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Статті в журналах з теми "Motion picture industry – economic aspects"
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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.
Повний текст джерелаАнотація:
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 credits had no employment effect and only a temporary wage effect. Neither credit affected gross state product or motion picture industry concentration. Incentive spending also had no influence. These findings demonstrate the heterogeneous impacts of different incentives offered under a single program and should inform future economic development policy design.
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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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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.
Повний текст джерелаАнотація:
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 culture, revenue maximization and purchase decisions, and the perception and identification of audiences. Based on the cluster analysis, we suggest the following future research opportunities: Exploring technological innovations, especially the influence of social media and streaming platforms in the film industry; the in-depth analysis of the use of artificial intelligence in film production, both in terms of its creative potential and ethical and legal challenges; the exploration of the representation of wokeness and minorities in films and their cultural and economic significance; and, finally, a detailed examination of the long-term effects of the COVID-19 pandemic and other crises on the film industry, especially in terms of changed consumption habits and structural adjustments.
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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.
Повний текст джерелаАнотація:
‘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 the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
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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.
Повний текст джерелаАнотація:
<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 through the US Bureau of Labor Statistics (BLS). We analyzed the medical cost and indemnity of musculoskeletal injuries and compared the CA FMP injury data to the data for all CA industries.</p><p><strong>RESULTS: </strong>From 2003-2009, the total cost of WC claims in the CA FMP industry was $19.1 million per year, 88.6% of which was attributed to musculoskeletal injuries. The anatomical sites which incurred the most expense were the knee, lower back, and ankle at $2.3, $1.5 and $1.1 million per year, respectively. The most expensive causes of injury were work-directed activity and falls, totaling $5.4 and $4.7 million per year, respectively. The most costly types of isolated injuries were dislocations and fractures at $57,000 and $55,000 per claim. Additionally, the average cost per anatomic site, cause of injury and type of injury were significantly different for the CA FMP compared to CA industry in general. Over the course of the seven years that data was reviewed, orthopedic injury cost $191.71 per worker per year while orthopedic injury cost $224.00 per worker per year across CA industries (p<0.001).</p><p><strong>CONCLUSION: </strong>Musculoskeletal injuries contribute substantially to both FMP expenditures and US WC costs. Though the costs for injuries were statistically significant between the FMP and CA industries, the clinical significance has yet to be seen. The data presented in this study provides detailed data to help guide future designs for reducing costs associated with workplace injury in both the FMP industry and across CA industries.</p>
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Zhu, Kevin. "Internet-based Distribution of Digital Videos: The Economic Impacts of Digitization on the Motion Picture Industry." Electronic Markets 11, no. 4 (December 1, 2001): 273–80. http://dx.doi.org/10.1080/101967801753405562.
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Fischer, Conan. "Heavy Industry, Society and aspects of foreign Policy in the Weimar Republic." Revue d’Allemagne et des pays de langue allemande 30, no. 1 (1998): 53–61. http://dx.doi.org/10.3406/reval.1998.4049.
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Historians of Weimar have often regarded heavy industry as instrumental in the Republic's eventual collapse. Socially reactionary and with undue political power, heavy industrialists allegedly sought an excessive share of resources and influence at the cost of labour and the more liberal newer industries. However this received picture is too simple. Heavy industry suffered repeated crises which triggered internal conflict, and inconsistencies in relations with government and labour. Furthermore, in unwitting anticipation of the European Union, there arose a tentative willingness to repair external economic relations, with France in particular.
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Shesha, Lamia Saud, and Nadia Yusuf. "The Socio-economic Potential of the Emerging Film Industry in Saudi Arabia." European Journal of Sustainable Development 10, no. 1 (February 1, 2021): 239. http://dx.doi.org/10.14207/ejsd.2021.v10n1p239.
