Elokuvien levittäminen Internetissä

Movie distribution on the Internet has become more common in recent years along with fast broadband internet connections. The problem so far has been that the greatest part of movie distribution on the Internet has been illegal. This is about to change because the major film distributors are finally starting to rent and sell movies more and more on the Internet due to their growing confidence in new copy protection methods. The importance of movie online distribution to the movie industry is still tiny but it is increasing rapidly as is investing in new business models and distribution methods in the USA and Europe. This thesis examines the basic concepts of online movie distribution, such as distribution techniques and copy protection, the main companies that rent and sell movies on the internet and their business models, the effects of movie piracy and non-commercial distribution channels. The intention was to provide the reader with an overview of different aspects of movie distribution on the Internet and its future. The conclusion was that movie distribution on the Internet will play a bigger financial part in the future although it was still too early to say just how significant that will be. We will probably see many corresponding distribution techniques, like peer-to-peer networks and streaming servers distributing and broadcasting movies to different end-user platforms like television, PC and portable media players. Internet distribution of movies will not revolutionize movie distribution in the next couple of years but it will make possible new efficient and inexpensive ways to distribute movies globally which will in turn increase the possibilities for revenue, especially for small independent movie producers and distributors.

Katepillarista kauppakassiin : product placement suomalaisessa tv-ohjelmatuotannossa

Product placement has become more and more common in Finnish television programmes lately. Product placement, as with the whole of the television industry, is strictly regulated and monitored by law. Surreptitious advertising, sponsorship, cooperative partnerships and product placement are often confused with each other. Partially these activities are interpenetrative. Present legislation doesn't recognise product placement, therefore it doesn't have any specific position in law, thus causing problems. Product placement in domestic tv-programmes is still relatively modest. More extensive activity is perceivable at the movies where the restrictions are considerably more liberal. In the United States, product placement is a part of a production's budget. Pressure to increase financing has grouwn in both Finland and Europe. There has been considerable preparation in advance of a new television directive in the European Union which would allow more liberal advertising and product placement as a part of financing tv-programmes. The proposal for a new directive is currently only on its first round so product placement probably won't become better defined in law in the near future. Finnish television producers were interviewed as part of the research for this thesis, in order to clarify product placement position and usage in domestic televion programmes. Surreptitious advertising, sponsorship, different kinds of cooperative partnerships and the need for guidance were also discussed in the course of the themed interviews. Even though product placement does not currently play a significant part in the financing of a production, there are certainly pressures in that direktion. In the field of television, the legal boundaries of product placement are presently being explored in order to assess its position as a part of budgeting and covering expenses.

Mitä katsoja kertoo elokuvasta : elokuvan sisäisten elementtien tunnistaminen ja sisällönkuvailu

Summary: What the viewer conveys of the movie - content description and identification of the key elements in movies

Vain muutaman millisekunnin tähden – Tajunnantutkimuksen lähtökohtia mediatajun tutkimukselle

