct a consumer interest mea
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21

Lampel, Joseph, and Jamal Shamsie. "Critical Push: Strategies for Creating Momentum in the Motion Picture Industry." Journal of Management 26, no. 2 (April 2000): 233–57. http://dx.doi.org/10.1177/014920630002600204.

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22

Vandaie, Ramin, and Akbar Zaheer. "Alliance Partners and Firm Capability: Evidence from the Motion Picture Industry." Organization Science 26, no. 1 (February 2015): 22–36. http://dx.doi.org/10.1287/orsc.2014.0925.

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23

Pivar, David J., and Frank Walsh. "Sin and Censorship: The Catholic Church and the Motion Picture Industry." American Historical Review 102, no. 2 (April 1997): 554. http://dx.doi.org/10.2307/2171002.

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24

Rosenbloom, Nancy J., Frank Walsh, and Janet Staiger. "Sin and Censorship: The Catholic Church and the Motion Picture Industry." Journal of American History 83, no. 3 (December 1996): 1042. http://dx.doi.org/10.2307/2945725.

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25

Rice, Tom. "Protecting Protestantism: The Ku Klux Klan vs. The Motion Picture Industry." Film History: An International Journal 20, no. 3 (September 2008): 367–80. http://dx.doi.org/10.2979/fil.2008.20.3.367.

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26

Mukherjee, Anirban, and Vrinda Kadiyali. "Modeling Multichannel Home Video Demand in the U.S. Motion Picture Industry." Journal of Marketing Research 48, no. 6 (December 2011): 985–95. http://dx.doi.org/10.1509/jmr.07.0359.

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27

Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.

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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and
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28

Garcia, Eddie, Hamed Yazdanshenas, Nicholas A. Kusnezov, and Arya Nick Shamie. "Costs of Musculoskeletal Injury in the California Film and Motion Picture Industry." Global Journal of Health Science 8, no. 11 (April 13, 2016): 293. http://dx.doi.org/10.5539/gjhs.v8n11p293.

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<p><strong>INTRODUCTION:</strong> Musculoskeletal injuries may have a significant economic impact on the film and motion picture (FMP) industry. However, there is currently no comprehensive data on the cost of workers’ compensation (WC) claims in the FMP industry. We present the first analysis of the cost of musculoskeletal injuries in the California (CA) FMP industry.</p><p><strong>METHODS: </strong>We reviewed the WC claims database of the Workers’ Compensation Insurance Rating Bureau of California (WCIRB) from 2003 to 2007 and employment statistics
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29

한상언. "The rules of motion picture censorship and changes of Chosun film industry." Contemporary Film Studies 7, no. 2 (November 2011): 347–72. http://dx.doi.org/10.15751/cofis.2011.7.2.347.

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30

Pfeiffer, Glenn, Robert Capettini, and Gene Whittenburg. "Forrest gump—Accountant: A study of accounting in the motion picture industry." Journal of Accounting Education 15, no. 3 (June 1997): 319–44. http://dx.doi.org/10.1016/s0748-5751(97)00009-2.

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31

Fink, Mike, Kirk Thatcher, and Ralph Winter. "The reality of computer graphics in the motion picture industry (panel session)." ACM SIGGRAPH Computer Graphics 22, no. 4 (August 1988): 348. http://dx.doi.org/10.1145/378456.378552.

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32

Cummings, Chailin. "An Empirical Examination of Network Ambidexterity in the Contemporary Motion Picture Industry." Academy of Management Proceedings 2012, no. 1 (July 2012): 15395. http://dx.doi.org/10.5465/ambpp.2012.15395abstract.

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33

Gutzeit, Lilly Joan, and Victor Tiberius. "Business and Management Research on the Motion Picture Industry: A Bibliometric Analysis." Journalism and Media 4, no. 4 (December 14, 2023): 1198–210. http://dx.doi.org/10.3390/journalmedia4040076.

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The motion picture industry is subject to extensive business and management research conducted on a wide range of topics. Due to high research productivity, it is challenging to keep track of the abundance of publications. Against this background, we employ a bibliographic coupling analysis to gain a comprehensive understanding of current research topics. The following themes were defined: Key factors for success, word of mouth and social media, organizational and pedagogical dimensions, advertising—product placement and online marketing, tourism, the influence of data, the influence of cultur
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34

Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (April 4, 2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the uni
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35

Vliet, Hannah. "White Saviors Get Gold Trophies: Colorblind Racism and Film Award Culture." Film Matters 12, no. 3 (December 1, 2021): 140–51. http://dx.doi.org/10.1386/fm_00182_1.

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“White Saviors Get Gold Trophies: Colorblind Racism and Film Award Culture” analyzes the cultural “text” of Green Book’s Best Picture acceptance speech at the 2019 Academy Awards to expose the neoliberal, colorblind mode of racism that infects the Academy of Motion Picture Arts and Sciences, as well as the American film industry at large.
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36

Thom, Michael. "Lights, Camera, but No Action? Tax and Economic Development Lessons From State Motion Picture Incentive Programs." American Review of Public Administration 48, no. 1 (June 5, 2016): 33–51. http://dx.doi.org/10.1177/0275074016651958.