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The Kingdom of Saudi Arabia transformed from a developing Middle Eastern nation into a regional power with ambitious projects in a variety of sectors. In this framework, the government proceeded to legalize cinemas in 2018, with an unprecedented step of issuing seven licenses for major cinema operating businesses. All of the prominent steps designed to promote the film industry align with the broader concept of expanding Saudi Arabia’s cultural and economic boundaries by adopting a path towards modernization and diversification. As the study seeks to investigate the social and economic prospects of the newly-established motion picture sector in the Kingdom of Saudi Arabia, the review is based on the recent commitments and current plans by Saudi authorities and associated organizations. From the socio-economic perspective, the decision to lift the ban on theatres is a crucial milestone, allowing the country to strengthen its entertainment sector. Despite the diversity of suggested strategic plans, the consensus of the Saudi authorities is to stimulate both local and foreign businesses seeking to open new cinemas in Riyadh, Jeddah, and other cities.
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Reza, Manjurul Hossain. "The Ins and Outs of the Leather Industry in Bangladesh." Journal La Bisecoman 3, no. 2 (March 31, 2022): 49–58. http://dx.doi.org/10.37899/journallabisecoman.v3i2.564.
Повний текст джерелаАнотація:
The leather industry in Bangladesh is growing thanks to the country's expanding economic prosperity. Hides and skins, which are by-products of the meat and meat products sector, are often used as raw materials in the leather business. This research aims to offer a complete picture of Bangladesh's leather industry's performance, products, tanning, investment, and environmental impact. This research focused on the technique that will be utilized to gather sufficient data to support this study, as well as the way by which it will be carried out. This study is based upon the literature survey for exploring particular aspects of the leather industry of Bangladesh. The amount of information extracted from several studies based on the objective is related to Bangladesh's leather industry. This study has given a clear picture of the leather industry of Bangladesh which helps government and leather-oriented organizations to take further steps and decision making. This research was limited to investigate only the industry's performance, products, tanning, investment, and environmental impact. But some other facts affect the leather industry of Bangladesh. The leather industry’s performance has improved over time, but it is still not adequate. This research aims to offer a complete picture of Bangladesh's leather industry's performance, products, tanning, investment, and environmental impact.
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KIEL, DANIEL, JULIAN M. MÜLLER, CHRISTIAN ARNOLD, and KAI-INGO VOIGT. "SUSTAINABLE INDUSTRIAL VALUE CREATION: BENEFITS AND CHALLENGES OF INDUSTRY 4.0." International Journal of Innovation Management 21, no. 08 (December 2017): 1740015. http://dx.doi.org/10.1142/s1363919617400151.
Повний текст джерелаАнотація:
The Industrial Internet of Things (IIoT) poses several implications on manufacturers in terms of economic, ecological, and social aspects referring to the Triple Bottom Line (TBL) of sustainable value creation. Due to its technical core, the current research focused on its technical fundamentals, whereas the economic discussion is still in its infancy. This paper aims at painting a comprehensive and structured picture of IIoT-related economic, ecological, and social benefits and challenges. For this purpose, we employ an exploratory multiple case study approach based on semi-structured expert interviews in 46 manufacturing companies from three leading German industries. Our study contributes to the sparse body of scientific IIoT literature by analysing the IIoT’s implications according to the TBL. We show that, in order to qualify for sustainable industrial value creation, the IIoT requires an extension of the established TBL by three further dimensions, i.e., technical integration, data and information, and public context.
Дисертації з теми "Motion picture industry – economic aspects"
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Bahmad, Jamal. "Casablanca belongs to us : globalisation, everyday life and postcolonial subjectivity in Moroccan cinema since the 1990s." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/19847.