Tutkielmani tarkoituksena on tarkastella tajuntaa mediatajun käsitteen perustana. Tajunta ilmiönä on yhteydessä siihen, miten 2000-luvun mediateknologia kytkeytyy osaksi ihmisen jokapäiväistä todellisuutta. Tutkielmani mediafilosofisena lähtökohtana on oletus, että elokuva viihde- ja taidemuotona syntyi rinnakkain 1900-luvun kokeellisen psykologian kehityksen kanssa. 2000-luvulle siirryttäessä tämä tarkoittaa sitä, että uusi mediateknologia syntyy rinnakkain aikakautensa kokeellisen psykologian kanssa. 2000-luvun kokeellisen psykologian haasteena on ihmisen aivotoiminta ja erityisesti tajunnan ilmiön tutkiminen. Mediatajun käsitteen perustana olevan tajunnan määrittelemiseen pyrin muodostamani Artaud’n hypoteesin avulla. Hypoteesin mukaan elokuva saa aikaan katsojassa neurofysiologisia värähtelyjä prosessissa, jossa kuvan tehtävänä on antaa shokki-isku hermoihin niin, että uusi ajatus syntyy ja lähtee liikkeelle. Tutkimusmenetelmänäni on tajunnantutkimuksen ja kognitiivisen neurotieteen käsitteiden ja tutkimustulosten käyttäminen Artaud’n hypoteesin arvioimiseen. Lähteenä käytän Turun yliopiston kognitiivisen neurotieteen tutkimuskeskuksen julkaisemaa oppikirjaa Mieli ja aivot (2006) ja Antti Revonsuon teosta Inner Presence: Consciousness as a Biological Phenomenon (2006) sekä alan tuoreita tutkimustuloksia. Keskeisenä elokuvateoreettisena päälähteenäni on Noël Carrollin teos Mystifying Movies (1988). Keskeisenä tutkimustuloksena on tajunnan ilmiön monimutkaisuuden hahmottaminen mediatutkimuksen tutkijaa varten. Esimerkiksi mediatutkimukseen sisältyvässä elokuvateoreettisessa keskustelussa on vedetty selvä raja kognitiivisen ja psykoanalyyttisen elokuvateorian välille. Tajunnantutkimuksen tutkimustulokset osoittavat, että rajanveto ei ole yksiselitteistä. Tutkielmani tuo myös esiin mediatajun käsitteen rajaukseen liittyviä mahdollisuuksia, joita voidaan selvittää jatkotutkimuksen avulla. Muodostamani Artaud’n hypoteesi sisältää ajatuksen elokuvan ja laajemmin ottaen taiteen potentiaalista uusien ajatuksien herättäjänä. Tutkielmani osoittaa, että tällä hetkellä tajunnantutkimuksen ja kognitiivisen neurotieteen avulla ei voida paikantaa taiteen herättämiä uuden ajattelun prosesseja. Tässä suhteessa hypoteesin voidaan katsoa kumoutuvan neurotieteen alueella. Tutkimustulokset osoittavat kuitenkin taiteen saavan aikaan aivoaktivaatioita, joten tutkimus ja keskustelu taiteen vaikutuksesta ajatteluun jatkuu.

Lempitutkimukseni

Tutkimus sisältyy teokseen "Film theory goes to the movies"

Kuka pelkää noitia? Dario Argenton Suspirian semioottinen analyysi

Työni aiheena on italialaisen elokuvaohjaaja Dario Argenton teos Suspiria (1977), jota analysoin semioottisesta näkökulmasta käyttäen apunani genreteoriaa, strukturalismia, psykoanalyysia ja sukupuolinäkökulmaa. Tutkimuskysymykseni muodostui moniulotteisesti Suspirian semioottisen analysoinnin tuloksen selvittäminen. Käytännössä tämä viittaa elokuvan sanoman eksplikointiin. Päälähteinäni toimivat elokuvasta laaditut valmiit analyysit, joihin omat tulkintani punoutuivat. Mainittavia lähteitäni olivat itse Suspiria, John Hillin ja Pamela Church Gibsonin Film Studies: Critical Approaches (2000), Johanna Laurilan pro gradu Noiduttua punaista. Dario Argenton Suspiria (2004) sekä Linda Schulte-Sassen artikkeli ”The Mother of all horror movies, Dario Argento’s >uspiria” (2002). Näiden ohella käytin lähdeaineistona soveltamieni teorioiden omia edustajia, kuten strukturalismissa satututkija Vladimir Proppia. Menetelminä työskentelyssäni toimivat (semioottinen) lähiluku, teemoittelun ja tyypittelyn yhdistäminen sekä osittainen sisällönerittely. Merkittävintä oli kuitenkin oma analysointini, joka perustui viitekehykseeni, kokemukseeni, päättelykykyyni sekä valmiuteeni luoda näiden perusteella kestäviä argumentointeja. Tavoitteenani oli Suspirian (symboli)kielen avaaminen semioottista näkökulmaa hyödyntämällä, ja sitä kautta paremman ymmärryksen luominen elokuvasta sekä elokuvan kautta kuluttajasta ja kulttuurista itsestään. Pyrin tulkitsemaan Suspirian kerronnallista kuvakieltä myös uuden tiedon tuottamisen nimissä. Nähdäkseni tämä onnistui. Tutkivalle silmälle Suspiria paljastui valtaisaksi tulkinnalliseksi aarreaitaksi, jonka kieltä ymmärtämättömälle se pysynee kuitenkin ensisijaisesti tietynmakuisena elokuvakokemuksena. Analyysini lopputuloksena valitusta kulttuurin tuotteesta (elokuva) ilmeni sen sisäänkoodattu, kuluttajaan vaikuttava ”toimivuus”. Tulevaisuudessa myös muiden Argenton elokuvien analysointi ja keskinäinen vertailu olisi varmasti elokuva- ja kulttuurintutkimuksen kannalta hedelmällistä.

