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Teses / dissertações sobre o tema "Motion picture industry"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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1

Jansen, Christian. "The German motion picture industry." Doctoral thesis, Humboldt-Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2002. http://dx.doi.org/10.18452/14767.

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Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben.<br>This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.

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2

Wang, Ting. "Global Hollywood and China's filmed entertainment industry." online access from Digital Dissertation Consortium access full-text, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3230167.

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3

McKenzie, Jordi. "An economic analysis of motion pictures in the Australian cinema industry, 1997-2000." Connect to full text, 2005. http://hdl.handle.net/2123/1794.

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Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?].<br>Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.

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4

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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5

Carter, Sandra Gayle. "Moroccan cinema : what Moroccan cinema? /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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6

Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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7

Tosaka, Yuji. "Hollywood goes to Tokyo American cultural expansion and imperial Japan, 1918-1941 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060967792.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.

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8

司若. "中國電影大片路 = The high concept movies in China". HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/799.

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9

Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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10

Pope, Naomi Elizabeth. "Beyond Hollywood the social and spatial division of labor in the motion picture industry /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579190531&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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11

Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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12

Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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13

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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14

Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.<br>Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

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15

Yung, Wai-kei, and 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.

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16

Wedzielewski, Daniel. "The impact of blind bidding on market structure and performance in the U.S. motion picture industry." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 134 p, 2009. http://proquest.umi.com/pqdweb?did=1654492601&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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17

Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.

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18

Watkins, Jessica. "From fallen women to risen heroines representations of gender and sexuality in American film, 1929-1942 /." Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=539.

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19

Urquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.

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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.<br>I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.<br>The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.

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20

Owen, Richard. "Motion picture production : A micro-budget model." Thesis, Federation University Australia, 2016. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/159080.

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The film industry plays an important cultural and economic role in Australia. However, the film industry in Australia has struggled for many years under a subsidy-driven government intervention process that creates a high degree of dependence on a subsidy-centric model. Motion picture production costs worldwide have risen dramatically over the last decade with Hollywood production budgets commonly exceeding $100 million. Australia as a nation has a proven capability to produce respectable motion pictures at varying production budgets, although this capacity has become entrenched with taxpayers’ money. Historically, subsidy-driven industries in Australia trend towards collapse due primarily to cyclical fiscal deficits and changing funding imperatives at the Commonwealth level. As a PhD by exegesis, the focus of this research was to create, as well as evaluate, a new model of film production that would not be dependent on subsidies. This study evaluated a number of factors that were relevant to establishing a viable micro-budget model. Micro-budget films have received little research attention, with the focus being on major films. This research examined an alternative model, through the creation of a feature-length micro-budget film, called Stakes, and assessed it across a range of criterion to determine whether Australia’s film industry could be strengthened and potentially become self-sufficient. The resulting motion picture premièred in Australian cinemas on October 29th 2015. The justification, methods and results are discussed in detail throughout this exegesis providing strong evidence in favour of the viability for a micro-budget segment in the Australian film industry. Such a model could reduce the risk of Australia’s film industry collapsing if subsidies are reduced or abolished. Thus, this research has significant implications for Australia’s film industry and also contributes strongly to scholarship through providing crucial information on micro-budget films.<br>Doctor of Philosophy

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21

Lévy, Michaël D. (Michaël David). "A competitive analysis of the U.S. motion picture industry." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/14112.

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22

Lifshitz, Judith. "Completion guarantees and the financing of entertainment projects in the province of Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50946.pdf.

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23

Tang, Yi. "A bird known by its note : identity legitimacy, network dynamics, and actor performance in the Hong Kong film industry, 1970-1997 /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?MGTO%202009%20TANG.

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24

Orfall, Blair. "Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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25

黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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26

Shresthova, Sangita. "Between cinema and performance globalizing Bollywood dance /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1621833861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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27

Reid, Mary Anne. "Success factors in Australian cinema in the 1990s." Thesis, Queensland University of Technology, 2000.

