scholarly journals The Product of Film Industry - a Cultural Good in Commodity Form

2018 ◽  
Vol 10 (2) ◽  
pp. 27-36
Author(s):  
Mikhail I Zhabsky
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Psychological Mechanisms ◽  
Box Office ◽  
Societal Needs ◽  
Cultural Good ◽  
Production And Consumption ◽  
The World ◽  
The Individual ◽  
Commodity Form

In consideration are the essence characteristics of a theatrical feature as a product of film industry. The focus of attention is a contradiction between the psychic-cultural use value of film-industry products and the commodity form of their production and consumption. As the object of spectatorship needs, the product of film industry distinguishes itself in the capacity of a story narrated in the language of cinema, interestingly to the targeted movie-goer. Spectatorship needs are emotional, intellectual and other psychic impetuses of the individual, requiring satisfaction through ones immersion in the image world of cinema. A difference is drawn between the spectators needs toward cinema and those of society as a whole. The film production aimed at a profitable satisfaction of individual needs is incapable of explicating and meeting certain societal needs. Psychological mechanisms of immersing spectators in a film world are the processes of empathy and identification, regression and projection, imparting cinema with some sort of magic. The modern film industry has grown on the soil of commodity film production to which some essential demerits are endemic. Picture of the world created by it is a function of the films commodity form, thus rendering the picture mongrel in many respects. The magnitude of the box office, functioning as a code for establishing and maintaining interaction between the societys cultural highs and lows, entails certain dysfunctional consequences. In the modern conditions of globalization the national commodity-film production is forced to adapt to the demands of Americanized mass audience. With the irreversibility of an objective law, there crops up a certain loss of the national productions own face. In this regard, consideration is given to the issues of authentically expressing and reproducing the nations identity by the means of cinema.

English Gothic

2019 ◽  
pp. 79-98
Author(s):  
Bryan Turnock
Keyword(s):  
Film Industry ◽  
Source Material ◽  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Box Office ◽  
The World ◽  
Iconic Images ◽  
1960S And 1970S ◽  
The 1960S

This chapter evaluates the British horror film industry. Given the country's input in the success of the Hollywood horror films of the 1930s, in terms of source material as well as technicians and actors, horror film production in Britain was remarkably slow to emerge. This was due in no small part to the stringent censorship rules of the British Board of Film Censorship/Classification (BBFC), who did their best to dissuade British studios from making such films. The chapter investigates how one studio took up the reins of the genre and went on to dominate it for almost two decades. Matched only by the golden age of Universal in the 1930s and 1940s, Hammer Films produced some of the genre's most iconic images and characters through dozens of productions, while breaking box-office records around the world. The chapter looks at Terence Fisher's The Curse of Frankenstein (1957), the company's first foray into the genre, one which would lay the foundations for their success and set the template for the English Gothic horror film as it flourished into the 1960s and 1970s.

Film Production and Consumption in Contemporary Taiwan

2016 ◽  
Author(s):  
Ya-Feng Mon
Keyword(s):  
Film Industry ◽  
Sensory Experience ◽  
Media Convergence ◽  
Film Production ◽  
Production And Consumption ◽  
And Control ◽  
Depth Interviews

This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.

Learning film production

2014 ◽  
Vol 26 (5) ◽  
pp. 296-309 ◽  
Author(s):  
Leona Bunting ◽  
Margaretha Herrman ◽  
Marita Johanson
Keyword(s):  
Education System ◽  
Design Methodology ◽  
Formal Education ◽  
Film Industry ◽  
Intrinsic Value ◽  
Film Production ◽  
Structured Interviews ◽  
Content Type ◽  
The Individual ◽  
Practical Implications

Purpose – The purpose of this study is to contribute knowledge about learning linked to the film industry by investigating how film producers reason about learning for and in the profession. Design/methodology/approach – This study is based on semi-structured interviews with 20 film producers, both university and workplace trained (UWT) and workplace trained (WT). The content analysis is based on the transcribed dialogues. The study is empirical, explorative and qualitative. Findings – The interviewees consider networks to be of utmost importance for gaining entrance to and continuously finding work in the film industry. They also reason about required knowing and what learning practices are available. Although formal education is not advocated by all, it can hold intrinsic value for the individual. Traditions of learning are being scrutinized, and critical reflection is replacing naivety and emotionality. Practical implications – Different aims regarding learning in the formal education system and film industry result in a gap which needs to be bridged to challenge conserving and reproducing patterns of learning. Collaboration is suggested as a solution benefiting both the individual learner and the film industry. The resulting knowledge from this study can thus be used by the formal education system and the film industry when developing forms for collaboration surrounding learners of film production. Originality/value – The focus presented in this paper of learning in and for film production has been sparingly addressed in previous research.