Повний текст джерелаАнотація:
This dissertation examines the representations of Casablanca in Moroccan cinema and their articulation of postcolonial subjectivity since the 1990s. To overcome a deep economic recession and simmering social unrest in the early 1980s, Morocco embarked on a comprehensive programme of structural adjustment policies under the aegis of the International Monetary Fund. Market reforms ushered in novel forms of spatial development and social relations in Moroccan cities over the next decades. In the cultural field, a popular cinema emerged in the early 1990s and has projected the complex structures of everyday life in urban space. The New Urban Cinema (NUC) has anchored national cinema in the everyday life and affective economy of a society in transition. The country’s largest city, Casablanca, is the setting for some of NUC’s most original portrayals of the Moroccan subject under globalisation. Taking space, affect and violence as intertwined sites of film analysis, my research project closely examines the new forms of postcolonial subjectivity that have evolved in Morocco through this cinema. Twenty films are read against the backdrop of neoliberal Casablanca and the social, economic as well as political transformation of Morocco and the world under globalisation. The dissertation combines close textual analysis with a cultural studies perspective, which situates films in their historical contexts of production and reception in Morocco and beyond. Drawing on postcolonial, film and urban studies, my aim is to contribute to interdisciplinary scholarship on cinematic responses to neoliberal globalisation, and to a social history of contemporary Morocco.
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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?].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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Street, Sarah. "Financial and political aspects of state intervention in the British film industry, 1925-1939." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:aeedf404-aa82-4a7e-a1b7-feb626ffff81.
Повний текст джерелаАнотація:
During this period the state's interest in the film industry took several different forms. The area of films policy explored in this thesis is the economic protection of the commercial film industry against the high percentage of American films screened in Britain and the Empire. I begin in 1925 because it was not until then that active steps were taken by the government, in response to agitation from producers and those who saw film as a bond of Empire and advertisement for British goods and 'way of life', leading to the Cinematograph Films Act, 1927. This proposed, for political, cultural, moral and economic reasons, that renters and exhibitors should acquire and show a percentage of British films. There was no subsidy for producers or a heavy duty levied on American film imports. The origins, impact and character of official film policy are explored in the thesis with particular attention to financial and political aspects. An attempt is made to explain why policy was limited to film quotas together with an assessment of their impact on the industry's economic development. Details are also given on how the film industry's affairs became caught up in wider debates on tariff policy in the 1920s and in Anglo-American relations ten years later. The first three chapters deal with the evolution, promulgation and initial impact of the Cinematograph Films Act, 1927. Chapter 4 examines the deliberations of the Moyne Committee, established in 1936 to review the film industry's progress. The last three chapters analyse the three major influences on policy during the making of the 1938 Films Act: the campaigns of British film trade interests; the state of Anglo-American relations and film finance. In the final assessment the major influences that shaped policy are outlined together with conclusions on the industry's position and problems on the eve of the Second World War.
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Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.
Повний текст джерелаАнотація:
From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.
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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.
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Mills, Jane Kathryn. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.
Повний текст джерелаАнотація:
This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways.
My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.
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Nambiar, Gleema. "Using identity politics to address artworld issues : a case study of the New Initiatives in Film program at the National Film Board of Canada." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85192.
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The Canadian government introduced its Multicultural and Employment Equity policies in a series of attempts to induce federally-controlled institutions to reflect the racial diversity of the Canadian population in their programs and workforces. This is a case study of one institution's response to these policies. It examines the implementation of the six-year New Initiatives in Film (NIF) program begun in 1990 by the now-defunct women's filmmaking unit, Studio D of the National Film Board of Canada (NFB) and exposes the fault lines along which the goals of the NFB's various constituent parts clashed and meshed with the diverse goals of various parties in NIF's target communities (i.e. "emergent aboriginal and 'of colour' women filmmakers"). I argue that because the NIF program was structured according to the politics of identity ("race" in this case), "artworld" issues of unfair hiring and funding practices in the Canadian film industry, became distorted and expressed as issues of identity. Obfuscating the professional dynamics in the world of Canadian filmmaking by using "race" as an organizing principle did not, in the long-term, assure the sustained inclusion of excluded groups within mainstream institutions. A more effective strategy, the data suggests, would have been for underrepresented groups to cultivate alliances with professionals in the filmmaking industry based on concrete occupational, rather than hypothetical race-based interests.
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Hall, Martin. "Theories of the subject : British cinema and 1968." Thesis, University of Stirling, 2018. http://hdl.handle.net/1893/28597.
