Film Distribution Research Papers - Academia.edu (original) (raw)

L’economia del film è un’area di ricerca relativamente giovane e in espansione dedicata all’industria cinematografica e allo studio delle logiche che governano le sue attività. Il volume analizza i processi di finanziamento, produzione,... more

L’economia del film è un’area di ricerca relativamente giovane e in espansione dedicata all’industria cinematografica e allo studio delle logiche che governano le sue attività. Il volume analizza i processi di finanziamento, produzione, distribuzione e circolazione dei film, il mercato cinematografico, i protagonisti tradizionali e di più recente comparsa che operano nel settore (come Netflix e Amazon), e la complessa rete di politiche europee, nazionali e locali che regolamentano e sostengono il sistema, soffermandosi di volta in volta a riflettere sulle diverse forme di valore che il film assume per gli stakeholder coinvolti. Il film è infatti un prodotto complesso, su cui convergono interessi pubblici e privati diversificati, istanze artistiche ed economiche, frutto di un processo che si declina in maniera differente a seconda della cultura produttiva di cui è espressione. Questa complessità da una parte articola il ruolo che il film ricopre all’interno del sistema economico e della società contemporanea; dall’altra rende più che mai complesso quantificare e determinare il suo successo.

In 1998, in a paper in which he explained the mechanisms used in Hollywood to divide the revenue generated by feature films among different stakeholders, Mark Weinstein (1998) argued that only ten to twenty percent of these projects... more

In 1998, in a paper in which he explained the mechanisms used in Hollywood to divide the revenue generated by feature films among different stakeholders, Mark Weinstein (1998) argued that only ten to twenty percent of these projects actually were showing a positive figure under the heading “net profits”. Ten years later, the United Nations (2998) also acknowledged that; as it was widely recognized, yet without mentioning any empirical study that might corroborate the use of such a precise figure, only 20 percent of movies were making a profit. Moreover, as this report informed, the surplus generated by these extremely successful projects was so large that it offset the cumulated losses generated by the remaining 80 percent of feature films. The implications of the existence of uncontested and long lasting belief about the high risks that companies in the filmmaking business have to face and overcome, should not to be neglected: when policy makers accept that the outcome of a movie is highly unpredictable and the gap in terms of income between a success and a failure can be substantial, they are also more inclined to accept concentration in this sector as a way to reduce risk and increase investments. Epstein‟s book “The Hollywood Economist: The Hidden Financial Reality Behind the Movies” does not reveal what percentage of feature film is likely to pass the break-even point, nor it denies that filmmaking can be a risky business in financial terms. The main contribution to knowledge from this book comes from his explanation of the financial practices of the producers-distributors that are now part of the largest info-entertainment conglomerates and are the descendent of the major Hollywood studios (i.e. the „Majors‟). After reading this book, the reader will understand that making movies for these companies and for the conglomerates they are part of, is a rather stable, low-risk and very profitable activity.

This chapter focuses on first ten years of the Karlovy Vary International Film Festival in Czechoslovakia. It explores the changing roles that the festival played vis-a-vis the Czechoslovak government's foreign and domestic policy,... more

This chapter focuses on first ten years of the Karlovy Vary International Film Festival in Czechoslovakia. It explores the changing roles that the festival played vis-a-vis the Czechoslovak government's foreign and domestic policy, vis-a-vis recasting of Czechoslovak national identity, and vis-a-vis global economic,cultural, and political ambitions of the Soviet Union and the Soviet film industry.

Di fronte all'incombere della pandemia da Covid-19, la mia ricerca, iniziata per comprendere le dinamiche delle sale cinematografiche in una grande città come Torino, ha dovuto cambiare direzione, assumendo contorni più ampi e complessi... more