scholarly journals Implementasi Metode Improved K-Means dengan Algoritma Dbscan untuk Pengelompokan Film

2020 ◽  
Vol 6 (01) ◽  
pp. 1-8
Author(s):  
Muhammad Muhajir ◽  
Annisa Ayunda Permata Sari
Keyword(s):  
Film Industry ◽  
Optimal Number ◽  
Optimum Number ◽  
Number Of Clusters ◽  
The Past ◽  
Box Office ◽  
Dbscan Algorithm ◽  
The People ◽  
The World ◽  
Optimal Number Of Clusters

The Indonesian film industry continues to experience an increase seen from the number of films that appear in theaters today with a box office increase of 28 percent each year in the past four years. Internet Movie Database (IMDb) is a website that provides information about films around the world, including the people involved in it from actors, directors, writers to makeup artists and soundtracks. In this case the researcher wants to conduct research on the characteristics of the film and the factors that make a film to be included in the IMDb Top 250. The data used in this study uses scraped data from the website. The method used is a non-hierarchical clustering method, namely kmeans and Dbscan. Where the Dbscan algorithm is used to determine the optimum number of clusters then proceed by grouping data based on centroids with k-means algorithm. From the analysis it was found that the factors that could influence a film included in the IMDB Top 250 were duration, number of votes, and films directed by Rajkumar Hirani and the optimal number of clusters using Dbscan algorithm obtained six clusters. With the improved k-means algorithm, the accuracy value for the cluster results is 87.2%.

The Italian Film Industry (1945–1985)

2020 ◽  
pp. 23-40
Author(s):  
Michael Guarneri
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Ground Zero ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Italian Film ◽  
Post War ◽  
Film Market ◽  
First Time

The chapter provides an overview of the history of the post-war Italian film industry from crisis to crisis, that is to say from the ground zero of 1945 (when the whole Italian film business had to be politically and economically reorganised, together with the rest of the war-torn country) to the ground zero of 1985 (the year in which, for the first time in almost three decades, Italian film production fell below the rate of 100 films made per year, as the culmination of a crisis that started in the mid-1970s). The chapter opens with an in-depth production history of I vampiri / Lust of the Vampire (Riccardo Freda, 1957), followed by an account of the 1958-1964 boom in the production of pepla, the historical-mythological adventures of the sword-and-sandal kind. Both cases (an isolated commercial failure the former; a short-lived box-office goldmine, or filone, the latter) are emblematic of the functioning of the Italian film industry between the early 1950s and the mid-1980s – a state-subsidised system mostly based on a constellation of medium, small and minuscule business ventures piggy-backing on popular genres/trends in the local and/or global film market.

Fight Club’s Production and Promotion

2012 ◽  
pp. 25-44
Author(s):  
Mark Ramey
Keyword(s):  
Music Videos ◽  
Film Production ◽  
Male Youth ◽  
Big Business ◽  
Hollywood Film ◽  
Know How ◽  
David Fincher ◽  
Box Office ◽  
Fight Club ◽  
The World

This chapter identifies the key elements of Fight Club's transition from novel to film. Fight Club is in some ways a paradoxical film: both a product and a critique of big business. Fox and Regency, two big players in Hollywood film production, put 67 million dollars into Fight Club because the talent package was strong. They believed the film would do well — and despite a less-than-hoped-for initial box office run, they have been proved right. Emerging from the world of advertising and music videos, Fight Club's director David Fincher has now established himself as a modern-day auteur. The chapter then considers the performances of the film's cast, including Brad Pitt, Edward Norton, and Helena Bonham Carter. It also comments on the marketing of the film. Fox did not know how to sell Fight Club and so seriously misjudged its marketing and release. Fincher's original and seditious concepts for the marketing were rejected for more conventional action-orientated fare, aimed at a male youth market. This backfired in the post-Columbine climate and failed to connect with the broader youth market, which has now found significance in the film and elevated it to cult status.

scholarly journals DEVELOPMENT OF SPIRITUAL CULTURE AND VALUES OF TEACHERS IN THE SYSTEM OF CONTINUOUS SELF-EDUCATION

2021 ◽  
pp. 55-64
Author(s):  
Olena Shkirenko ◽  
Keyword(s):  
Spiritual Development ◽  
Action Planning ◽  
Self Awareness ◽  
Average Correlation ◽  
Psychological Mechanisms ◽  
Spiritual Culture ◽  
The World ◽  
The Individual ◽  
Spiritual Potential ◽  
Relationship Interaction

