Dino De Laurentiis and Australia: Creating a film industry on the Gold Coast

When Dino De Laurentiis died in October 2010, most media outlets, including Australian based publications and services reported the news and most newspapers carried obituaries. Obituarists described Dino’s many failures in great detail; as film historian David Thomson wrote in The Guardian ‘there were enough bombs from Dino to level a large city’ (Thomson 2010). But Dino was also responsible in no small way for the building of new media cities in Rome, in North Carolina, and in Queensland. In this article, we draw on some of our research for that book to outline in more detail the importance of Dino De Laurentiis’s involvement to the Gold Coast studios and to film and television production in Queensland.

Australia’s film industry owes a debt to Gough Whitlam

Filmmakers and audiences – indeed Australian arts and screen culture more broadly – owe a deep debt of gratitude to Gough Whitlam and the government he led. Although the foundations had been laid by Whitlam’s predecessors John Gorton and Billy McMahon, the Australian film revival of the 1970s only really took shape after Whitlam became Prime Minister in 1972...

Marketing of the Spanish film industry in the entertainment market

This project analyzes the role that marketing plays at present.It is a distinctive in the film industry because of the emergence of new patterns of production, distribution and exhibition due to the unstoppable progress of digital technologies, the expansion of the internet and consumer changes in the spectator. To perform this analysis, a description of the situation of the film industry in the competitive market, Hollywood, and the evolution of digital technology in general are included. It is also essential in the project, to observe, the marketing applied to the different phases of the globalized cinema. And then introduce the potential Spanish marketing strategies.

The new blockbuster film sequel : changing cultural and economic conditions within the film industry

Film sequels are a pervasive part of film consumption practices and have become an important part of the decision making process for Hollywood studios and producers. This thesis indicates that sequels are not homogenous groups of films, as they are often considered, but offer a variety of story construction and utilize a variety of production methods. Three types of blockbuster sequel sets are identified and discussed in this thesis. The Traditional Blockbuster Sequel Set, as exemplified by Back to the Future (1985, 1989, 1990) films, is the most conventional type of sequel set and capitalizes on the winning formula of the first film in the franchise. The MultiMedia Sequel Set, such as The Matrix (1999,2003) trilogy, allows the user/viewer to experience and consume the story as well as the world of the film through many different media. The Lord a/ the Rings (2001, 2002, 2003) set of films is an illustration of The Saga Sequel Set where plot lines are continuous over the entire franchise thus allowing the viewer to see the entire set as a unified work. The thesis also demonstrates how the blockbuster sequel sets, such as the Pirates a/ the Caribbean (2003, 2006, 2007) franchise, restructure the production process of the Hollywood film industry.

Technological change in the postproduction film industry

Technological change in the postproduction film and television industry has affected workers differently depending on age, gender, experience and reputation.

Mothering in the freelance film industry: case studies in the postproduction film industry in Melbourne, Australia

This paper examines the dynamic relationship between work and life through the experiences of three mothers seeking to realise careers in the freelance film industry in Melbourne, Australia. The women were part of a larger sample of postproduction workers who were surveyed on their responses to technological change in the postproduction freeelance film industry but were out of the industry having children during the first wave of technological change. The paper examines qualitative data from these women and later longitudinal data in order to understand the limits of equal opportunity in an uneven playing field.

Technological change in the postproduction film industry a Victorian case study

The first and last stages of filmmaking production and projection remain relatively unchanged, but computerization (through digitalization) has radically transformed film and sound editing. The aim here is to examine some of the effects of this transformation on postproduction employment. The experiences of twenty Victorian postproduction workers, interviewed in 2001, provide the data presented here. The interviewees were divided into groups to reflect their life stage and time working in postproduction.

Mapping the ill disciplined? Spatial analyses and historical change in the post-war film industry

As part of a broad disciplinary shift, from a focus on measuring the value and meaning of cultural artefacts to understanding the import of cultural flows, humanities researchers are increasingly turning to other disciplines and disciplinary practices to inform their research. For film scholars, rather than providing a reading of specific media texts and their qualities there is an increasing focus on the contextual events that shape and formulate cinema practice. This chapter is an example of how cross-disciplinary relationships, for example between Cinema Studies, Geospatial Science, Statistics and the Creative Arts can uncover new research questions and test methodologies across uncharted disciplinary terrain. It also offers an opportunity to reflect on some of the key assumptions around collaborative research, through its reorganization of academic spaces and “sites” of knowledge.

Petal diagrams: a new technique for mapping historical change in the film industry

As the study of cinema has increasingly turned to the examination of economic ebbs and industrial flows, rather than focussing its attention solely on the critical evaluation of the films themselves, new analytic techniques and tools have been adopted (and adapted) by film scholars. Key amongst these is the use of innovative visualization techniques that can assist in the understanding of the spatial and temporal features of film industry practices. However, like the cinema itself, visualization carries its own spatial and temporal dimension. This article explores some of the benefits and limitations that derive from the use of spatial visualization technologies in the field of cinema studies. In particular, this research presents a new holistic multivariate approach to spatio-temporal visualization for point based historical data. This method has been developed through extending the spatial presence in timeline graphics and through meaningful spatial classification and representation.

The Mexican film industry and its participation in the global value chain

Includes bibliography

Competition and the Legal Environment: Intellectual Property Rights in the Early American Film Industry

No abstract available.

Remaking Movie Making: The Environmental Impacts of the Film Industry in Southern California

The film and television industry is integral to the economics and culture of the Southern California region. It is also a major contributing factor to the environmental problems in the region. Currently the Motion Picture, Television, and Commercial Industries Act of 1984 is the only regulation written specifically for the entertainment industry. This regulation was created with the purpose of streamlining the film permitting process to prevent run-away production, taking production out of state, and encourage growth. A change in this regulation is needed since studios routinely fail to meet environmental standards or work towards improvement during on-location filming. Amendments to this regulation requiring permits to contain environmental conditions would improve environmental conditions and stay true to the original purpose of the act.