Di fronte all'incombere della pandemia da Covid-19, la mia ricerca, iniziata per comprendere le dinamiche delle sale cinematografiche in una grande città come Torino, ha dovuto cambiare direzione, assumendo contorni più ampi e complessi da tracciare. Il Covid-19 ha infatti messo in evidenza la stretta rete di relazioni che governa il sistema cinema: come il sistema nazionale non può sostenersi senza la rete internazionale; come le sale siano la chiave di volta nel sistema teso tra produzione e distribuzione in piattaforma; come il mondo comunemente riassunto nel termine "intrattenimento" abbia una dimensione economica e sociale non alienabile. Un tema ampio e complesso, da analizzare giorno per giorno man mano che l'evoluzione della pandemia procede. Tenendo a mente questo quadro di partenza, mi sono mossa seguendo questo metodo: ho raccolto le notizie relative al mondo del cinema, concentrandomi sui segmenti della distribuzione e fruizione del film, e contestualizzandole con l'avanzamento della pandemia e i meccanismi preesistenti del sistema cinematografico. Sulla base quindi di testi precedentemente acquisiti e articoli di cronaca e commento, ho creato un percorso tra cinque diversi settori, in cui gli eventi fossero descritti attraverso la logica di causa ed effetto. I cinque ambiti che ho deciso di delineare sono le sale cinematografiche, le piattaforme di streaming, le arene estive, i festival di cinema e la critica cinematografica. Il Covid-19 Al momento in cui scrivo può apparire superfluo definire cosa sia il Covid-19, ma resta necessario per i lettori futuri dare almeno alcune semplici coordinate di questo virus che ha stravolto la nostra vita nel 2020. Il Sars-Cov-2 è un tipo di coronavirus identificato a fine 2019 in Cina, più precisamente nella provincia di Wuhan. Pare che il virus sia nato tramite il fenomeno dello spillover, tradotto in italiano come "salto di specie": la convivenza a stretto contatto di animali selvatici e uomo hanno portato a una mutazione virale che si è rivelata altamente rischiosa per l'essere umano. Il Covid-19 si manifesta infatti come una malattia polmonare che può avere numerosi stadi e livelli di gravità, dalla più comune tosse fino al collasso polmonare. L'elemento da sottolineare è soprattutto l'altissima contagiosità di questo virus e il fatto che può essere propagato attraverso la bocca anche semplicemente parlando. In questo modo in pochissimo tempo il virus ha viaggiato in tutto il mondo, al punto che l'11 marzo 2020 l'OMS ha dichiarato lo stato di pandemia. Il modo più efficace e rapido per provare a fermare l'epidemia è stato quindi intimare i cittadini di non avere interazioni tra loro a meno che non fossero strettamente necessarie, e in quel caso di farlo utilizzando mascherine chirurgiche, mantenendo una distanza di sicurezza di almeno un metro e avendo cura di igienizzarsi le mani dopo qualsiasi contatto. Va da sé che questo tipo di prassi ha notevolmente limitato e reso scomode numerose attività comuni, come andare a fare la spesa o fare attività sportiva. Ma altre attività, come la scuola, i teatri e i cinema hanno subito limitazioni pesantissime, obbligate a chiudere le proprie porte per mesi interi. Al momento della redazione di questo testo, in Italia i cinema sono chiusi dal 26 ottobre 2020, quindi da più di 5 mesi.

This article presents a microhistory of Shan Sayles’ entrepreneurship in film exhibition that involved both arthouse and exploitation cinemas. Covering the years up to around 1970, it also functions as a commemoration for Sayles with... more

This article presents a microhistory of Shan Sayles’ entrepreneurship in film exhibition that involved both arthouse and exploitation cinemas. Covering the years up to around 1970, it also functions as a commemoration for Sayles with particular focus on the gay films he acquired for his theaters across the country in the late 1960s and early 1970s.

This article discusses the problems that Australian films face in the big distribution model, and ways thatproducers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly'sCinema... more

This article discusses the problems that Australian films face in the big distribution model, and ways thatproducers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly'sCinema Plus exhibition company. Although there is a historical precedence set for Connolly's self-distribution venture, this shiftto rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of theporous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separatepools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way toreach the widest possible audience.

From a political-economic perspective, the global market is dominated still by major international cinemas: Hollywood in particular – whose major studios (20th Century Fox, Warner Bros., MGM, Sony) maintain control locally through... more