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The main body of this research thesis employs a combination of case study and national data to discuss the concept of 'success' in relation to the Australian film industry in the 1990s. Faced with the problem of measuring 'success', my approach has been to apportion success into 'commercial' and 'critical', in relation to three Australian films - Muriel's Wedding, Love And Other Catastrophes and Kiss or Kill - each of which is considered to have been successful in one way or another. The purpose of these case studies is to demonstrate that films can be successful at different levels - niche or mainstream - and that in commercial terms, 'successful for whom?' depends on where one stands in the long chain of creators, marketers and exhibitor/broadcasters of a single film.

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28

Conor, Bridget. "Hollywood, Wellywood or the backwoods? this thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Communication Studies), 2004." Full thesis. Abstract, 2004.

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29

Natividad, Gabriel Andres. "Essays in corporate finance and strategy." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1562109651&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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30

Niemand, Ella Catharina. "Reinventing cinema a perspective on the implications of the Internet on the cinema industry /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11082004-134651/.

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31

Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

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32

Vermaak, Janelle Leigh, and Subeshini Moodley. "Fans of film franchises - the online alien universe: a study of online participation as a catalyst for fan-created objects that expand the film universe." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13938.

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This thesis will analyse the ways in which fan participation and creation in online communities extends the film world beyond the film object, and the extent to which fandom influences identity within the fan group. The study will seek to determine the ways in which fans become part of the franchise through online engagement, as well as the manner in which they appropriate the franchise identity through their creations. The central hypothesis of the study is that online participation and creation amplifies fan connection with the film franchise, and increases the sense of identification with the world and characters of the films. By being or becoming fans, and engaging with other fans in online and real spaces, they are joining a larger community of people who seem to have blurred the lines between fiction and reality by engaging in a fictional, virtual space as a source of real personal entertainment, based on an anchor media product. This appropriation is enabled through digital communities which expand and extend the reach of fan interaction and further develop the identity of the individual as ‘fan’. Thus, the study will reflect on the implications of fan engagement with the film franchise in the digital space.

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33

Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /." Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.

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Thesis (Ph.D.) -- University of Glasgow, 2002.<br>Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.

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34

Prime, Rebecca Lynn. "Intimate strangers blacklisted filmmakers in postwar Europe /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835961&sid=4&Fmt=2&clientId=48051&RQT=309&VName=PQD.

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35

Sa, Neto Arthur Autran Franco de. "O pensamento industrial cinematografico brasileiro." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.

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Orientador: Jose Mario Ortiz Ramos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T03:27:30Z (GMT). No. of bitstreams: 1 SaNeto_ArthurAutranFrancode_D.pdf: 11882720 bytes, checksum: db30cbb6ee1df82ebd19160092a2442e (MD5) Previous issue date: 2004<br>Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca chegou a se configurar plenamente, investigam-se quais as propostas para sua constituição, analisando desde as promessas aí contidas até suas limitações e contradições. Para realizar tal pesquisa foram utilizados livros, artigos, entrevistas, memórias e os próprios filmes nos quais diretores, críticos, produtores e políticos expõem suas idéias sobre como formar a indústria cinematográfica e quais devem ser os seus objetivos econômicos e culturais. Também foram realizadas comparações com o rádio e a televisão, a fim de se delinear diferenças presentes no ideário das três áreas passíveis de explicar, ainda que parcialmente, os motivos pelos quais o cinema não se desenvolveu economicamente tanto quanto aquelas indústrias culturais<br>Abstract: Not informed.<br>Doutorado<br>Multimeios<br>Doutor em Multimeios

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36

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

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

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Simpson, Catherine. "Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98." Thesis, Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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38

Simpson, Catherine. "Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /." Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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39

Sin, Yat-lun Marconi. "Experimental studio of cinematography in Temple Street : an urban subtext /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948222.

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40

Roy, Srabanti. "Changing trends of new wave cinema in India and the emergence of an "unconventional" Indian cinema in the early phase of the twenty-first century." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683056.

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Norris-Schwinn, Vivian. "Globalization and anarchy in cinema : who wins and who loses in the entertainment war /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6632.

