Accessible Filmmaking and Media Accessibility

2020 ◽  
pp. 323-353
Author(s):  
Pablo Romero-Fresco
Keyword(s):  
Production Process ◽  
Film Studies ◽  
Film Industry ◽  
Theoretical Framework ◽  
Potential Solution ◽  
Creative Team

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. As a potential solution to this problem, accessible filmmaking (AFM) aims to integrate translation and accessibility into the production process through the collaboration between the creative team and the translator. This chapter outlines, firstly, the theoretical framework that underlies AFM, drawing on both translation/media accessibility and film studies and incorporating the notion of the global film. It then reviews the application of AFM in the filmmaking industry through the collaboration between accessible filmmakers and directors of translation and access. Finally, it introduces a new engagement-based approach to media accessibility that has resulted from AFM and compares it to the comprehension-based approach that has traditionally been used in this area.

scholarly journals Toward a typology of young produsers: Teenagers’ transmedia skills, media production, and narrative and aesthetic appreciation

2018 ◽  
Vol 21 (2) ◽  
pp. 336-353 ◽  
Author(s):  
Mar Guerrero-Pico ◽  
Maria-Jose Masanet ◽  
Carlos A Scolari
Keyword(s):  
Qualitative Analysis ◽  
Production Process ◽  
Informal Learning ◽  
Learning Environments ◽  
Theoretical Framework ◽  
Participatory Culture ◽  
Aesthetic Appreciation ◽  
Informal Learning Environments ◽  
Production Practices ◽  
Aesthetic Values

Based on the qualitative analysis of data from workshops and interviews with teenagers from eight countries, this article aims to determine the degrees of productive, narrative, and aesthetic knowledge that teenagers put into practice when they create their media contents. From a theoretical framework that links teens, informal learning environments, and participatory cultures, the findings point toward three types of teenage produsers: casual, aspirational, and expert. Each type is representative of different aspects of production in terms of the types of media contents produced; the planning of the production process; the application of narrative and aesthetic values when creating; and the motivations behind the production. The study concludes with an invitation to rethink what participatory culture means in the light of teenagers’ production practices.

PREDICTING ANIMATED FILM OF BOX-OFFICE SUCCESS WITH NEURAL NETWORKS

2015 ◽  
Vol 77 (23) ◽  
Author(s):  
Riwinoto, M.T. ◽  
Selly Artaty Zega ◽  
Gia Irlanda
Keyword(s):  
Neural Networks ◽  
Financial Performance ◽  
Production Process ◽  
Film Industry ◽  
Class Label ◽  
Special Effects ◽  
Animation Industry ◽  
Box Office ◽  
Animated Films ◽  
Animated Film

Animation industry involves huge funds in production process and its success will give  great income. Predicting the box-office of animated film has become an interesting topic to be discussed, because past studies are shown to be contradictory. Sharda and Delen conducted a similar study that used seven parameters, i.e. MPAA rating, competition, star value, genre, special effects, sequel and number of screens; and generated pinpoint accuracy (i.e. Bingo) with 36.9% and within one category (1-Away) with 75.2%. The authors proposed new and simple parameters that can be used to predict the success of animated films, i.e. the actors/actress, animation studio, genre, MPAA rating and the sequel of the film. These five parameters are relatively simple because it can be easily collected. In this study, the use of neural networks in predicting the financial performance of 120 animated films from 1995 until 2013 was explored. There are three categories of financial performance that become the class label of this study, they are: low, medium and high. Our prediction result in bingo is 58% and 1-away is 89,7%. By using the simple parameters, this study can reach a better accuracy. It is expected that this prediction can help animation film industry to predict the expected revenue range before its theatrical release.  

Film, Cinema, Genre

2021 ◽  
Author(s):  
Steve Neale
Keyword(s):  
Science Fiction ◽  
Media Studies ◽  
Film Studies ◽  
Film Industry ◽  
Film Noir ◽  
Art Cinema ◽  
Undergraduate Level ◽  
New Hollywood ◽  
University Courses ◽  
The Subject

This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.

Fashioning Socialist Visual Culture

2016 ◽  
Author(s):  
Wang Zheng
Keyword(s):  
Visual Culture ◽  
Cultural History ◽  
Cultural Production ◽  
Film Studies ◽  
Film Industry ◽  
Socialist Revolution ◽  
Left Wing ◽  
Patriarchal Culture ◽  
History Of ◽  
Xia Yan

Xia Yan, the underground leader of the left-wing films in the 1930s and top official of the film industry in the PRC since 1954, embodied the cultural history of the CCP. A brief biography of this Communist feminist artist leader disrupts the reductive dichotomy of the Party vs. artists in film studies and illuminates a tension-ridden history of socialist filmmaking that constituted a highly contentious site in the socialist revolution. Situating his politically engagingartistic creativity inside ashiftingpolitical process, this chapter traces Xia Yan’s major role in transmitting the New Culture agenda of transforming a patriarchal culture in socialist cultural production and delineatesdiverse and contradictory politicalpositions and artistic preferences in artists’ innovative experimentsofcreating a socialist new culture. It also analyzes his films that continued the paradigm of revolutionary heroines.