From a political-economic perspective, the global market is dominated still by major international cinemas: Hollywood in particular – whose major studios (20th Century Fox, Warner Bros., MGM, Sony) maintain control locally through national subsidiaries – but also Bollywood, Nollywood and the Chinese industry in certain regions. European productions, on the other hand, remain for the most part confined to national successes alone, with only few exceptions – such as Bienvenue chez les Ch’tis (Dany Boon 2008), The King’s Speech (Tom Hooper 2010) and, albeit to a lesser extent, Gomorra (Matteo Garrone 2008). In the meantime, the influence of media convergence and the proliferation of digital platforms has demonstrated a series of content circulation strategies that differ to the classic windows of the distribution industry; strategies that have since become central to contemporary debates on film distribution. In academic studies, these mutations have contributed to broadening focus beyond theatrical distribution, in order to account for the circulation of films via alternative, formal or informal channels too (Tryon 2009; Iordanova and Cunningham 2012; Cunningham and Silver 2013). Some recent studies have emphasized in particular how contemporary research on film distribution can no longer exclude informal or non-linear circulation channels (Lobato 2012; Crisp 2015; Lobato and Thomas 2015). With the aim of studying how this new technological context is changing current tendencies, and taking root in the “national interest research project” (PRIN 2015) on the international circulation of Italian cinema, the special issue No. 3/2018 focuses on the strategies and outcomes of European cinema distribution beyond national borders.

One of the most remarkable developments in European cinema over the last 10 years has been the creation of not one but several vertically integrated studios that produce and actively distribute films across a number of national... more

One of the most remarkable developments in European cinema over the last 10 years has been the creation of not one but several vertically integrated studios that produce and actively distribute films across a number of national territories. The rise of these pan-European
studios signals a sea change in an industrial landscape that has long been fragmented by nation and language and film historians must begin contemplating what this change means for European cinema and global cinema more broadly. This article seeks to forward such a
project by critically examining the output of Studiocanal, the foremost company involved in this trend. In so doing, it focuses on two films in particular: Tinker Tailor Soldier Spy (Tomas Alfredson, 2011) and Unknown (Jaume Collet-Serra, 2011). The article argues that these two
films are emblematic of Studiocanal’s two larger production strategies, one of which focuses on middlebrow production and marketing and the other which is concerned with mainstream popular genre cinema. Dividing these two tendencies, the article argues, are distinct treatments of genre, authorship and stardom, even while industrial factors relating to production and the employment of European artists unites them. Surveying these differences and similarities, the article illustrates the bigger impact that Studiocanal and by extension its
fellow European studios are having on the continent’s cinematic landscape while also comparing and contrasting these studios with those in Hollywood which have long dominated the global film industry.

Distribution remains one of the main challenges facing African cinema. Reaching domestic and international audiences is difficult despite the promise of digital technological innovations over the last fifteen years. In fact, scholarship... more

Distribution remains one of the main challenges facing African cinema. Reaching domestic and international audiences is difficult despite the promise of digital technological innovations over the last fifteen years. In fact, scholarship on African film distribution in the United States is currently scarce and limited to a few contributions in articles. These articles have included “African Cinema in the American Video Market” by Cornelius Moore (1992); “La construction identitaire par le cinéma: diaspora africaine aux États-Unis” by Boukary Sawadogo (2017); “Evolving Nollywood Templates for Minor Transnational Film” by Moradewun Adejunmobi (2014); and Nollywood: The Creation of Nigerian Film Genres a monograph by Jonathan Haynes (2016). Yet, the distribution of African films in the United States should be the subject of more sustained scholarly attention, as the market is expanding with diverse African diasporic communities increasing in the country that is home to Hollywood. African films are distributed in North America through four channels: the festival circuit; independent distributors; informal circuits (pirated copies of DVDs sold in subway stations and African stores); and online platforms (Amazon, Netflix, YouTube, Vimeo, irokoTV, etc.). African cinema has to cultivate a niche in a market that is not only dominated by Hollywood big budget productions, but also where other films from around the world compete for visibility.

The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but internationally throughout the Greek diaspora. This was especially apparent in Australia, where waves of post-war migration provided a ready... more

The rise of the Greek film industry during the 1950s and 1960s was enjoyed not just in Greece but internationally throughout the Greek diaspora. This was especially apparent in Australia, where waves of post-war migration provided a ready audience for imported Greek cinema. This paper will examine the relationship between domestic and diasporic film industries focussing on the distribution arrangements between Greek suppliers and Australian distributors.

Why have we seen such a surge in horror film festivals in the twenty-first century? In this paper, I examine the potential of the horror film festival as a site of subcultural capital for horror filmmakers and audiences as well as an... more

Why have we seen such a surge in horror film festivals in the twenty-first century? In this paper, I examine the potential of the horror film festival as a site of subcultural capital for horror filmmakers and audiences as well as an important intersection of formal and informal channels of distribution.

