Negotiating visions of modernity: Female stars, the melindrosa and desires for a Brazilian film industry

2013 ◽  
Vol 10 (1) ◽  
pp. 23-43 ◽  
Author(s):  
Maite Conde
Keyword(s):  
Film Industry ◽  
Brazilian Film

Brazilian Women’s Filmmaking and the State during the 1970s and 1980s

2017 ◽  
Author(s):  
Leslie L. Marsh
Keyword(s):  
Film Industry ◽  
The State ◽  
Women Filmmakers ◽  
Film Festivals ◽  
Supportive Role ◽  
The Government ◽  
Auteur Cinema ◽  
Brazilian Film ◽  
The Military

This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.

Introduction

2017 ◽  
Author(s):  
Leslie L. Marsh
Keyword(s):  
Twentieth Century ◽  
Film Industry ◽  
Women Filmmakers ◽  
Personal Finances ◽  
Production Practices ◽  
Brazilian Film ◽  
Studio Era ◽  
International Success

This introductory chapter provides an overview of the role of women in the Brazilian film industry during the twentieth century. Brazilian women have been channeling their visions of politics and society through cinema throughout the twentieth century. From the beginnings of sound cinema to the close of the studio era, pioneer Brazilian women filmmakers sought out their own opportunities from within the structures of the film industry. They often began as actresses who learned the craft of filmmaking and influenced a film's production while on set. Others relied on their personal finances to produce their own films, referred to as cavação—a staple of production practices in Brazil during the early twentieth century. However, it was on the heels of the international success of Cinema Novo that women began gaining a more solid foothold in filmmaking in Brazil.

scholarly journals O SISTEMA PRODUTIVO DA INDÚSTRIA DO CINEMA BRASILEIRO E SUA DISPERSÃO CONCENTRADA

2019 ◽  
Vol 16 (2) ◽  
pp. 62
Author(s):  
João Luiz De Figueiredo
Keyword(s):  
Film Industry ◽  
Secondary Data ◽  
Sao Paulo ◽  
São Paulo ◽  
New Production ◽  
Independent Films ◽  
Productive System ◽  
National Production ◽  
Central Argument ◽  
Brazilian Film

O artigo trata da evolução da dinâmica produtiva da indústria do cinema brasileiro no período de 1995 a 2017, visando a evidenciar o fortalecimento da produção nacional e a emergência de novos centros de produção no país a partir da sua análise como um sistema produtivo. O argumento central reconhece a desverticalização do sistema produtivo da indústria do cinema e enfatiza a interdependência entre a produção de filmes hegemônicos e independentes, revelando a importância da escala comercial e da diversidade produtiva para a sustentabilidade do sistema produtivo e dos centros de produção emergentes. Através dessa perspectiva, trabalhamos com dados secundários disponibilizados pela ANCINE e pelo IBGE, de forma que verificamos o crescimento da produção no Brasil, o aumento da quantidade de empresas e de trabalhadores atuantes na indústria do cinema e a emergência de novos centros de produção, além do eixo Rio-São Paulo. Todavia, os novos centros ainda possuem o desafio de desenvolver a capacidade de realizar projetos possíveis de serem classificados como hegemônicos ou tenderão a perder profissionais para os centros do Rio e de São Paulo.Palavras-chave: Indústria do cinema brasileiro. Sistema produtivo. Dispersão concentrada da produção.ABSTRACTThe article deals with the evolution of the productive dynamics of the Brazilian film industry from 1995 to 2017, aiming to show the strengthening of national production and the emergence of new production centers in the country, through its analysis as a productive system. The central argument recognizes the deverticalization of the productive system of the film industry and emphasizes the interdependence between the production of hegemonic and independent films, revealing the importance of commercial scale and diversity for the sustainability of the productive system and of the emerging production centers. From this perspective, we work with secondary data offered by ANCINE and IBGE, so that we can see the growth of production in Brazil, the increase in the number of companies and workers in the film industry and the emergence of new production centers besides Rio de Janeiro and São Paulo. However, the new production centers still face the challenge of developing the capacity to carry out projects that could be classified as hegemonic or tend to lose professionals to Rio and São Paulo.Keywords: Brazilian film industry. Production system. Concentrated dispersion of production.

The analysis of “Gels” in polymer films

1989 ◽  
Vol 47 ◽  
pp. 362-363
Author(s):  
G. M. Brown ◽  
D. F. Brown ◽  
J. H. Butler
Keyword(s):  
Molecular Weight ◽  
Film Industry ◽  
Local Stress ◽  
Melt Index ◽  
Polyethylene Films ◽  
Crosslinked Polymer ◽  
Polymeric Gels ◽  
Mineral Particles ◽  
Polymeric Species ◽  
Special Concern

The term “gel”, in the jargon of the plastics film industry, may refer to any inclusion that produces a visible artifact in a polymeric film. Although they can occur in any plastic product, gels are a principle concern in films where they detract from the cosmetic appearance of the product and may compromise its mechanical strength by acting as local stress concentrators. Many film gels are small spheres or ellipsoids less than one millimeter in diameter whereas other gels are fusiform-shaped and may reach several centimeters in length. The actual composition of gel inclusions may vary from miscellaneous inorganics (i.e. glass and mineral particles) and processing additives to heavily oxidized, charred or crosslinked polymer. The most commonly observed gels contain polymer differing from the bulk of the sample in its melt viscosity, density or molecular weight.Polymeric gels are a special concern in polyethylene films. Over the years and with the examination of a variety of these samples three predominant polymeric species have been observed: density gels which have different crystallinity than the film; melt-index gels in which the molecular weight is different than the film and crosslinked gels which are comprised of crosslinked polyethylene.

The Changing Patterns of North Korea’s International Film Co-Productions Since the 1980s: A Global Value Chain Approach

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin
Keyword(s):  
Value Chain ◽  
North Korea ◽  
Film Industry ◽  
International Standards ◽  
The Political ◽  
Global Value Chain ◽  
Comprehensive Understanding ◽  
Changing Patterns ◽  
Film Productions

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

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