Повний текст джерелаАнотація:
Aiming to make an intervention in critical theory, film-philosophy and British Cinema scholarship, this thesis investigates what a marriage of Lacanian and Badiouian theories of the subject can bring to the study of the radical British feature film of 1968: films which in differing ways represent the political and intellectual debates current in the culture. The question of what can be learnt through an analysis situated within theories of the subject has not been addressed within British Cinema studies. Psychoanalytic film theory in its previous incarnations utilised a section of Lacan's thought in order to focus on the ways in which the spectator was placed into a subject position by the unseen workings of the apparatus. Furthermore, the limited amount of Badiouian film scholarship is concerned with whether films can be thought philosophically. A fuller use of Lacan with Badiou as a hermeneutic model to address films from a specific period and context creates a new interpretive model on the porous boundary between critical theory and film-philosophy. This thesis utilises Lacan's categories of the Imaginary, Symbolic and, predominantly, the Real alongside the Badiouian Event to interrogate the ways in which Morgan: A Suitable Case for Treatment (Karel Reisz, 1966), Privilege (Peter Watkins, 1967), Herostratus (Don Levy, 1967), Performance (Donald Cammell & Nicolas Roeg, 1970) and if ... (Lindsay Anderson, 1968) represent the radical subject of 1968, in order to argue for the efficacy of ideological critique, to think politically about cinema, and advocate the continuing resonance of the period in contemporary praxis.
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"Image capital: a case study of the spatialization and semioticization processes at Hengdian World Studios." 2012. http://library.cuhk.edu.hk/record=b5549512.
Повний текст джерелаАнотація:
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
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Sebok, Bryan Robert 1978. "Convergent Hollywood, DVD, and the transformation of the home entertainment industries." Thesis, 2007. http://hdl.handle.net/2152/3679.
Повний текст джерелаАнотація:
In 1997, DVD was introduced to the American public, beginning the fastest diffusion of any consumer electronics product in history. In this dissertation, I show how DVD, via favorable conditions in industry, technology, culture, economics, and the regulatory environment, replaced existing home video and computing technologies while transforming home entertainment. I analyze how DVD was successfully developed and commercialized by member firms in the filmed entertainment, consumer electronics, and computing industries from 1994-2002. I demonstrate how a new industry developed around DVD through unprecedented cooperation between these three industries. This study uses trade publications, mainstream press reports, industry data, advertisements, depositions to congress, and published interviews with industry members to analyze a process that has been understudied by scholars. Through the use of these resources, I explore how demand for the technology developed within existing contexts and how myriad forces aligned to enable the emergence of a new disc technology. Furthermore, I demonstrate how DVD reshaped these contexts while transforming the nature and business of filmed content distribution. DVD initiated a new era for digital content distribution. This era was marked by the convergence of three industries, new levels of access to filmed entertainment, mobilized viewing opportunities, the conflation of the computer and the television set, and heightened efforts to protect content through a variety of legal, regulatory, and technological strategies.
Книги з теми "Motion picture industry – economic aspects"
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Centre for Development of Information Technology (India), ed. Economic aspects of film industry in Kerala. Thiruvananthapuram: Centre for Development of Information Technology, 1999.
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Perretti, Fabrizio. Economia del cinema: Principi economici e variabili strategiche del settore cinematografico. Milano: ETAS, 2003.
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Oommen, M. A. Economics of Indian cinema. New Delhi: Oxford & IBH Pub. Co., 1991.
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Confederation, Irish Business and Employers. The economic impact of film production in Ireland 1994. [Dublin]: Irish Business and Employers Confederation, 1995.
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Creton, Laurent. Economie du cinéma: Perspectives stratégiques. 3rd ed. Paris: Nathan, 2001.
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Creton, Laurent. Cinéma et marché. Paris: A. Colin, 1997.
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Langl, Barbara. Film made in Austria: Finanzierung, Produktion, Verwertung. Innsbruck: StudienVerlag, 2003.
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Con qualche dollaro in meno: Storia economica del cinema italiano. Roma: Editori riuniti, 2001.