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Despite mixed results, state government use of targeted economic development programs has escalated. This study evaluates the impact of motion picture incentive programs, an array of tax incentives employed by over 40 states to entice film and television productions out of California and New York, on labor and economic conditions from 1998 through 2013. Results suggest that sales and lodging tax waivers had no effect on any of four different economic indicators. Transferable tax credits had a small, sustained effect on motion picture employment levels but no effect on wages. Refundable tax cre
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37

Chen, Man, Xiaomin Han, Xinguo Zhang, and Feng Wang. "The business model of Chinese movies." Journal of Contemporary Marketing Science 2, no. 3 (December 17, 2019): 246–61. http://dx.doi.org/10.1108/jcmars-02-2019-0015.

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Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese an
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38

Sohn, Jong-Nam, and Jong-Han Lee. "Investigation about Figure Industry by Extension of Image Media (Game, Animation, Motion Picture)." Journal of the Korea Contents Association 8, no. 3 (March 31, 2008): 67–74. http://dx.doi.org/10.5392/jkca.2008.8.3.067.

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39

Murphy, David G. "The Entrepreneurial Role of Organized Labour in the British Columbia Motion Picture Industry." Articles 52, no. 3 (April 12, 2005): 531–52. http://dx.doi.org/10.7202/051185ar.

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Research into an industrial sector reflecting principles of the emergent "network" model of production indicates that organized labour can play a positive role in post-Fordist Systems of industrial governance. Within the dynamic motion picture industry of British Columbia (B. C), organized labour was the key organizational factor in the birth and rapid expansion of the agglomeration ofsmall, specialized film production firms which has become a competitor for the coveted title of second largest film centre, after Los Angeles, in North America. In this process, B.C. film unions have become the d
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40

Kepley, Vance, Val S. Golovskoy, John Rimberg, and Steven Hill. "Behind the Soviet Screen: The Motion-Picture Industry in the USSR, 1972-1982." Slavic and East European Journal 32, no. 1 (1988): 148. http://dx.doi.org/10.2307/308942.

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41

Wang, Yan, Jingjing Han, and Songzhu Zheng. "Measure audiences' satisfaction through user generated content-satisfaction research in motion picture industry." International Journal of Arts and Technology 10, no. 4 (2017): 285. http://dx.doi.org/10.1504/ijart.2017.092496.

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42

Han, Jingjing, Songzhu Zheng, and Yan Wang. "Measure audiences' satisfaction through user generated content-satisfaction research in motion picture industry." International Journal of Arts and Technology 10, no. 4 (2017): 285. http://dx.doi.org/10.1504/ijart.2017.10013815.

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43

Wang, Yan, Mimi Zhang, Songzhu Zheng, Jianping Chai, and Bo Li. "Measure Audiences’ Satisfaction through User Generated Content–Satisfaction Research in Motion Picture Industry." International Journal of Multimedia and Ubiquitous Engineering 12, no. 1 (January 31, 2017): 69–78. http://dx.doi.org/10.14257/ijmue.2017.12.1.06.

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44

Yang, Joonhyuk, and Wonjoon Kim. "Seasonality in the Non-U.S. Motion Picture Industry: A Case of South Korea." Journal of Media Economics 27, no. 1 (January 2, 2014): 38–55. http://dx.doi.org/10.1080/08997764.2013.873443.

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45

Gong, James Jianxin, Wim A. Van der Stede, and S. Mark Young. "Real Options in the Motion Picture Industry: Evidence from Film Marketing and Sequels*." Contemporary Accounting Research 28, no. 5 (May 12, 2011): 1438–66. http://dx.doi.org/10.1111/j.1911-3846.2011.01086.x.

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46

DELRE, SEBASTIANO A., THIJS L. J. BROEKHUIZEN, and WANDER JAGER. "THE EFFECT OF SOCIAL INFLUENCE ON MARKET INEQUALITIES IN THE MOTION PICTURE INDUSTRY." Advances in Complex Systems 11, no. 02 (April 2008): 273–87. http://dx.doi.org/10.1142/s0219525908001623.

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In this paper we investigate the degree to which two social influences, namely imitation and coordinated consumption, effectuate inequalities in the motion picture industry. We develop an agent-based model based on micro movie visitors' decision-making that generates the observed macro market outcomes. The simulation model makes use of the findings of an empirical survey amongst 1112 cinema visitors. We find that social influences explain market inequalities and that the impact of coordinated consumption on market inequalities is stronger than the impact of imitation.
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47

Delre, Sebastiano A., Claudio Panico, and Berend Wierenga. "Competitive strategies in the motion picture industry: An ABM to study investment decisions." International Journal of Research in Marketing 34, no. 1 (March 2017): 69–99. http://dx.doi.org/10.1016/j.ijresmar.2016.05.005.

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48

Hababou, Moez, Nawel Amrouche, and Kamel Jedidi. "Measuring Economic Efficiency in the Motion Picture Industry: a Data Envelopment Analysis Approach." Customer Needs and Solutions 3, no. 3-4 (November 28, 2016): 144–58. http://dx.doi.org/10.1007/s40547-016-0069-0.

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49

Pyron, Darden Asbury, and Richard Alan Nelson. "Florida and the American Motion Picture Industry, 1898-1980. Volumes I and II." Journal of Southern History 52, no. 3 (August 1986): 478. http://dx.doi.org/10.2307/2209600.

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50

Catherine Jurca. "“The Entire Motion Picture Industry Presents”: The World Is Ours (1938)." Moving Image: The Journal of the Association of Moving Image Archivists 13, no. 2 (2013): 99. http://dx.doi.org/10.5749/movingimage.13.2.0099.

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