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Boden, Susan, and n/a. "'an unsettled state': the real and the imainary in Australian cinematic and designed landscapes." University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.

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This thesis considers varied representations of landscape in Australian narrative film and designed landscape. Landscape is taken as an active concept that combines the associative meanings of place and the dynamism of space. Sixteen film and designed landscapes are examined to derive their landscape sources, forms and ideas, using the methodology of 'contextual poetics', Each of these landscapes is considered under a specific theme: landscape as delight, absence, nation or hope. In addition to detailing specific landscape responses by the designers of the examined landscapes, this project aims to contribute to an enhanced conversation about the effective, just practice of landscape architecture. The topic derives from a question central to landscape architectural practice in a post-colonial context, such as Australia. In a cultural setting where no single, agreed definition of landscape is allowed by the conditions of its history, which versions do practitioners of landscape architecture take up? What should be their limits, where are their inspirations and whose landscape narratives are ignored in these decisions?

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43

Johnston, Jacob H. "The Sherwood Method creating an independent Christian feature film /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.

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Tu, Haijing. "A Chinese director and his transition from critical banned filmmaker to box office success." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/TU_HAIJING_25.pdf.

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Christy, June Beverley. "Prospects for a feature film industry in British Columbia." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31230.

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The purpose of this thesis is to assess the potential of establishing a viable indigenous feature film industry in British Columbia. An understanding of the B.C. situation was gained by researching and illustrating the organization of the various parts: production, distribution, and exhibition. This was undertaken by reading various industry publications on the "business" of film making and reading newspaper and trade journal articles. Information about the history of public policy as well as current federal and provincial programs for feature film making was taken from task force reports, Canadian Film Corporation reports, and Telefilm Canada annual reports. Statistics on the industry were gained from Statistics Canada, Telefilm Canada, the Canadian Film and Video Certification Office, and provincial agencies, in particular, B.C. Film annual reports. Personal interviews based on a questionnaire were held with eighteen British Columbia producers who were initiating feature film projects in 1988. Canadian producers are dependent on access to federal and provincial sources of finanicng for as much as 62 per cent of their financing. The balance is provided by broadcasters, private investors, and deferral agreements, or through co-productions with other countries. Because of Hollywood's control of Canada's exhibition market, only 3-5 per cent of screen time is accorded to Canadian feature films. Because of our small domestic market, Canadian producers must rely on international sales to break even. Moreover, feature filmmaking in Canada, like in most other countries, is characterized by great risk and little chance of profitability. The Canadian government is now supporting a nucleus of Canadian-owned distributors with subsidies to help them establish both a capital base and contacts in the international marketplace. Domestic television production has also been a factor in Canada's feature film development. Writers, directors, producers, and technicians have gained experience by being able to work in the broadcast medium. Successful production companies produce a mixture of both television and feature films. As well, these companies have established relationhips with companies in other countries, thereby providing them with an expanded market and opportunites for co-productions. B.C.'s feature film sector is comprised of small production companies with limited revenues who produce feature films on a project-by-project basis through the opportunities provided by B.C. Film and Telefilm. Few have enough capital to plan and manage substantial feature film or television production. Increases in B.C. production are a direct result of success in getting this support. However, Telefilm's funding to the province's filmmakers is unreliable, evidenced by the production of eleven films in 1988 and only one in 1990. A major drawback for B.C. producers is the geographic distance from head offices of existing Canadian broadcasting networks and major feature film distribution companies in Eastern Canada. However, B.C. producers have access to a strong local base of crews, studio facilities, and substantial post production, facilitated by the breadth of American location shooting and commercial production being done in our province. The need is to establish a new, realistic level of operation for the feature film industry in B.C. and to provide the support to sustain it for 5-7 years in order to it to become viable. Given the above conditions, the three main factors in achieving a viable feature film industry in B.C. will be: a) the development of several medium-size companies; b) the provision of adequate funds from federal and provincial sources; and, c) the promotion of the supply of good quality scripts.<br>Applied Science, Faculty of<br>Community and Regional Planning (SCARP), School of<br>Graduate

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Meeuf, Russell W. "Wayne's world : John Wayne, transnational stardom, and global Hollywood in the fifties /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883679191&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.