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Ḥasanayn, Nāṣir Jalāl. al- Abʻād al-iqtiṣādīyah li-azmat ṣināʻat al-sīnimā al-Miṣrīyah. [Cairo]: al-Hayʾah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1995.
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Boschetti, Carlo. Risorse e strategia d'impresa: Il caso delle imprese cinematografiche. Bologna: Società editrice Il mulino, 1999.
Знайти повний текст джерелаЧастини книг з теми "Motion picture industry – economic aspects"
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Yuan, Shufan. "Attaining Bargaining Power over the Intermediate Firm from Supplier-Buyer Alliance: A Case from the Motion Picture Industry." In Proceedings of the 2022 4th International Conference on Economic Management and Cultural Industry (ICEMCI 2022), 1678–85. Dordrecht: Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-098-5_189.
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Muchunku, Charles, and Georg Heinemann. "Identifying Effective Electrification Approaches and Combinations Thereof to Meet Universal Electricity Access Targets in Eastern Africa." In Energiepolitik und Klimaschutz. Energy Policy and Climate Protection, 177–232. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-38215-5_9.
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AbstractThe gains made in increasing electricity access between 2010 and 2018 indicate the benefit of a multi-pronged approach to electrification, which combines on-grid and off-grid electrification approaches and efforts from both public and private actors. The gains still fall short of the rate of increase needed to achieve universal access to electricity by 2030, indicating the need to increase the effectiveness of the multi-pronged approach. To do this the paper applies the triple embeddedness framework theory. Within the scope of Eastern Africa, we consider actors in the delivery of electricity access (irrespective of approach or whether public or private) as delivering similar goods and services, and conceptualize them as a collective entity i.e., firms in the electrification industry. The paper then analyses how these firms are shaped by the industry regime and influenced by the socio-political and economic environments, with a view to identifying where and how external pressure can be exerted to stimulate and facilitate the reorientation and recreation required to make progress towards universal electricity access. Through this exercise we demonstrate that the triple embeddedness framework provides a structured way of laying out the key aspects associated with electrification to create a picture that enables one to ‘see the forest for the trees’ and identify where and how to achieve more effective complementarity between on and off-grid approaches, and public and private firms.
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"Movie stars and the distribution of financially successful films in the motion-picture industry." In An Economic History of Film, 234–55. Routledge, 2004. http://dx.doi.org/10.4324/9780203358047-13.
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Sheen, Erica. "Economic Iron Curtains." In Geopolitical Shakespeare, 71–90. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191995163.003.0004.
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Abstract This chapter presents an account of the confrontation between British actor Laurence Olivier and American producer David O. Selznick over what were effectively rights of property in films of Shakespeare plays. In April 1946, Selznick registered the titles of seven Shakespeare plays, including Hamlet, with the Title Registration Bureau of the Motion Picture Association of America. Following his refusal to allow Vivien Leigh to take the part of Katherine in Henry V, Selznick used this registration to try to frustrate Olivier’s plans for his celebrated production of Hamlet. The chapter discusses the importance of Shakespearean films in the internationalist milieu of the post-war American film industry, and tracks Selznick’s deployment of title registration as a form of industrial espionage into the anti-communist backlash of HUAC and the post-Marshall Plan stand-off between the British and American film industries in 1947–8.
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Skliarenko, Roman Petrovich. "Preodolenie protivorechii razvitiia mirovoi obshchekhoziaistvennoi i tovarnoi koniunktury na osnove additivnykh i kognitivnykh tekhnologii v ramkakh modeli ekonomicheskogo iadra i periferii." In Principles of the New Ecosystem Formation: economic aspects, 39–53. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-108652.