Katolilaiset ja katolinen kirkko elokuvissa

Kirjallisuusarvostelu

De-escalation of commitment management strategy in IT project management methodology: case of ERP implementation project by IT consulting company

According to several surveys and observations, the percentage of successfully conducted IT projects without over-budgeting and delays in time schedule are extremely low. Many projects also are evaluated as failures in terms of delivered functionality. Nuldén (1996) compares IT projects with bad movies; after watching for 2 hours, one still tries to finish it even though one understands that it is a complete waste of time. The argument for that is 'I've already invested too much time to terminate it now'. The same happens with IT projects: sometimes the company continues wasting money on these projects for a long time, even though there are no expected benefits from these projects. Eventually these projects are terminated anyway, but until this moment, the company spends a lot. The situation described above is a consequence of “escalation of commitment” - project continuation even after a manager receives negative feedback of the project’s success probability. According to Keil and Mähring (2010), even though escalation can occur in any type of project, it is more common among complex technological projects, such as IT projects. Escalation of commitment very often results in runaway projects. In order to avoid it, managers use de-escalation strategies, which allow the resources to be used in more effective. These strategies lead to project termination or turning around, which stops the flow of wasted investments. Numbers of researches explore escalation of commitment phenomena based on experiments and business cases. Moreover, during the last decade several frameworks were proposed for de-escalation strategy. However, there is no evidence of successful implementation of the de-escalation of commitment strategy in the literature. In addition, despite that fact that IT project management methodologies are widely used in the companies, none of them cover the topic of escalation of commitment risks. At the same time, there are no researches proposing the way to implement de-escalation of commitment strategy into the existing project management methodology The research is focused on a single case of large ERP implementation project by the consulting company. Hence, the main deliverables of the study include suggestions of improvement in de-escalation methods and techniques in the project and in the company. Moreover, the way to implement these methods into existing project management methodology and into the company general policies is found.

This Is a Gorgeous-looking Movie”: Multimodal Interplay between Commentary and Subject Materials in Movie Review Entertainment

The present thesis is a study of movie review entertainment (MRE) which is a contemporary Internet-based genre of texts. MRE are movie reviews in video form which are published online, usually as episodes of an MRE web show. Characteristic to MRE is combining humor and honest opinions in varying degrees as well as the use of subject materials, i.e. clips of the movies, as a part of the review. The study approached MRE from a linguistic perspective aiming to discover 1) whether MRE is primarily text- or image-based and what the primary functions of the modes are, 2) how a reviewer linguistically combines subject footage to her/his commentary?, 3) whether there is any internal variation in MRE regarding the aforementioned questions, and 4) how suitable the selected models and theories are in the analysis of this type of contemporary multimodal data. To answer the aforementioned questions, the multimodal system of image—text relations by Martinec and Salway (2005) in combination with categories of cohesion by Halliday and Hasan (1976) were applied to four full MRE videos which were transcribed in their entirety for the study. The primary data represent varying types of MRE: a current movie review, an analytic essay, a riff review, and a humorous essay. The results demonstrated that image vs. text prioritization can vary between reviews and also within a review. The current movie review and the two essays were primarily commentary-focused whereas the riff review was significantly more dependent on the use of imagery as the clips are a major source of humor which is a prominent value in that type of a review. In addition to humor, clips are used to exemplify the commentary. A reviewer also relates new information to the imagery as well as uses two modes to present the information in a review. Linguistically, the most frequent case was that the reviewer names participants and processes lexically in the commentary. Grammatical relations (reference items such as pronouns and adverbs and conjunctive items in the riff review) were also encountered. There was internal variation to a considerable degree. The methods chosen were deemed appropriate to answer the research questions. Further study could go beyond linguistics to include, for instance, genre and media studies.