The problems of the european union film industry: an evolution from "subsidy trap" to the advent of "virtual print fee" model

Dissertação de Mestrado, Gestão de Empresa (MBA), 16 de Julho de 2013, Universidade dos Açores.

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.

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.

Increased Foreign Revenue Shares in the United States Film Industry: 2000 – 2014

The American film industry, which has historically been driven by the domestic market, now receives an increasing proportion of its revenue from abroad (foreign share). To determine the factors influencing this trend, this paper analyzed data from 11 countries of 2,337 American films released during 2000 – 2014. Both film and country attributes were analyzed to determine each attribute’s effect on foreign share, whether its effect size has changed over time and whether each attribute has changed in frequency amongst films released. The results identified six attributes, star actors, sequels, releases in top markets, release time lag, GDP growth and a match in language, that contributed to the increase in foreign share over this period.

Hollywood Films in the Non-Western World: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

This dissertation argues that the Government of the People’s Republic of China, when it made the decision to import a quota of Hollywood films in 1994 to revive the failing domestic film industry, had different possible criteria in mind. This project has studied four of them: first, importing films that gave a negative image of the United States; second, importing films that featured Chinese talent or themes; third, importing films that were box office hits in the United States; and fourth, importing films with a strong technological innovation ingredient. In order to find out the most important criteria for the Chinese Government, this dissertation offers a dataset that analyzes a population of 262 Hollywood films released in the PRC between 1994 and 2010. For each unit, a method has been developed to compile data that will determine whether the film reflects any of the four criteria, and findings in the form of yearly percentages have been drawn. Results show that, out of the four studied criteria, the two predominant reasons for China to import films were technological innovation and box office hits. This tells us that, at this point, the Chinese Government shows more interest in obtaining big revenues and learning from technically innovative American films than in delivering underlying political messages. This dissertation contributes to the existing literature by analyzing the content of all the films imported by China between 1994 and 2010, while integrating in the analysis variables based on the existing knowledge.

Exploring 'Samoaness' in the Samoan language film The Orator (O Le Tulafale)

The Pacific nation of the Independent Samoa (formerly Western Samoa)  is not known for having a developed film industry.   In 2011, a Samoan languge film called The Orator (O le Tulafale) placed the spotlight on Samoa, its people, and the Samoan culture when it became the country’s first ever film to be accepted into major international film festivals such as the 68th Venice Film Festival.  Samoans the world over have embraced the film for its richness, compassion, and authenticity. Yet at times, the film portrays the Samoan culture as harsh and cruel.   Samoans are usually quick to criticise negative portrayals of their culture but the thousands of comments on the film’s official Facebook page show otherwise.  From April 2011 to March 2012, there were only 11 comments criticising the film on Facebook, and these criticisms were denounced as ‘un-Samoan’. This raised the question as to why Samoans did not react to the unflattering portrayals of their culture, but instead react against legitimate criticisms of the film.  By using Foucault’s concept of heterotopia and the Samoan narrative structure of fāgogo, a heterotopia space and a utopia space are created in which past memories confirming Samoan cultural identity and bonds to the culture are evoked and are (re)experienced by Samoans while viewing the film.  Thus the film’s ability to encourage this is what Samoans praise rather than the actual film.  

Measuring the Diversity and the Integration of Film Production in Mercosur: A Social Network Analysis

Based on an original and comprehensive database of all feature fiction films produced in Mercosur between 2004 and 2012, the paper analyses whether the Mercosur film industry has evolved towards an integrated and culturally more diverse market. It provides a summary of policy opportunities in terms of integration and diversity, emphasizing the limiter role played by regional policies. It then shows that although the Mercosur film industry remains rather disintegrated, it tends to become more integrated and culturally more diverse. From a methodological point of view, the combination of Social Network Analysis and the Stirling Model opens up interesting research tracks to analyse creative industries in terms of their market integration and their cultural diversity.

Film policy in practice: a case study of Scottish Screen’s funding schemes

This thesis examines cultural policy for film in Scotland, from 1997 to 2010. It explores the extent to which the industry is shaped by film policy strategies and through the agency of public funding bodies. It reflects on how Scottish Screen, Scotland’s former screen agency, articulated its role as a national institution concerned with both commercial and cultural remits, with the conflicting interests of different industry groups. The study examines how the agency developed funding schemes to fulfil policy directives during a tumultuous period in Scottish cultural policy history, following the establishment of the Scottish Parliament with the Scotland Act 1998 and preceding the Independence Referendum Act 2013. In order to investigate how policy has shaped the development of a national film industry, a further two case studies are explored. These are Tartan Shorts, Scotland’s former flagship short film scheme, and the Audience Development Fund, Scotland’s first project based film exhibition scheme. The first study explores the planning, implementation and evaluation of the scheme as part of the agency’s talent development strategy. The outcomes of this study show the potential impact of funding methods aimed at developing and retaining Scottish filmmaking talent. Thereafter, the Scottish exhibition sector is discussed; a formerly unexplored field within film policy discussions and academic debate. It outlines Scottish Screen’s legacy to current film exhibition funding practices and the practical mechanisms the agency utilised to foster Scottish audiences. By mapping the historical and political terrain, the research analyses the specificity of Scotland within the UK context and explores areas in which short-term, context-driven policies become problematic. The work concludes by presenting the advantages and issues caused by film funding practices, advocating what is needed for the film industry in Scotland today with suggestions for long-term and cohesive policy development.

O cinema do SPN/SNI – o ideal de Ferro, a realidade de chumbo

In Europe, the first half of the twentieth century was characterize by the rise of authoritarian regimes that used cinema as a propaganda tool for the prosecution and consolidation of political power. Indeed, film conveyed images, symbols, myths to an extent and strength that no other media had. In Portugal, the 1930 and 1940’s represent one of the most significant phases, either because of the introduction/strengthening of the technology of sound cinema, whether by the action of the Secretariado Nacional de Propaganda, the propaganda instrument of Estado Novo. Among the multitude of ways that this organization resorted to spread the political message of Estado Novo, cinema in particular aroused the attention of its director, António Ferro, as a preferred mean of communication with the masses. This communication seeks to examine the role played by António Ferro in the national film scene. It intends to determine the nature and direction of his cinematographic vision, i.e., his ethical and aesthetic assumptions, firstly, and secondly, its political action towards the portuguese film industry, as director of the SPN / SNI, under the tutelage of Oliveira Salazar.