Letteratura scientifica selezionata sul tema "Capitu (Motion picture)"

My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.

He, Mali.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 104-112).
Abstracts in English and Chinese.
Abstract (English version) --- p.i
Abstract (Chinese version) --- p.iii
Acknowledgement --- p.v
Table of Contents --- p.vii
List of Tables --- p.ix
List of Figures --- p.x
Chapter Chapter 1. --- Local Media Industry in the Global Context --- p.1
Chapter 1.1 --- Introduction --- p.1
Chapter 1.2 --- The Issues of Globalization --- p.5
Chapter 1.3 --- Cultural Industries: Political Economy in Practice --- p.12
Chapter 1.4 --- Hollywood Reacquainted --- p.14
Chapter Chapter 2. --- Industrial Reforms and the Current Development of the Chinese Film Industry --- p.18
Chapter 2.1 --- Trajectory of the Chinese Film Industrial Reforms --- p.18
Chapter 2.11 --- The Internal Industrial Reform --- p.20
Chapter 2.12 --- The Reforms on External Policy --- p.22
Chapter 2.13 --- Closer Economic Partnership Agreement (CEPA) --- p.26
Chapter 2.14 --- Consequences of and Implications for the Chinese Film Industrial Reforms --- p.29
Chapter 2.2 --- A Glance at the Current Development and Dilemma in the Chinese Film Industry --- p.31
Chapter Chapter 3. --- Research Questions and Methodology --- p.39
Chapter 3.1 --- Analytical Framework --- p.39
Chapter 3.2 --- Research Questions --- p.42
Chapter 3.3 --- Methodology --- p.43
Chapter Chapter 4. --- The Analysis of Localization of the Foreign Media Capital in Crazy Stone --- p.48
Chapter 4.1 --- Trajectory of Warner Bros. Entering Mainland China Market --- p.49
Chapter 4.2 --- Investment Mode of Crazy Stone --- p.53
Chapter 4.3 --- Successful Strategies Contributing to the Success of Crazy Stone --- p.60
Chapter 4.3.1 --- Localization of the Creative --- p.60
Chapter 4.3.2 --- Localization of the Content --- p.65
Chapter 4.33 --- Localization of the Economic --- p.74
Chapter 4.34 --- Localization of Marketing Strategies --- p.80
Chapter 4.35 --- Success of Crazy Stone --- p.87
Chapter Chapter 5. --- Conclusion and Discussion --- p.89
Chapter 5.1 --- Localization as Prerequisites --- p.89
Chapter 5.2 --- "Localization, Regionalization and Globalization一A Chinese-specific Possible Film Development Model" --- p.92
Chapter 5.3 --- Implications for the Chinese Film Industry --- p.96
Chapter 5.4 --- Limitation and Discussion --- p.100
Notes --- p.104
References --- p.108
Appendices --- p.114
Appendix 1 --- p.114
Appendix 2 --- p.115
Appendix 3 --- p.116

JEL Classification: G110 Portfolio Choice: Investment Decision
This paper analyses and compares the profitability and risks of the movie industry against venture capital investment. For the movie industry, by studying the data of 524 movies made by 13 studios from 2011 to 2014. For venture capital investments by collecting insight on the profitability of venture capital investment from seven academicals articles. The study suggests that both industry exhibit similar pattern in term of dispersion, but that movie industry is more profitable than venture capital investment. At the same time the higher profit of the movie industry result also in higher risks for the investors, making this industry only desirable for investors looking for an aggressive investment strategy.
Este trabalho analisa e compara a rentabilidade e riscos da indústria do cinema contra os investimentos em Venture Capital. Para a indústria do cinema, estudando os dados de 524 filmes feitos por 13 estúdios 2011-2014. Para o Venture Capital através da recolha de datos sobre a rentabilidade dos investimentos Venture Capital a partir de sete articulos academicos. O estudo sugere que as duas indústria apresentam padrão semelhante em termos de dispersão, mas que a indústria do filme é mais rentável do que o Venture Capital. Ao mesmo tempo, a indústria do cinema tem tambem mais riscos para os investidores que o Venture Capital. A Indústria do cinema esta só desejável para investidores que procurem uma estratégia de investimento agressivo.