La rivoluzione è finalmente arrivata. Gli OTT, la web tv e i contenuti on-demand sono ormai la normalità in molti paesi del mondo e lo stanno diventando anche in Italia. L’indus- tria televisiva, sulla scia del cambio delle abitudini dei... more

La rivoluzione è finalmente arrivata. Gli OTT, la web tv e i contenuti on-demand sono ormai la normalità in molti paesi del mondo e lo stanno diventando anche in Italia. L’indus- tria televisiva, sulla scia del cambio delle abitudini dei consumatori, ha ridisegnato la pro- duzione e la distribuzione dei contenuti mettendo in campo nuove sinergie e alleanze, adat- tandosi rapidamente ai cambiamenti del panorama internazionale. Il mercato italiano in meno di cinque anni è passato da pochi e sparuti servizi ad un’offerta ampia e articolata. In queste pagine indagheremo come sono nate e si sono sviluppate le piattaforme streaming che operano nel nostro paese, cosa le distingue l’una dall’altra e quali strategie stanno utilizzando per affermasi nel mercato italiano e internazionale. L’obiettivo è dimostrare la superiorità del servizio sui contenuti nel trasformare gli utenti in clienti paganti.
Il primo capitolo è dedicato alla nascita dello streaming, prima come idea e poi come tecnologia, il ruolo dei servizi illegali come eMule e Torrent, l’introduzione della banda larga e di nuovi device in grado di utilizzarla, l’abbattimento di tempi e confini della distribuzione tradizionale, fino ad arrivare a nuovi tipi di fruizione come il binge watching e il consumo a scaffale. Nella seconda parte vengono analizzate, una per una, le piattaforme attive nel mer- cato italiano e per ognuna vengono presi in considerazione e discussi vari aspetti, dal modello di business al catalogo, parlando anche di elementi spesso tralasciati come la tecnologia di streaming e l’interfaccia grafica. Cercheremo di capire perché gli utenti preferiscono usare alcuni servizi piuttosto che altri. L’ultimo capitolo affronterà le strategie di sviluppo, le al- leanze nel mercato nazionale e internazionale e la creazione dei contenuti, essenziali per garantirsi un vantaggio competitivo. Si proverà infine a dimostrare che la scelta di una pi- attaforma è dettata soprattutto dalla qualità e dalla quantità dei servizi che mette a dispo- sizione. Infine, analizzando i dati raccolti con un sondaggio, verificheremo la bontà di queste idee.

This article will analyse the distribution and promotion strategies of Matteo Garrone's Dogman (2018) in the United States. It will reconstruct the singularity of this case study in a comparative perspective, considering both the... more

This article will analyse the distribution and promotion strategies of Matteo Garrone's Dogman (2018) in the United States. It will reconstruct the singularity of this case study in a comparative perspective, considering both the international circulation trends of European national cinemas and the distribution of contemporary Italian films in the United States. An integrated methodology will be adopted, combining film and media industry studies, cultural studies, and the field of art and culture economics. After an analysis of the tendencies of the distribution of Italian contemporary arthouse cinema in the United States, the specific distribution strategies adopted for Dogman will be considered against the background of the financing system within which the production model of the film is embedded. Further, the role of Magnolia Pictures, the North American distributor of Garrone's film, will be inspected through the discussion of some interviews with professionals directly involved in the promotion and distribution of the film.

This essay will address the dissemination of contemporary Italian cinema in North-American the- atres. In the first part, it provides an overview of theatrical circulation strategies over the past few decades, offering a historical... more

This essay will address the dissemination of contemporary Italian cinema in North-American the- atres. In the first part, it provides an overview of theatrical circulation strategies over the past few decades, offering a historical perspective on the economic and cultural distribution processes of Italian cinema in the United States. In the second, the article focuses on quantitative data in order to examine how many and what kinds of Italian films were distributed in American theatres over the past ten years, as well as their admissions and box office takings. Specifically, this contribution focuses on the two Italian auteurs who obtained the most visibility in the US thanks to the distribu- tion of 4 of their films between 2008 and 2017: Paolo Sorrentino and Luca Guadagnino. In order to define two different distribution models, we will identify the promotion strategies of the most widely circulated films directed by these auteurs: La grande bellezza/The Great Beauty (2013) and Youth (2015) by Sorrentino, and Io sono l’amore/I Am Love (2009) and A Bigger Splash by Guadagnino. In the final section, we relate these cases to the historical circulation patterns of Italian cinema.

