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Статті в журналах з теми "Motion picture industry"

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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 10 березня 2023

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1

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

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

2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

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

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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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

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AbstractAdvertising is commonly used as a major marketing tool by many firms to support their new product release. Quantifying the effectiveness of pre-release advertising campaigns, however, is both challenging, since no sales data are available, and costly, because of the need to conduct consumer surveys. This is especially true for movie industry for which the majority of advertising dollars are spent before the movie’s release. Using the recent availability of online data on consumer search behaviors on a popular website dedicated to the movie industry, we construct a consumer interest measure to help the decision makers evaluate their advertising effectiveness. We build a dynamic model to show how this cost-efficient measure of consumer interest can be used to capture pre-release advertising dynamics, and the impact of advertising on weekly movie revenues starting with the opening week. Using a procedure based on

20

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

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21

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

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22

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

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23

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

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24

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

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25

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

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26

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

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

27

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

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

28

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

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29

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

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30

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

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31

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

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32

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

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.

33

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

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

34

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

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35

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

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

36

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

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37

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

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38

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

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39

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

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40

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

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41

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

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42

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

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

43

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

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44

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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45

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

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46

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

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47

Hennig-Thurau, Thorsten, Mark B. Houston, and Shrihari Sridhar. "Can good marketing carry a bad product? Evidence from the motion picture industry." Marketing Letters 17, no. 3 (July 2006): 205–19. http://dx.doi.org/10.1007/s11002-006-7416-0.

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48

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

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

49

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

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Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM). Findings In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets. Practical implications During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers. Originality/value Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.

50

Schulz, Anne, Amelie Eder, Victor Tiberius, Samantha Casas Solorio, Manuela Fabro, and Nataliia Brehmer. "The Digitalization of Motion Picture Production and Its Value Chain Implications." Journalism and Media 2, no. 3 (July 9, 2021): 397–416. http://dx.doi.org/10.3390/journalmedia2030024.

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Анотація:

Technological change and development have been ongoing in the motion picture industry since its beginnings some 125 years ago. What further advancements of digitalization can be expected over the next decade and what are its implications for the industry’s value chain? To answer this question, we conducted an international two-stage Delphi study. The results suggested a more frequent use of smartphones as cameras, the emergence of full digital film sets and digital star avatars, as well as advancements in VR-based and interactive movies. The findings imply challenges for traditional players in the motion picture value chain. Production technology becomes both simpler and more complex, leading to the threat of new entrants.