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The presented chapter partially reveals the problem of transforming the methods of management of developed and developing countries under the influence of mass application in the economy cognitive and additive technologies. The chapter considers partially changes in the work of financial and construction sectors as having multiplicative effect on other branches of economy. With few exceptions, the names of modern firms, banks, investment funds not used to make the author look interested. The theoretical basis is works of Nobel laureates of last decade on the economy. The author’s estimative opinion is based on methods of synthesis and extrapolation of existing phenomena. The dialectical approach helps to place these phenomena in the unfolding picture of the world. The result of the work is a description of hypothetical directions of transformation of the modern economic model of the world economy in terms of acceleration of capital movement, reduction of inequality and extreme poverty. Rich countries can strengthen their financial groups by integrating intelligent construction with smart contracts and the process of investing in financial markets. Municipalities can manage a city with a clear understanding of the cost of each decision and see all parties involved in the process of transforming the urban environment on the way to reducing pollution. A medium-sized country could address the uncontrolled demand and supply in regional real estate markets and urban slum growth. This may be linked to migration levels and international remittance flows. A smart construction industry for agricultural regions allows people to quickly repair and build their homes after climate change, soil destruction and military upheaval, with poor roads and lack of civil engineers. This can be done through international financial groups and international assistance.
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Gillespie, Michael Patrick. "Gothic Forms in Irish Cinema." In Irish Gothic, 83–97. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0005.
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Though many Irish films have aspects of the Gothic, their structures generally adhered in a programmatic fashion to the guidelines of Classic Hollywood Cinema, and in this way they are similar to generic motion picture structures that could come from international studios in any part of the world. A select few films have produced uniquely Irish Gothic narratives, that is to say motion pictures that echoed the post-Modern tendencies of German Expressionists with unapologetically fragmented cultural contexts. To underscore these contrasts, this essay offers a sampling of the more conventional approaches and then take a closer look at these truly innovative forms. The construction of the Gothic films touched on underscores the oscillating perspectives of homegrown filmmakers presenting motion pictures contextualized in an environment of evolving characteristics of Irishness. In the twenty-first century, Irish cinema, like all of Irish society, struggles to discern a cultural identity. The Celtic Tiger did much to make Ireland more European, and even after the economic bubble burst those sentiments remain strong. It seems most likely that future Irish Gothic films will increasingly put their national character in brackets and move towards a more post-Modern sensibility.
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Lupack, Barbara Tepa. "Seeking “Old Opportunity”." In Silent Serial Sensations, 14–31. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.003.0002.
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This chapter details how Ted Wharton got into the entertainment business. The early years that Ted spent on and behind the stage gave him an invaluable introduction to virtually all aspects of the entertainment industry, especially to the performance and production of melodrama. They also taught him the technical and improvisational skills that would serve him well as he graduated from vaudeville performance and legitimate stage acting to direction of film shorts and production of serials, particularly since he was often experimenting as he developed the conventions and devices that would become staples of later cinema and television. Ted's interest in the motion picture industry was further aroused by his visits to the old Edison Studios in Manhattan, after which, on his own, he began writing screenplays that revealed his aptitude for the craft. He then joined Pathé Frères to assist in the opening of its American studio and then to serve as its director. In late 1911 or early 1912, Ted decided to leave the company for a better opportunity at another studio: Essanay. The chapter then looks at Ted's most thematically and technically sophisticated short for Essanay, From the Submerged (1912), which is now considered one of the masterpieces of silent film.
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Procter, Ben. "Hollywood, San Simeon, and Expansion." In William Randolph Hearst, 129–52. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195325348.003.0006.
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Abstract Early in the 1900s, nestled in the valleys and foothills of the Santa Monica Mountains in northwest Los Angeles, lay the peaceful community of Hollywood. Because of the warm southern California climate, with a terrain caressed by Pacific Coast breezes and “aglow with orange groves, fruit trees, palms, and poinsettias;’ Hollywood was considered an ideal place to live. But by 1926 the business and economic complexion of the area had changed significantly “from a paradise for retired Iowan farmers into a seventh heaven for youth:’ More than eighty percent of the motion picture trade, which was the fourth largest industry in the world, now resided in Hollywood and the surrounding area. As this golden age of the 1920s continued, population doubled, trebled, then quadrupled, with Hearst’s Los Angeles Examiner publicizing California growth in a daily headline, “2nd Million Population Is Coming to Los Angeles:• As a consequence real estate exploded in value; accompanying businesses arose to meet urban demands, and local leaders struggled to solve the problems of municipal expansion.