Introduction to Distribution Revolution

Focusing on the film industry’s transition to sound in the late 1920s, canonical musical Singin’ in the Rain is, foremost, a dubbing narrative. This chapter revisits this film classic in order to bring into focus lesser-known histories... more

Focusing on the film industry’s transition to sound in the late 1920s, canonical musical Singin’ in the Rain is, foremost, a dubbing narrative. This chapter revisits this film classic in order to bring into focus lesser-known histories relating to screen translation, and to think specifically about the importance of talk and inter-lingual translation to the development of film culture broadly. Singin’s emphasis on dubbing as domestic operation invites reconsideration of the transition era’s ‘language crisis’ and the artificial voice/body combinations integral to foreign-language dubbing. Precisely because Singin’ does not deal directly with issues of inter-lingual translation, it demonstrates how sound technologies catapult issues of language difference and transfer to the very heart of film production, prefiguring the inter-lingual in the everyday.

By assessing the historical and contemporary relationships between American and Australian cinemas, this collection sets out to encourage future studies on a growing field of inquiry. Its concentration on the complex historical and... more

By assessing the historical and contemporary relationships between American and Australian cinemas, this collection sets out to encourage future studies on a growing field of inquiry. Its concentration on the complex historical and contemporary relationships between these two cinemas taps directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Hollywood and Australia. To explore this idea, a range of chapters investigate the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood; while many of the other chapters chart the sustained influence of US cinema on Australia over the last 100 years. The authors represented in this book re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorizations of Australian national cinema. Although this concentration on US production, or influence, is particularly acute in relation to such developments as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last 30 years, this book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s. Furthermore it surveys Hollywood models of production and genre, as well as American distribution and exhibition networks, that have altered the way Australians go to the cinema, the type of films they watch, and the kinds of movies they make. This book takes two key points in time - the 1920s and 1930s and the last 20 years - to chart the ongoing, shifting, resistant and dependent relationships between Australian and US cinema and how particular patterns of localism, nationalism, colonialism, transnationalism and globalization have shaped its course over the last century.

Kineria is a pioneer website video-on-demand distribution of independent films in Indonesia legally and paid as a new media presentation to appreciate online films. This research discussed how Kineria help filmmaker of independent films... more

Kineria is a pioneer website video-on-demand distribution of independent films in Indonesia legally and paid as a new media presentation to appreciate online films. This research discussed how Kineria help filmmaker of independent films to distribute their film using New Media, what the problems are, how the solution is, and the challenges faced in digital films distribution. The research was conducted using case study to illustrate and interpret the digital distribution of independent films made by Kineria. Meanwhile, this research used John W. Cresswell's method to analyze data obtained from observation in the field. The results of this research showed that Kineria digital distribution has done properly and according to distribution films in general. But, in real life the application is not effective. Thus, communication process between Kineria and filmmaker need to improve in order to make acquisition of films easier, the standardization of films shown to be reorganized in order to increase audience. Kineria doesn't maximize the marketing communication strategy because it only relies on publication with online marketing. Some of the features on the website are difficult to access, profit sharing system is not effective, and films access has not automaticly accessable after paid becomes problem for Kineria. The lack of brand, market independent film audiences and audience purchasing power in Indonesia is still weak become the biggest challenge for digital distribution of independent films. Especially with Youtube and Viddsee as competitors from Kineria website that offer free screenings, making audience are more selective in choosing what they want to watch.

Along the first century of cinema, the history of the relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process —internationalization of... more

Along the first century of cinema, the history of the relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process —internationalization of capital, talent and infrastructures—, it has become a ‘marriage of convenience’. In fact, this peculiar romance is sustained by paradoxical strategies of cooperation and competition —especially in the case of Europe.
This book identifies these two series of cooperative and competitive strategies developed by Hollywood and the European film industries during the last decade, and attempts to figure out whether it could be considered a case of ‘coopetition’, as it is understood by the business management theory. Distribution partnerships, financial co-productions, runaway productions, European ‘blockbusters’, European public and private financial initiatives and the promotion of national or local cinema are just some of the tactics explored in these pages.
Far from being balanced, these relationships between Europe and Hollywood are asymmetrically evolving on a global scenario, adopting new forms under the cooperation-competition dynamic. The quid of the question, of course, is to determine up to what point this ‘marriage of convenience’ is really based on mutual reciprocity or if it could be described more like a kind of ‘sleeping with the enemy’ situation.
"

