Bibliografie tematiche / Motion picture audiences

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Letteratura scientifica selezionata sul tema "Motion picture audiences"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Motion picture audiences"

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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.

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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen produc
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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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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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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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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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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and re
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Zweig, Noah. "Foregrounding Public Cinema and Rural Audiences: The USDA Motion Picture Service as Cinematic Modernism, 1908–38." Journal of Popular Film and Television 37, no. 3 (November 16, 2009): 116–25. http://dx.doi.org/10.1080/01956050903218091.

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Wei, Yating. "Deep-Learning-Based Motion Capture Technology in Film and Television Animation Production." Security and Communication Networks 2022 (February 11, 2022): 1–9. http://dx.doi.org/10.1155/2022/6040371.

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With the popularity of King Kong, Pirates of the Caribbean 2, Avatar, and other films, the virtual characters in these films have become popular and well loved by audiences. The creation of these virtual characters is different from traditional 3D animation but is based on real character movements and expressions. An overview of several mainstream motion capture systems in the field of motion capture is presented, and the application of motion capture technology in film and animation is explained in detail. The current motion capture technology is mainly based on complex human markers and sens
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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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Aziz al-Quraishi, Zuhair Abbas, and Shaker Nima Harz Alaak. "The role of television in activating the behavior of recreational tourists in the city of Baghdad." Iraqi Administrative Sciences Journal 1, no. 1 (March 30, 2017): 246–84. http://dx.doi.org/10.33013/iqasj.v1n1y2017.pp246-284.

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TV is considered the strongest media in comparison with other means, therefore, its effects were and are still the strongest in human and his social, economic, purchasing and tourist behaviors. Studies emphasized the importance of TV and its distinct from other traditional media, in that it can mix between the picture, voice and motion in a more perfected way through color, shape and motion as well as it made the audience watch what is going on in the world directly. It also employed the rest of traditional communication means for its interest, in that it became a new means for information, re
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Tesi sul tema "Motion picture audiences"

1

Carboni, Camilla. "Film spectatorship and subjectivity : semiotics, complications, satisfactions." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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Matzkin, Rosalie Greenfield. "The film encounter in the life-world of urban couples : a uses and gratification study /." Access Digital Full Text version, 1985. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10538483.

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Zhao, Meng. "Understand the misunderstanding a study incorporating uses and gratifications theory on why Chinese film audiences see America the way they do /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)." Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.<br>Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).
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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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Lupton, David, and emaylus@hotmail com. "Prolegomena to reflective film study : a Bourdieusian analysis of the economy of cinematic exchange." Swinburne University of Technology, 2004. http://adt.lib.swin.edu.au./public/adt-VSWT20050708.092149.

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What is unique to the experience of cinema that has ensured its ongoing popularity across generations of filmgoers? As both a theoretical construct and a real world practice, cinematic experience is necessarily implicated in systems of social and cultural stratification, and thus subject to the drive for symbolic distinction amongst classes. As such, practical logics grounded in specific cultural arbitraries hinder illumination of the complexities of film going, perpetuating epistemological errors based in social ignorance and therefore denying a new understanding of cinematic experience in it
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Lupton, David. "Prolegomena to reflective film study a Bourdieusian analysis of the economy of cinematic exchange /." Australasian Digital Thesis Program, 2004. http://adt.lib.swin.edu.au/public/adt-VSWT20050708.092149.

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Thesis (PhD) - Faculty of Life and Social Sciences, Swinburne University of Technology, 2004.<br>Typescript. Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy, Faculty of Life and Social Science, Swinburne University of Technology, 2004. Bibliography: p. 275-284. Also available on cd-rom.
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Phiri, Diana. "An investigation into the popularity of Nigerian movies in Zambia: a reception study of Lusaka viewers." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007615.

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Motivated by a concern as to why Zambians are attracted to foreign media in the form of Nigerian movies, this thesis is a qualitative audience study which investigates the popularity of Nigerian movies in Zambia with a focus on Lusaka viewers. Against the dominance of Western media and most especially Hollywood movies, this study explores the popularity of Nigerian movies in Zambia which highlights the circulation of media within and between non-Western countries. This is an aspect of trans-national cultural flows that has been ignored in theories of media imperialism. The thesis argues that t
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Rutherford, Anne. "'What makes a film tick?' : cinematic affect, materiality and mimetic innervation." Thesis, View thesis, 2006. http://handle.uws.edu.au:8081/1959.7/20720.