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Bellego, Christophe. "Three empirical essays on movie admissions in the french motion picture industry." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E060.

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A la frontière entre les industries du divertissement et la production culturelle, grand fournisseur de contenu à l'économie numérique, l'industrie du cinéma soulève des questions intéressantes dans le champ de l'économie et du marketing. Cette thèse répond à trois questions empiriques importantes sur ce sujet à l'aide de différentes méthodes adaptées (économétrie des données de panel, différence-de-différences, économétrie structurelle) et propose un nouveau développement théorique du modèle nested logit. Le premier chapitre étudie l'effet des notes des consommateurs sur Internet, et analyse la complémentarité et la substituabilité de ces notes avec l'information disponible avant la sortie des films en salle. Le deuxième chapitre étudie l'effet redistributif de la loi anti-piratage Hadopi sur les entrées des films en salle, en écartant minutieusement les phénomènes alternatifs pouvant affecter les résultats. Le troisième chapitre considère la saisonnalité dans l'industrie française du cinéma et décompose séparément les entrées des films en salle en le niveau de l'offre (le nombre et la qualité des films), la demande saisonnière sous-jacente, les variations météorologiques, et les promotions nationales en estimant un modèle nested logit à trois étages tenant compte de la congestion des films dans les salles de cinéma. Le modèle est utilisé pour identifier les dates de sortie optimales en fonction des types de film<br>At the frontier between entertainment industries and cultural production, vital content provider of digital economy, the motion picture industry raises several interesting questions in the field of economics and marketing. This dissertation tackles three important empirical questions in the motion picture industry using different methods (panel data models, difference-in-differences, and structural econometrics) and brings a new theoretical development about the nested logit model. The first chapter deals with online consumer reviews, also known as electronic word of mouth (eWOM), and focuses on the extent to which prerelease information alters the effect of eWOM on movie sales. The second chapter studies the collateral damages of the French anti-piracy law known as Hadopi on box office performances of movies, by carefully ruling out alternative explanations of the result. The third chapter investigates on seasonality in the French movie industry. The analysis separately identifies and decomposes movie sales into the number and quality of available movies, underlying seasonal demand, weather shocks, and national sales promotion by estimating a three-level nested logit model of weekly demand accounting for congestion on movie theaters' screens. The model is used to identify optimal release periods depending on the types of movie

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Choudhury, Sharmin (Tinni). "Loculus : an ontology-based information management framework for the motion picture industry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41546/1/Sharmin_Choudhury_Thesis.pdf.

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"How do you film a punch?" This question can be posed by actors, make-up artists, directors and cameramen. Though they can all ask the same question, they are not all seeking the same answer. Within a given domain, based on the roles they play, agents of the domain have different perspectives and they want the answers to their question from their perspective. In this example, an actor wants to know how to act when filming a scene involving a punch. A make-up artist is interested in how to do the make-up of the actor to show bruises that may result from the punch. Likewise, a director wants to know how to direct such a scene and a cameraman is seeking guidance on how best to film such a scene. This role-based difference in perspective is the underpinning of the Loculus framework for information management for the Motion Picture Industry. The Loculus framework exploits the perspective of agent for information extraction and classification within a given domain. The framework uses the positioning of the agent’s role within the domain ontology and its relatedness to other concepts in the ontology to determine the perspective of the agent. Domain ontology had to be developed for the motion picture industry as the domain lacked one. A rule-based relatedness score was developed to calculate the relative relatedness of concepts with the ontology, which were then used in the Loculus system for information exploitation and classification. The evaluation undertaken to date have yielded promising results and have indicated that exploiting perspective can lead to novel methods of information extraction and classifications.

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Hope, Cathy. "A history of the Sydney and Melbourne Film Festivals, 1945-1972 negotiating between culture and industry /." Connect to this title online Connect to this title online (alternate address), 2004. http://cicada.canberra.edu.au/public/adt-AUC20050630.130907/.

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