Making Sense of the International Reputation of a Small Film Industry: The Estonian Case

2018 ◽  
Vol 6 (1) ◽  
pp. 114-143
Author(s):  
Madis Järvekülg ◽  
Ulrike Rohn ◽  
Indrek Ibrus
Keyword(s):  
Film Industry ◽  
Digital Culture ◽  
Film Production ◽  
Baltic Country ◽  
Making Sense ◽  
International Recognition ◽  
Centre Of Excellence ◽  
International Reputation

Abstract This article presents the results of a multi-method study carried out by the Tallinn University Centre of Excellence in Media Innovation and Digital Culture (MEDIT). The aim of this study was to investigate how international film professionals perceive the Estonian film industry; what image they have of Estonian film, and how they envision or have experienced Estonia as a destination for production and collaboration. The results of the study indicate that the skills of Estonian filmmakers are increasingly internationally renowned and valued among foreign professionals. At the same time, however, awareness of Estonian film and its nature remains ambiguous to most international film professionals. While seeing Estonia as a Baltic country rather than a Nordic one, the professionals suggested setting up a Baltic film fund and developing a Baltic brand in order to raise international recognition of local film production.

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.

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.

scholarly journals Scene, Aesthetics and Industry Chain: Postmodern Cultural Thinking of Films in 5G Era

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
Post Modernism ◽  
The Way ◽  
Film Aesthetics

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

scholarly journals Spotlight on Challenges and Prospect of Directing in Nollywood: A Decade’s Study (2006-2016)

2021 ◽  
Vol 21 (4) ◽  
pp. 100-117
Author(s):  
Kingsley Chukwuemeka Anyira ◽  
Divine Sheriff Uchenna Joe
Keyword(s):  
Survey Research ◽  
Research Method ◽  
Film Industry ◽  
Film Production ◽  
View Point ◽  
Data Collation

The art of video film directing is all encompassing as the director deals with virtually all aspects of film production. This comes with herculean challenges that tend to mar the efforts of directors if not properly addressed. Film scholars cum critics have done a lot of work investing the challenges of the Nigerian Video Film industry with little or no effort to directly ascertain the peculiar challenges of each sector of the industry. To this effect, the paper seeks to source from the directors what these challenges have been over the decade in view and as well through the affected, proffer plausible suppositions asmeasure to ameliorate the identified challenges. In doing so, this paper adopts the view point that the director is the author of the film and thus engages the Survey research method wherein Personal interviews are employed as data collation tool and later analyzed with inferences made from the responses. Conclusively, it anchors on the directors’ views of possible ways to improve/enhance the director’s art in future productions.

Soviet Art House

2021 ◽  
Author(s):  
Catriona Kelly
Keyword(s):  
Film Industry ◽  
Working Life ◽  
Film Production ◽  
Entire System ◽  
Technical Aspects ◽  
Soviet Film ◽  
Soviet Art ◽  
Feature Films

This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

Lord of the Rings Impact on Federal and State Film Industry Tax Incentives and Their Tax Treatment

2009 ◽  
Vol 7 (1) ◽  
pp. 57-75
Author(s):  
Kathleen K. Wright ◽  
Stewart S. Karlinsky ◽  
Kim A. Tarantino
Keyword(s):  
Film Industry ◽  
Tax Incentives ◽  
Entertainment Industry ◽  
Film Production ◽  
Lord Of The Rings ◽  
State Tax ◽  
Recent Developments

ABSTRACT: This article discusses recent developments for both federal and state tax purposes that directly impact the entertainment industry. For federal purposes, Congress has recently expanded the scope of the Section 181 and 199 deductions to allow more generous deductions, and in the case of Section 199 to relax the requirements which must be met to claim the deduction. The states seem to be in competition to “outdo” each other in enacting rebates or transferable credits to enhance the desirability of their states for film production. The tax treatment of these credits for both federal and state purposes is discussed, and the Appendix summarizes the provisions of these incentives on a state-by-state basis. The article concludes with a discussion of the effectiveness of this type of incentive legislation.

Argentine Cinema in the Late 1950s and Early 1960s

2018 ◽  
Author(s):  
Carolina Rocha
Keyword(s):  
Film Industry ◽  
Domestic Market ◽  
Discursive Practice ◽  
Film Production ◽  
Trial And Error ◽  
American Films ◽  
State Directors ◽  
Studio System ◽  
Independent Filmmaking

Relying on Valentina Vitali and Paul Willemen’s statement that ‘both as an industry and a discursive practice, cinema is an adjunct of capitalism’ (2006, 7), I explain that to offset competition from American films, the Argentine state persistently sought to protect national film production through several laws, the most crucial of which was Law 62/57. Nevertheless, in the transition from the studio system to independent filmmaking, the Argentine film industry had an uneven success in its attempt to gain a considerable share of the domestic market. Through trial and error, the Argentine state, directors, and producers came up with different solutions to strengthen the production and circulation of national films, which in many cases were resisted by exhibitors and distributors.

Producing an Oligopoly

2019 ◽  
pp. 165-181
Author(s):  
Thomas Barker
Keyword(s):  
Film Industry ◽  
New Order ◽  
Film Production ◽  
Television Production ◽  
The 1960S

Even with the entry of new filmmakers, production companies, and investors, the Indonesian film industry remains dominated by an oligopoly of old producers. In identifying this group, this chapter traces their connections back to the 1960s and their consolidation throughout the New Order. With significant presence in television production, these producers are both now wealthy and well-connected, allowing them to reassert themselves in the reformed post-1998 film industry. Largescale capital has been important to the systemisation of film production for the mainstream market but speaks to the legacy structures of the New Order.

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