Measuring Engaging Dialogue

2018 ◽  
pp. 11-24
Author(s):  
Jennifer O'Meara
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Film Theory ◽  
Methodological Framework ◽  
Audience Studies ◽  
Independent Cinema

Sarah Kozloff (2000) argues that generic speech conventions were established early in the sound era. This book considers how, and gauges why, American independent filmmakers manipulate such internalised conventions. This chapter provides an overview of the methodological framework for doing so, including the rationale for studying the significance of dialogue to low-budget cinema more generally. Addressing the long-standing bias against film dialogue, the chapter outlines the precarious status that dialogue holds in film studies, and the film industry, since the introduction of sound or ‘talking pictures’. The chapter connects niche film audiences with niche forms of dialogue, such as those in indie and art cinemas. Drawing on audience studies and cognitive film theory, it also considers the appeal of alternative dialogue styles in American independent cinema.

Transatlantic Film Studies in the Age of Neoliberalism: Towards a Postnational Cinema?

2019 ◽  
pp. 299-312
Author(s):  
Antonio Gómez López-Quiñones
Keyword(s):  
Latin American ◽  
Film Studies ◽  
Film Industry ◽  
Historical Context ◽  
Cultural Hybridity ◽  
Nation State ◽  
National Cinema ◽  
Popular Cinema ◽  
The Us ◽  
Rules Set

This essay argues that specialists in Transatlantic Film Studies need to contextualize their research agendas within the growing intensification of globalizing forces, above all, transnational capitalism. Within this historical context, the customary intellectual praise for aesthetic and cultural hybridity, alterity, self-dislocation and cosmopolitan deterritorialization is, at least, partially misguided. Due to the financial specificities of the film industry and its pervasive social preeminence, Transatlantic Film Studies have been a favorable academic venue to negatively evaluate the constrains, narrowness and reductive essentialism of the nation-state, as well of national communities and traditions. One should not overstate this argumentative gesture for three reasons. First, transatlantic artistic collaborations are never symmetrical and tend to be mediated by strong socio-economic and geopolitical inequalities. Second, the filmic interconnection between Spain and Latin American does not take place vis-a-vis, but under the commercial rules set by the US audiovisual mega-industry. Finally, it is a (partial) mistake to eulogize cultural miscegenation, migrancy and rhizomatic self-proliferation when many emancipatory, anti-imperialist movements have traditionally found and still find traction in autochthonous practices and habits. This is why the idea of a national cinema and specially of a national-popular cinema still deserves a careful, more dialectical attention.

Prosumers

2019 ◽  
Vol 11 (3) ◽  
pp. 48-60
Author(s):  
Mina Fanea-Ivanovici
Keyword(s):  
Production Process ◽  
Film Industry ◽  
Film Production ◽  
Active Involvement ◽  
Online Platforms ◽  
Research Findings ◽  
Assessment And Testing ◽  
The One ◽  
Rate Of Success

During the current digital (r)evolution, consumer and producer roles have started to converge, with consumers becoming value creators and, to a certain extent, producers. This phenomenon is particularly enhanced on online platforms and social networks, especially in creative-cultural industries. The goal of this research is to discuss the role of the prosumer in the film industry in the context of crowdfunded projects, with a focus on the Romanian experience. Through an empirical analysis of successful filmmaking crowdfunding projects, the backers' role in the film production process is investigated. The eight cases analysed within this research represent the quasi-totality of the successfully crowdfunded filmmaking projects via Romanian crowdfunding platforms. The research reveals that the active involvement of backers-consumers into the film production process represents one of the most valuable rewards offered in exchange for the highest financial contributions, with the majority of successful filmmaking projects including it in their reward strategy. According to the research findings, filmmakers understand that, on the one hand, fans can financially contribute more by being provided with such an opportunity, and that, on the other hand, prosumers can use their skills and expertise and translate them into creative input, execution, assessment, and testing of the project. The author posits that the opportunity to become producer in a film is an incentive to financially (and additionally non-financially) contribute to the project, thus increasing the odds of the project to be successful. Such conclusion can improve the reward scheme in crowdfunded filmmaking projects as well as their rate of success.

scholarly journals Film education pedagogy in Nigeria: A nation-specific approach to a non-Western university curriculum

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Lani Akande
Keyword(s):  
Indigenous Knowledge ◽  
Film Studies ◽  
Film Industry ◽  
Specific Approach ◽  
Post Secondary ◽  
University Curriculum ◽  
Film Education ◽  
Close Relationship ◽  
Definition Of

Examining the pedagogy of Nigeria’s post-secondary film studies, this paper joins the call against the universalization of film studies practices under a Westernized umbrella. To make that argument, it implicates issues of (neo)colonialism and indigenous knowledge-making processes in the analysis of Nigeria’s film studies, taking into account the close relationship between Nigeria’s film education and the local film industry, Nollywood. Calling on criticisms advocating for alternative ways for engaging with the practice of film studies ( Irobi, 2014 ; Chambers, 2018 ; Redfern, 2014 ), the paper sets out to help reinforce the definition of the global by its many diverse and constitutive parts.

Epilogue

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Analytical Framework ◽  
Technological Innovations ◽  
Book Production ◽  
Film Production ◽  
Text Production ◽  
Look Back ◽  
Key Concepts ◽  
Digital Film

This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.

A Dictionary of Film Studies

2020 ◽  
Author(s):  
Annette Kuhn ◽  
Guy Westwell
Keyword(s):  
Computer Games ◽  
Film Studies ◽  
Film Industry ◽  
Film Theory ◽  
Film History ◽  
Undergraduate Level ◽  
Theory And Criticism ◽  
Technical Terms ◽  
Transnational Cinemas

Over 550 entries This dictionary covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally.

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