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This PhD explores questions of cinematic affect and its relationship to mimetic experience. Through an examination of cinematic materiality, it argues that film must be inscribed across the sensorium if it is to arouse affective experience for the spectator. Drawing on Miriam Hansen’s readings of Walter Benjamin and Siegfried Kracauer, the thesis argues that cinematic affect can most productively be understood in film as a process of mimetic innervation. The thesis is comprised of seven published essays and an overarching chapter. The introductory chapter, ‘A Paradigm Shift in Film Studies’, s
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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how t
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Libri sul tema "Motion picture audiences"

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A, Austin Bruce, ed. Current research in film: Audiences, economics and law. Norwood, N.J: Ablex Publishing Co., 1985.

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1952-, Maltby Richard, ed. Hollywood abroad: Audiences and cultural exchange. London: BFI, 2004.

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Komitet Rossiĭskoĭ Federat︠s︡ii po kinematografii and Nauchno-issledovatelʹskiĭ institut kinoiskusstva (Russia), eds. Ispytanie konkurent︠s︡ieĭ: Otechestvennoe kino i novoe pokolenie zriteleĭ. Moskva: Izdatelʹskai︠a︡ firma IBB, 1997.

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Guillén, Fedro Carlos. La sala oscura: Sobre cine, películas y espectadores. México: Paidós, 2002.

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I, Zhabskiĭ M., and Nauchno-issledovatelʹskiĭ institut kinoiskusstva (Russia), eds. Pod znakom vesternizat͡s︡ii: Kino-publika-vozdeĭstvie. Moskva: Nauchno-issl. in-t kinoiskusstva, 1995.

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Pāṣa, Abdul Rehamān. Sinimā mattu prēkṣaka. Beṅgaḷūru: Navakarnāṭaka Prakāśana, 1987.

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Donev, Aleksandŭr. Pomosht ot publikata: Bŭlgarskite igralni filmi ot nachaloto na XXI vek i tekhnite zriteli v kinata. Sofii︠a︡: Fŭn tezi, 2018.

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Cancela, Lorena. Estado transitorio: Cinefilia en el siglo XXI. Buenos Aires, Argentina: Djaen, 2012.

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Saidi, Mpungu Mulenda. Un regard en marge: Le public populaire du cinéma au Zaire. Louvain-la-Neuve: Université catholique de Louvain, 1987.

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Melvyn, Stokes, and Maltby Richard 1952-, eds. American movie audiences: From the turn of the century to the early sound era. London: BFI Pub., 1999.

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Capitoli di libri sul tema "Motion picture audiences"

1

Dixon, Shane M., and Tim Gawley. "Screening Workplace Disaster: The Case of Only the Brave (2017)." In Visualising Safety, an Exploration, 101–10. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_12.

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AbstractMedia influence how we define and engage with our world, shaping our interpretations, attitudes, behaviours. Feature films in which work-related injuries, deaths, and disasters are the storylines can convey occupational safety messages to large, diverse audiences. Films can entertain, act as “powerful” and “poignant” memorials to workers, heighten peoples’ awareness of events, and even deepen their understanding of the causes of workplace disasters. However, it is unclear how films actually represent the complexities of workplace injury and industrial disaster. We examined the film Only the Brave (di Bonaventura, Luckinbill (Producers), Kosinski (Director) in Only the Brave [Motion Picture] (Columbia Pictures, United States, 2017)), which recounts the story of the deaths of 19 wildland firefighters in America. In particular, we examine how the film portrays workplace disaster and the factors which led up to the event. We discuss some strengths and limitations of feature films as a form of visualizing workplace disaster.
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Hoggan, Michael. "The Motion Picture Editor and the Audience." In The Art and Craft of Motion Picture Editing, 139–49. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003099765-10.

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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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Abstract (sommario):
AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Lomax, Cathy. "Dorothy Dandridge the Invisible Star: Racial Segregation in Hollywood Fan Magazines in the 1950s." In Stars, Fan Magazines and Audiences, edited by Tamar Jeffers McDonald, Lies Lanckman, and Sarah Polley, 75–94. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399505901.003.0005.