This is the first book length study to consider the transnational dimension of Moroccan cinema. Over the past two decades, cinematic production has increased dramatically in Morocco, with Moroccan films leading at the domestic box office... more

This is the first book length study to consider the transnational dimension of Moroccan cinema. Over the past two decades, cinematic production has increased dramatically in Morocco, with Moroccan films leading at the domestic box office and being selected for prestigious international festivals such as Cannes and Berlin. And yet, Moroccan cinema remains little known outside of its national borders. This book asks why this might be and, in so doing, analyses the actual state of Moroccan national cinema beyond a post-colonial optic. Featuring interviews with filmmakers and key industry figures, such as Hicham Laari, Nadir Boumouch and Tala Hadid, the book explores Moroccan cinema’s transnational reach through a focus on the cultural politics of international co-production, the role of international festivals as alternative distribution networks, piracy and digital disruption, film education and activism.

На примере анализа содержания фильмов-лидеров кассовых сборов кинопроката раскрывается ценностная динамика символов успеха как объективно проистекающий в кинокоммуникации социокультурный процесс. Культурное производство и потребление... more

На примере анализа содержания фильмов-лидеров кассовых сборов кинопроката раскрывается ценностная динамика символов успеха как объективно проистекающий в кинокоммуникации социокультурный процесс. Культурное производство и потребление
переосмысливается в качестве автокоммуникации общества, которая имеет устойчивые тенденции. Изучены связи социокультурного процесса символизации успеха с коммуникативными, семантическими и семиотическими процессами. Описана специфика диалектического противоречия социоцентричных и персоноцентричных символов
успеха. Изложены теоретические положения, раскрывающие структурную и функциональную сторону социокультурного процесса символизации успеха, на примере анализа массива кинофильмов доказана его объективность, определены доминирующие тенденции в
ореоле культурного пространства общего кинорынка.
Книга адресована ученым, студентам и преподавателям, интересующимся культурной динамикой, социальной коммуникацией, ролью кинематографа в современном обществе.
On the example of the analysis of the content of films-leaders of the box office box office, the value dynamics of the symbols of success is revealed as an objectively occurring sociocultural process in film communication. Cultural production and consumption are being rethought as the self-communication of society, which has sustainable trends. The connections of the socio-cultural process of symbolizing success with communicative, semantic and semiotic processes have been studied. The specificity of the dialectical contradiction between sociocentric and personocentric symbols
of success is described. The theoretical provisions that reveal the structural and functional side of the socio-cultural process of symbolizing success are presented, its objectivity is proved on the example of the analysis of an array of films, the dominant tendencies in the halo of the cultural space of the
general film market are determined.
The book is addressed to scientists, students and teachers interested in cultural dynamics, social communication, the role of cinema in modern society.

Banyak orang tak percaya bahwa industri film Indonesia sudah ada. Belum ada infrastruktur, riset dan pengembangan dan berbagai lembaga dalam perfilman kita layaknya yang ada pada sebuah kegiatan industri. Jika pun ada, bisa dibilang... more

Banyak orang tak percaya bahwa industri film Indonesia
sudah ada. Belum ada infrastruktur, riset dan pengembangan
dan berbagai lembaga dalam perfilman kita layaknya
yang ada pada sebuah kegiatan industri. Jika pun ada, bisa
dibilang bahwa industri film Indonesia masih berupa industri
rumahan; sebuah industri berskala kecil ke menengah dan
dikerjakan tanpa hubungan kerja yang jelas.
Inilah sebuah tinjauan yang mencoba melongok lebih jauh
ke tiga subsektor dalam industri perfilman kita (jika ada) yaitu subsektor produksi, distribusi dan eksebisi. Tidak seluruh aspek memang dijelajahi mengingat luasnya subyek ini. Namun apa yang tergambar di buku ini bisa menjadi awal bagi sebuah tinjauah lebih dalam untuk memahami film, yang tak hanya merupakan barang hiburan, tapi juga merupakan barang publik yang bersentuhan dengan orang banyak lewat berbagai cara.
Diterbitkan oleh Penerbit: Perkumpulan Rumah Film Indonesia dan Yayasan TIFA, 2011