This dissertation examines sensation in twentieth-century narratives of London and argues that vulnerability is a constitutive experience of the post-imperial city. Sensations of vulnerability in London arise because of the built environment of the city: its status as an imperial center and a global capital create important intersections of local, national, and global concerns which render the city itself vulnerable. I chart the trajectory of vulnerability as an affective history of London that is documented in cultural texts ranging from fiction and film to political debates and legal materials. Since the sensational experiences of the present partly arise from the materials of the past embedded in the landscape, affective histories create new ways of understanding history as a spatial experience. The narrated sensations of the city make vulnerability legible as a persistent feature of twentieth-century London life. I begin with a modernist, imperial London, in Virginia Woolf's Mrs. Dalloway and in Parliamentary debates from the same year (1925). Ambivalence about London's dual status as a local site and as a national and international capital is a response to London's vulnerable position at the end of the Great War. Next, I turn to World War Two London and Elizabeth Bowen's The Heat of the Day. I discuss intimacy as an important national feature in narratives of London during the crisis of this war. National narratives about intimacy constructed by Winston Churchill and heard on BBC radio respond directly to London's defensive vulnerability. My third chapter concerns Margaret Thatcher's 1980s London and the crucial role autonomy plays in constructing London as an invulnerable, international financial and civic capital. Alan Hollinghurst's The Swimming-Pool Library documents Londoners' attempts to make sense of their autonomy in a postimperial capital. My final chapter examines sensations of social and political belonging in contemporary London through reading Stephen Frears's Dirty Pretty Things alongside legal documents about immigration. I contend that reading cultural texts affectively creates counter-histories of the city that accommodate a deeper range of experiences than do traditional histories and offers to literary studies a new way of understanding the relationship between official and unofficial histories.
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本文提出「影像/形象資本」作為考察影像/形象、資本及權間關係的工具。「影像/形象資本」發展至自布爾迪卮的文化資本，但「影像/形象」資本把焦點放在視覺或形象資源如何在文化/經濟、生產/消費以及上層建築/下層建構界線越趨模糊的符號空間經濟主導代，成為文化場域中新的權資源。
透過考察橫店影視城一個結合影視生產及遊的中國影城生產地域化及經濟符號化的過程，本文嘗試對「影像/形象資本」的概作深入的分析。沿著布爾迪卮的框架，影視城被視為一個由擁有同影像/形象資本的能動者構成的場域，而這些能動者自在地及跨境的生產及消費網絡。在橫店影視城生產、積與轉換的過程的探中，本文嘗試回答：一)影像/形象在文化場域中的功能及其轉換為經濟或其他資本的條件；二) 影像/形象資本在國際文化分工成員中的分佈以及其結構對影像資本的價值及轉換的影響。第一條問題旨在闡釋經濟符號化的過程，第二條問題則希望剖析影像/形象與資本主義結下的地域分工以及動政治。作為一個可以同時探究影像帶的可能性及限制的概，影像/形象資本把媒介影像的研究，從批判學派對影像呈現的控制及霸權形成，展至影像對同能動者、以至在符號經濟時代中冒升的社會機構所產生的建設性及壓迫性的權的多重探索。
This thesis develops the concept of image capital to investigate the relationship between image, capital and power. Image capital is built on Bourdieu's concept of cultural capital, but looks specifically into how visual and imagery resources becomes a power at stake in the cultural field at the juncture of the economies of signs and space featured by growing convergence of culture and the economy and subsequent blurring of the boundaries between base/superstructure and production/consumption.
The concept of image capital is examined through the case study of the spatialization and the semioticization processes of Hengdian World Studios, a China studio complex that serves domestic and international film and TV productions and operates film studio tourism. The studio, as a case, is theorized as a field which is constituted by different agents with various forms of image capital, including those embedded in local as well as transnational production and consumption networks. The processes of production, accumulation and conversion of image capital at the field of Hengdian World Studios are investigated to chart 1) how image functions as a form of capital at stake in the cultural field and how it can be converted into other forms of capital; 2) how the distribution of image capital is structured amongst agents in the field and how this structure influences the value and conversion rate image capital to other forms of capital. The first question aims at studying the semioticization process, whilst the second attempts to scrutinize the spatialization and the labor politics underpinning the alliance of image and capitalism. By theorizing image as Bourdieusean form of capital and examining both its enabling possibilities and constraints, this thesis sheds light on the study of media images by steering beyond ideological control to both the productive and repressive power of images onto different agents as well as the social intuitions of the up and rising economies of sign and space.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Chow, Pui Ha.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves [419-439]).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
ABSTRACT
摘要
ACKNOWLEDGMENTS
TABLE OF CONTENT
Chapter CHAPTER I --- Introduction --- p.1
Chapter CHAPTER II --- Image and Capitalism --- p.21
Marx's capital and critical media theories on image studies --- p.21
Political economies of signs and the media --- p.26
Implications of the political economy of signs on critical Marxist media theories --- p.31
Alternative frameworks for the study of image and capitalism: End of Production and Labor or NICL? Or Bridging capital and labor in image production and consumption? --- p.38
Chapter CHAPTER III --- Bourdieu's Capital, Field and Habitus --- p.51
Bourdieu's concept of Capital --- p.52
Field and Habitus --- p.63
Theoretical implications of habitus and field of Bouredieusean capital --- p.71
Chapter CHAPTER IV --- Field Theory of Cultural Production and the Political Economy of Signs --- p.76
The field of cultural production --- p.77
The field of cultural production and the political economies of signs and space --- p.91
Image Capital and the political economies of signs and space --- p.105
Chapter CHAPTER V --- Image Capital, Field and Film Studio --- p.112
Intercontextuality: Contextual knowledge, globalization and field --- p.113
Film Studio, image capital and field --- p.117
Research question, design and method --- p.124
Chapter CHAPTER VI --- The Development of Film Studio Complex --- p.135
The emergence of film studio complex in the global field --- p.135
Transformation of China's National Field of Cultural Production --- p.144
Conclusion: Studio complex, image capital, and field of cultural production --- p.170
Chapter CHAPTER VII --- Spatialization: Hengdian as a Field of Cultural Production --- p.176
Iron Road: co-production, image capital, and boundaries negotations --- p.179
Hengdian World Studios as Image Factory --- p.192
Conclusion: the image factory flying beyond the place --- p.219
Chapter CHAPTER VIII --- Semioticization: Capitalizing Image and the Mediation of Production and Consumption --- p.227
Image capital and film-induced tourism --- p.228
Capitalizing image at Hengdian World Studios --- p.237
Key Image Labors --- p.252
Chinese Hollywood: the negotiations and struggles in the capitalization of the global and the national imagination --- p.261
Conclusion --- p.271
Chapter CHAPTER IX --- Image Capital and Tourist Consumption: Gaze, Class and Prosumption --- p.275
Image capital and tourist consumption --- p.276
Tourist gaze at Hengdian World Studios --- p.284
Image Capital, class and prosumption --- p.314
Chapter CHAPTER X --- Image Capital and Place-Making --- p.339
Hardware make-up: physical infrastructure engineering --- p.341
Software make-up: lifestyle formation --- p.345
Place branding --- p.365
Chapter CHAPTER XI --- Conclusion: Image, Capital and Power --- p.372
Image as capital --- p.374
Forms of image capital --- p.376
Functions of image capital --- p.382
Image capital: semioticization and spatialization --- p.400