The article deals with the spiritual culture and values ​​of teachers in the system of lifelong self-education. The spiritual culture of the individual is a system of worldviews and beliefs that are realized in relation to themselves, other people and the world around them. This is an essential basis for the development of future professionals. The values ​​of the teacher can be a source of motivation, action planning, constructive guidelines of consciousness. It is usually based on the ideals of Goodness, Beauty, Truth, and Love. It defines the norms of the individual and usually has an individual and a social framework. It can be the basis for addressing the purpose of man, the meaning of life, the highest achievements of mankind, which determine the success of society: economic, ideological, cultural, social, political, etc. Determining the level of development of spiritual culture and values ​​of teachers, it is found that there is a relationship, interaction, mutual determination between the level of development of a personal and professional component of spiritual culture and need-emotional orientation of personality, spiritual potential, value orientation. There is an average correlation between the development of the spiritual culture of teachers and orientation, character, communication, intelligence. There is a high correlation between the development of spiritual culture and self-awareness (0,734) and orientation (0,625) of teachers. It is noted that the psychological peculiarities of the development of teachers’ values should be taken into consideration. Psychological peculiarities are interconnected with cognitive, emotional, motivational and volitional processes. The actualization of higher mental functions of the individual and the psychological mechanisms of spiritual development of the individual is of great importance as well.

Cultures of Cosmopolitanism

2002 ◽  
Vol 50 (4) ◽  
pp. 455-481 ◽  
Author(s):  
Bronislaw Szerszynskiand ◽  
John Urry
Keyword(s):  
Common Property ◽  
World Market ◽  
Political Life ◽  
Ongoing Research ◽  
Focus Group Research ◽  
Production And Consumption ◽  
The World ◽  
Research Findings ◽  
The Individual ◽  
The Uk

This paper is concerned with whether a ‘culture of cosmopolitanism’ is currently emerging out of massively wide-ranging ‘global’ processes. The authors develop certain theoretical components of such a culture, they consider ongoing research concerned with belongingness to different geographical entities including the ‘world as a whole’, and they present their own empirical research findings. From their media research they show that there is something that could be called a ‘banal globalism’, from focus group research they show that there is a wide awareness of the ‘global’ but that this is combined in complex ways with notions of the local and grounded, and from media interviews they demonstrate that there is a reflexive awareness of a culture of the cosmopolitan. On the basis of their data from the UK, they conclude that a ‘publicly screened’ cosmopolitan culture is emergent and likely to orchestrate much of social and political life in future decades. The need for a constantly changing market chases the bourgeoisie over the whole surface of the globe. It must settle everywhere, establish connexions everywhere … the bourgeoisie has through its exploitation of the world market give a cosmopolitan character to production and consumption in every country … The individual creations of individual nations become common property. National one-sidedness and narrow-mindedness become more and more impossible (Marx and Engels, [1848] 1952: 46–7; emphasis added)

We, the Change

2021 ◽  
Vol 26 (3) ◽  
pp. 172-183
Author(s):  
Maxie Schulte ◽  
Sebastian Bamberg ◽  
Jonas Rees
Keyword(s):  
Psychological Research ◽  
Social Identities ◽  
Ecological Crisis ◽  
Societal Needs ◽  
Sustainability Research ◽  
Production And Consumption ◽  
Starting Point ◽  
Successful Design ◽  
The Individual ◽  
Technical Solutions

Abstract. In the last years within sustainability research, the agreement seems to have changed about the appropriate strategies to solve the intensifying socio-ecological crisis. While the focus used to be on “greening” individual lifestyles, it has recently shifted to the fundamental transition of central societal production and consumption systems. This raises the question of what psychology with its traditional focus on the individual can contribute to a better understanding and successful design of such societal transition processes. The present paper aims to offer an outline of how such psychological research lines might look like. We use the social identity concept as a starting point and motivate it as central for understanding the transformation of an individual into a group member who voluntarily collaborates with others to create more sustainable socio-technical solutions for central societal needs. The three parts of our paper deliver compact descriptions of thought-provoking research lines which developed in the last years. These research lines contribute to a better understanding of how social identities as collective pro-environmental activists are “crafted,” through which processes such as activist identities influence the participation in collective pro-environmental action and, ultimately, collective change. In sum, an important psychological contribution to the debate about the “Great Transformation” could be to provide a better understanding of what motivates individuals to actively participate in transition-oriented initiatives and how this motivation can be strengthened.

Anthropology, Film Industries, Modularity

2021 ◽  
Keyword(s):  
South Africa ◽  
Virtual Reality ◽  
Hong Kong ◽  
Film Industry ◽  
Digital Technologies ◽  
Local Context ◽  
Comparative Approach ◽  
Film Production ◽  
Hollywood Films ◽  
The World

From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh

Sign in / Sign up

Export Citation Format

Share Document