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Jackson, Robert H. "That Man As Economist." In That Man, 119–34. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168266.003.0007.
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Abstract Many of The Litigations and other matters that presented legal aspects were also economic matters. It always seemed to me that the President was at his weakest in dealing with economic or business problems. He had not engaged in business as my law practice had compelled me to do, and he had no personal knowledge of its methods or its problems. He tended to think of economic matters as personal rather than impersonal forces. He was much inclined to think about economic matters in terms of rights and wrongs. He was inclined to think that we were prosecuting a group of businessmen because they had done some moral wrong, and that if he talked to them and made them see that their course was morally wrong, they would do something about it. When we were considering the commencement of Department of Justice actions in 1937 to dissolve the motion picture combines, I went to the President and told him that I wanted to start an action against them. The President said, “Well now, of course, they’ve been doing wrong, but do you really need to sue these men? If you would bring them in here and let me talk with those fellows, don’t you think they would change their practices? I think they can be straightened out.” My answer, of course, was that these men were in a sense victims of their practices as well as perpetrators of them. It was a system that had grown up to where no one man or group could break it up without the intervention of government. Even if they all decided they ought to break it up, they could not do it. It was not a moral problem. It was not a right and wrong problem. It was a social and antisocial problem that did not reach moral concepts. What the President found difficult to envision was that they were caught up in a course of business practices that they were as powerless to escape from individually as if they were prisoners.
Тези доповідей конференцій з теми "Motion picture industry – economic aspects"
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Ventikos, Nikolaos P., Lokukaluge P. Perera, Panagiotis Sotiralis, Emmanouil Annetis, and Eirini V. Stamatopoulou. "A Life-Cycle Cost Framework for Onboard Emission Reduction Technologies: The Case of the Flapping-Foil Thruster Propulsion Innovation." In ASME 2022 41st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/omae2022-79031.
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Abstract To deal with the decarbonization challenge in an efficient way in terms of cost-effectiveness, reliability and feasibility for newbuilding and retrofit solutions in maritime industry, Seatech H2020 project develops a flapping-foil thruster propulsion innovation, together with a dual-fuel engine innovation to increase fuel efficiency and reduce emissions. The focus of this study is on the foil thruster, which is arranged at the bow and slightly in front of the ship, and it utilises the energy from wave-induced motions by converting it into thrust. For such innovations, a clear picture of its economic impacts facilitates their adoption. Thus, to deal with the economic aspects, from a life cycle perspective, the paper introduces a life-cycle cost analysis (LCCA) framework, which includes all four phases of the system’s life cycle; construction, operation, maintenance and end-of-life. In the context of the developed framework, the initial challenge for the LCCA exercise is to fully define the design details of the system, which will facilitate the cost approximation, mainly for construction, maintenance and end-of-life phases. The results from the materialisation of the LCCA provide significant insight with respect to the lifecycle costs and may support the decision-making process for newbuilding and retrofitting investments.
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Paltrinieri, Nicola, Gabriele Landucci, and Pierluigi Salvo Rossi. "Real-Time Data for Risk Assessment in the Offshore Oil and Gas Industry." In ASME 2017 36th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/omae2017-61486.
