A study on global industrial landscape changes through M&A convergence analysis

2021 ◽  
pp. 1-17
Author(s):  
Taesoo Jung ◽  
Choonseong Leem
Keyword(s):  
Convergence Analysis ◽  
Landscape Changes ◽  
Industrial Landscape

Repopulating Landscapes: Using Offence Data to Recreate Landscapes of Incarceration and Labour at the Port Arthur Penal Station, 1830–1877

2019 ◽  
Vol 13 (1-2) ◽  
pp. 155-181 ◽  
Author(s):  
Richard Tuffin ◽  
Martin Gibbs
Keyword(s):  
Labour Force ◽  
Spatial History ◽  
Complex Series ◽  
Industrial Landscape ◽  
Archaeological Landscape

For over half-a-century (1803–54), the Australian colony of Van Diemen's Land (Tasmania), played a key part in Britain's globe-spanning unfree diaspora. Today, a rich built and archaeological landscape, augmented by an exhaustive and relatively intact documentary archive, stand as eloquent markers to this convict legacy. As historical archaeologists, we have spent countless hours querying the physical and documentary residues in a bid to understand how the penological, social and economic imperatives of Britain and the colony shaped the management of convict labour. In particular, our task has centred upon the recovery of individual narratives – of both gaoler and gaoled – from such residues, moving away from a traditional focus on the broader outlines of the convict system. This paper illustrates how spatial history methodological processes have been used to relocate individual historic lives back into the convict industrial landscape of the Tasman Peninsula (Tasmania). Focusing on the male-only penal station of Port Arthur (1830–77), we will illustrate how we have reunited the physicality of past spaces and places, with the lives and labours of those who created and navigated them. Simple methodologies have been used to achieve this, designed with onward applicability in mind. A complex series of documents, convict conduct records, have been mined for spatial markers, allowing events and people to be relocated back into space. Through these processes of linkage and visualisation, we have been encouraged to ask further questions about the management of the unfree labour force and how this came to create the landscape we see today.

Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir
Keyword(s):  
Video On Demand ◽  
Global Strategy ◽  
Industrial Change ◽  
Export Markets ◽  
Literary Adaptation ◽  
The North ◽  
Industrial Landscape ◽  
Production And Distribution ◽  
Critical Scrutiny ◽  
The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

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