This chapter describes how the once close relationship between the Wharton brothers irreparably broke. In late spring of 1919, after he and Ted parted ways, Leo Wharton left New York and headed west—not to Los Angeles but to Texas, which he hoped would become part of a film community that might rival Hollywood. At San Antonio Motion Pictures, he believed that he would have the opportunity to produce the kinds of feature films that he had long wanted to make. The demise of San Antonio Motion Pictures, however, effectively marked the end of Leo's film career. Ted Wharton, who left Ithaca less than a year after his brother Leo did, also traveled west. But whereas Leo had sought fame and success in Texas, Ted moved to Hollywood, which was rapidly evolving into the film capital of the United States. Almost immediately, Universal—by then well known for its popular westerns—hired him to work on the production of The Moon Riders (1920). Sadly, little more is known about the Whartons' final years. Nevertheless, a close examination of their careers restores Ted and Leo Wharton to the classical narrative of early filmmaking and reveals their profound impact on the early serial picture and their influence on later popular genres.

Abstract Chapter 1 considers the role of authors in silent-era motion-picture production. It traces the transformations in authorship effected by such encounters and as it shifted out of the study, into the studio, and onto the screen. It argues that it was less the author’s craft that came so to appeal to the studios than their reputation and the cultural capital that accrued to literary authorship, something the studios sought to exploit. To that end, they began to market authors in the same way they came to market their stars. This chapter traces these transformations via a consideration of the careers of Jack London and Gertrude Atherton, among other popular authors, as well as Samuel Goldwyn’s Eminent Authors Inc.

Wordsmiths were torn between their desire for the creative control traditionally enjoyed by authors and the available economic security offered by working for the movies and writing scripts. Their story is a story of assimilation. When Hollywood entered the sound era a flock of writers, including Charles Brackett and Samson Raphaelson, emigrated to the city and to the world of motion pictures from other fields of writing such as theater and magazines. They oscillated between creative worlds, between East Coast and West Coast, and their previous experience shaped their response and interaction within the studios. The chapter demonstrates that while contending with an ignoble division of labor, which all but shattered the once respected authorial voice, screenwriters also carried with them some of the cultural capital and legitimacy of the more established worlds they came from.