Повний текст джерелаАнотація:
Recent major accidents in the offshore oil and gas (O&G) industry have showed inadequate assessment of system risk and demonstrated the need to improve risk analysis. While direct causes often differ, the failure to update risk evaluation on the basis of system changes/modifications has been a recurring problem. Risk is traditionally defined as a measure of the accident likelihood and the magnitude of loss, usually assessed as damage to people, to the environment, and/or economic loss. Recent revisions of such definition include also aspects of uncertainty. However, Quantitative Risk Assessment (QRA) in the offshore O&G industry is based on consolidated procedures and methods, where periodic evaluation and update of risk is not commonly carried out. Several methodologies were recently developed for dynamic risk analysis of the offshore O&G industry. Dynamic fault trees, Markov chain models for the life-cycle analysis, and Weibull failure analysis may be used for dynamic frequency evaluation and risk assessment update. Moreover, dynamic risk assessment methods were developed in order to evaluate the risk by updating initial failure probabilities of events (causes) and safety barriers as new information are made available. However, the mentioned techniques are not widely applied in the common O&G offshore practice due to several reasons, among which their complexity has a primary role. More intuitive approaches focusing on a selected number of critical factors have also been suggested, such as the Risk Barometer or the TEC2O. Such techniques are based on the evaluation of technical, operational and organizational factors. The methodology allows supporting periodic update of QRA by collecting and aggregating a set of indicators. However, their effectiveness relies on continuous monitoring activity and realtime data capturing. For this reason, this contribution focuses on the coupling of such methods with sensors of different nature located in or around and offshore O&G system. The inheritance from the Centre for Integrated Operations in the Petroleum Industries represents the basis of such study. Such approach may be beneficial for several cases in which (quasi) real-time risk evaluation may support critical operations. Two representative cases have been described: i) erosion and corrosion issues due to sand production; and ii) oil production in environmental sensitive areas. In both the cases, dynamic risk analysis may employ real-time data provided by sand, corrosion and leak detectors. A simulation of dynamic risk analysis has demonstrated how the variation of such data can affect the overall risk picture. In fact, this risk assessment approach has not only the capability to continuously iterate and outline improved system risk pictures, but it can also compare its results with sensor-measured data and allow for calibration. This can potentially guarantee progressive improvement of the method reliability for appropriate support to safety-critical decisions.
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Sierra, Leopoldo, and Connor Lovingfoss. "Hydraulic Fracturing Design Considerations for Carbon Capture, Utilization, and Storage (CCUS)." In SPE Hydraulic Fracturing Technology Conference and Exhibition. SPE, 2024. http://dx.doi.org/10.2118/217816-ms.
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Abstract Hydraulic fracturing, a well-established technique in the oil and gas industry, has gained significant attention as a potential method to improve the short- and long-term efficiency of the Carbon Capture, Utilization, and Storage (CCUS) process. Most of the scoping studies on CCUS have centered on the reservoir aspects, such as storage and CO2 movement. Very little has been done evaluating what the fracture designs might look like in this process. This paper presents a review of the application of hydraulic fracturing in CCUS projects, examining its technical feasibility, fluids, sustaining agents, wellbore orientation, and fracture orientation considerations required to assure its technical and economic success. It will consider rock properties, depleted oil or gas reservoirs conditions, or deep saline aquifers horizons and compressed CO2 supply at the storage site; simulations have been performed using primarily super critical CO2 (scCO2) and conventional fluids to perform the hydraulic fracturing. In addition to the sCO2 usage and proppants required to tail the generated fractures; the wellbore orientation effect in reference to the stress plane is also considered in the paper. Finally the short- and long-term benefit of the hydraulic fracturing will be evaluated by simulating the CO2 injection behavior. The review encompasses an analysis of the various key stages involved in CCUS hydraulic fracturing process, starting from the review of rock properties, wellbore orientation, perforation strategy, selection of suitable fluid and propping agents for efficient and safe stimulation of a well candidate. The potential benefits of the proper hydraulic fracturing process implementation will be translated in an enhanced storage capacity and improved injectivity. The extensive simulations considering the sCO2 as the primary fluid system for fracturing purposes, combined with the wellbore orientation and other parameters will show the direct benefit of the combinations of the hydraulic fracturing and the CCUS processes, including: The use of sCO2 and proppants for hydraulic fracturing purposes in CCUSThe influence of the wellbore and hydraulic fracture orientation in the success of the CCUS process The paper aims to explore the potential of CCUS in conjunction with hydraulic fracturing to increase the efficiency of CO2 disposal and analyze methods to maximize its effectiveness. It will be beneficial for those contemplating CCUS, complementing other CCUS evaluations to provide a more complete picture of the feasibility as well as technical hurdles that must be overcome to implement this concept.