This is an open access book. Media industry research and EU policymaking are predominantly tailored to large (and, in the latter case, Western) European markets. This open access book addresses the specific qualities of smaller media... more

This is an open access book. Media industry research and EU policymaking are predominantly tailored to large (and, in the latter case, Western) European markets. This open access book addresses the specific qualities of smaller media markets, highlighting their vulnerability to global digital competition and outlining survival strategies for them. New online distribution models and new trends in the consumption of audiovisual content are limited by, and pose new challenges for, existing audiovisual business models and their legal framework in the EU. The European Commission’s Digital Single Market (DSM) strategy, which was intended e.g. to remove obstacles to the cross-border distribution of audiovisual content, has triggered a heated debate on the transformation of the existing ecosystem for European screen industries. While most current discussions focus on the United States, Western Europe, and the multinational giants, this book approaches these industry trends and policy questions from the perspective of relatively small and peripheral (in terms of their population, language, cross-border cultural flows, and financial and/or symbolic capital) media markets.

This essay introduces the concept of genre personae, using the case of New Line Cinema's mid-to-late-1980s handling of its Elm Street property to reveal the extent to which highly misleading critical discourse is appropriated... more

This essay introduces the concept of genre personae, using the case of New Line Cinema's mid-to-late-1980s handling of its Elm Street property to reveal the extent to which highly misleading critical discourse is appropriated strategically in the repackaging of cultural products so as to exaggerate product differentiation - a phenomenon which has exerted a profound and distorting influence on critical and historical undertsandings of genres both inside and outside the academy.

This paper examines the spectral nature of the genre of Malayalam soft-porn that emerged in the late 1980s but has now disappeared with rapid changes in the industry. I argue that the memory of soft-porn bleeds into the present, as if in... more

This paper examines the spectral nature of the genre of Malayalam soft-porn that emerged in the late 1980s but has now disappeared with rapid changes in the industry. I argue that the memory of soft-porn bleeds into the present, as if in an attempt to negotiate retroactively with the end of the celluloid era and to recoup the memory of the form that has been pronounced dead and gone by the end of 2000s. By examining the modes through which cinematic memory carries the charge of the immanent past into the contemporary moment both in terms of narrative strategies and the physical space of the cinema, I look at S.P. Theater in Trivandrum, the film Kanyaka Talkies and the installation Kuliyum Mattu Scenukalum by Priyaranjan Lal, all of which reflect the form of soft-porn as remnants of the past that haunt the present in significant ways. S.P. Theater, located in the outskirts of the city of Trivandrum, insistently maintained its status as a popular destination for soft-porn aficionados even after the form had fizzled out in the industry. On the other hand, the film Kanyaka Talkies traces the life of a fictional soft-porn theater that was converted to a Church. One of the crucial moments in the film features the installations that would later become part of Lal’s Kuliyum Mattu Scenukalum to reflect the inner contradictions in the built space of the Church/Theater. Between the fictional rendering of the soft-porn theater in the film, and its “real” variant in the form of S.P. Theater, I argue that the current cinema-scape is marked by a lingering ghostly presence of a recently deceased film form.

Over the recent years, the exhibition of films in Turkey has been problematic in some ways. Especially, the visibility of certain films has been observed to be poor because the stakeholders who own the majority of the market have created... more

Over the recent years, the exhibition of films in Turkey has been problematic in some ways. Especially, the visibility of certain films has been observed to be poor because the stakeholders who own the majority of the market have created obstacles in distribution of these films. As seen as a kind of non-demand genre, documentaries have found few opportunities to be displayed on screen. This study takes a look at the released documentaries of Turkey from 2003 until 2017 and tries to investigate the motivations behind their distribution and perception. Content analysis is used for presenting the contextual dynamics that might have affected the release of the documentaries. The screening journey of the films is also investigated as the data allows. The related information about the directors is provided to disclose possible reasons that encourage decision makers to screen the film. Other types of information about the films such as competing in the festivals, lawsuits, and critical or public perception are mentioned as well. Several implications are offered to overcome the problematic aspect of documentary’s visibility that might enlarge the problem of freedom of speech.