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In 1954, Dorothy Dandridge’s career and stardom were approaching their peak: after many years playing small roles on screen and performing on the nightclub circuit she was cast as the lead in Otto Preminger’s all-black musical Carmen Jones, a role that won her an Academy Award nomination. Despite this, Dandridge was ignored by the American fan magazines. Though major mainstream publications like Life, Cosmopolitan, Esquire and Look ran features on her, the top movie magazines such as Photoplay, Modern Screen and Motion Picture downplayed her significance, denying her stardom. This chapter examines one issue of Photoplay from February 1955, which amongst the usual content has a one-page sponsored feature in black and white about Carmen Jones. Using a detailed analysis of the content of this issue, the chapter outlines the way that the American fan magazines of the mid-1950s, in an effort to maintain the status quo, screened their mostly female audience from any political issues, which by the very nature of her race Dandridge epitomised. The result of this invisibility for Dandridge was that the progress of her career was impeded and short-lived.
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Waddell, Calum. "The Body is Everything: Sexploitation Spectacle." In The Style of Sleaze, 74–96. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409254.003.0006.

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With a close focus on the hardcore blockbuster ‘The Devil in Miss Jones’, this chapter discusses how the sexploitation film evolved, stylistically, into a form that challenged audiences and critics to – briefly – question where or not these might be even radical art cinema. The style of the sexploitation film is argued to have hit a new peak with this particular motion picture which defined the genre for its era but ultimately also indicated that it might have nowhere else to go other than glossier reproductions of the sex spectacle itself.
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"1. Songs of the Sonic Body: Noise and the Sounds of Early Motion Picture Audiences." In Static in the System, 15–52. University of California Press, 2019. http://dx.doi.org/10.1525/9780520971196-004.

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Miklitsch, Robert. "The Big Caper." In I Died a Million Times, 182–217. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043611.003.0009.

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The Brooklyn armored car robbery, which occurred on August 21, 1934, not only represented the “nation’s biggest cash heist at the time” but also provided the source material for Richard Fleischer’s Armored Car Robbery (1950), a B picture that was released the very same day as the acknowledged prototypical heist film, The Asphalt Jungle. Although the heist picture could not, and did not, crystallize as a genre until 1950 because the Production Code expressly forbid filmmakers from showing the preparation and commission of heists, the competition represented by television and the 1948 “divorcement” decree forced the motion picture industry to find new ways to attract audiences. One strategy was to continue to produce B movies. If Armored Car Robbery demonstrates the vitality of B movies before the majors decided to cease production of them in 1951 and The Killing (1956) represents the appeal of “low” crime genres such as the “caper” movie for aspiring auteurs like Stanley Kubrick, Plunder Road (1957) testifies to the rise of independent production and the sort of niche markets favored by young adults hungry for more daring cinematic fare than previously had been available.
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Freiberg, Freda. "China Nights (Japan, 1940): The Sustaining Romance of Japan at War." In World War II, Film, and History, 31–46. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195099669.003.0003.

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Abstract Japan’s war against China, lasting as it did continually from 1937 to 1945 and engaging the bulk of the Japanese Imperial Army, was fundamental to Tokyo’s goals in Asia. This chapter examines Japanese wartime cinema, most particularly the motion picture China Nights (Japan, 1940), and analyzes some of the ways in which the war in China was represented on film to wartime Japanese audiences. It also demonstrates the effectiveness of using gender analysis to comprehend the ways in which the war was portrayed as an interracial and sexual melodrama. In the militaristic Japanese projection, feminine China needed the subjugation and protection of virile, masculine Japan. As analysis of the film makes clear, racism and sexism were important components of Japanese imperialism in China.
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Stokes, Melvyn. "Thomas Dixon Jr." In D. W. Griffith’s The Birth of a Nation, 27–54. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336788.003.0003.

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Abstract The essential narrative and the principal fictional characters of The Birth of a Nation were originally created by Thomas Dixon Jr. Any attempt to understand the genesis of the film, therefore, must start with Dixon. Successively lawyer, politician, minister, lecturer, novelist, dramatist, actor, theatrical and motion picture producer, and real estate entrepreneur, he was a man of tremendous energy, considerable versatility, and enormous ambition. Almost forgotten nowadays, he was a significant figure in early twentieth-century American culture. He was a highly successful minister and popular lecturer. His novels, frequently addressing racial issues, enjoyed huge sales. He also wrote a number of plays that attracted large, enthusiastic audiences. The popularity of Dixon’s novels and plays, indeed, suggests that the issues he addressed struck a responsive chord among many Americans of his time.
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