scholarly journals Evaluation of Nigerian Film Productions in the Representations of Igbo Royalty

2021 ◽  
Vol 9 (2) ◽  
Author(s):  
Obiora, Adanma Vivian ◽  
Uche, Anthony Ogbonna
Keyword(s):  
Film Productions ◽  
Nigerian Film

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.

Indirect Subjects

2021 ◽  
Author(s):  
Matthew H. Brown
Keyword(s):  
Power Relations ◽  
Television Programs ◽  
Culture Industries ◽  
Screen Media ◽  
African People ◽  
Local Practices ◽  
Global Power ◽  
Liberal Capitalism ◽  
Nigerian Film ◽  
Indirect Rule

In Indirect Subjects, Matthew H. Brown analyzes the content of the prolific Nigerian film industry's mostly direct-to-video movies alongside local practices of production and circulation to show how screen media play spatial roles in global power relations. Scrutinizing the deep structural and aesthetic relationship between Nollywood, as the industry is known, and Nigerian state television, Brown tracks how several Nollywood films, in ways similar to both state television programs and colonial cinema productions, invite local spectators to experience liberal capitalism not only as a form of exploitation but as a set of expectations about the future. This mode of address, which Brown refers to as “periliberalism,” sustains global power imbalances by locating viewers within liberalism but distancing them from its processes and benefits. Locating the wellspring of this hypocrisy in the British Empire's practice of indirect rule, Brown contends that culture industries like Nollywood can sustain capitalism by isolating ordinary African people, whose labor and consumption fuel it, from its exclusive privileges.

scholarly journals Retos del cine mexicano comercial para su consumo en los Estados Unidos

2017 ◽  
Vol 7 (14) ◽  
Author(s):  
David F. Lozano Treviño ◽  
José N. Barragán Codina ◽  
Sergio Guerra Moya ◽  
Paula Villalpando Cadena
Keyword(s):  
United States ◽  
Human Resources ◽  
Production Planning ◽  
The United States ◽  
Critical Factors ◽  
Causal Factors ◽  
Recursos Humanos ◽  
Film Productions ◽  
Production Plans ◽  
Factors Of Success

Abstract: The main purpose of this document is to give statement of the importance that the innovative ideas of the Mexican commercial films organizations have, so they can create attractive movies for the spectators in the United States market and increase the film business. Also, we discuss the need that the organizations have to create production plans that allow them to reduce the costs, as much as possible, during the production. This will be the beginning to develop an appropriate commercializing into the United States by the Mexican organizations that will allow us to obtain an attractive revenue,always looking towards the United State customers´ satisfaction. Finally, we analyze the critical factors of success or failure in the Mexican commercial film productions, taking into account the financial aspects, like the production investment, government supports and the return over the investment; theinternational marketing, that includes the film promotion and the distribution and exhibition; and the artistic aspect composed by the human talent and the movie story.Key Words: Causal factors of success, film commerce, film production enterprise, human resources, innovative ideas, production planning, revenueResumen: El presente documento tiene como finalidad plasmar la importancia que tienen las ideas innovadoras de las organizaciones de producciones cinematográficas en México para que puedan crear películas atractivas para los espectadores en el mercado estadounidense y aumentar la comercialización de las mismas. También, se comenta la necesidad que tienen dichas organizacionesde crear planes de producción que les permitan reducir los costos, lo más posible, durante la filmación. Lo anterior será el inicio para desarrollar una comercialización adecuada a los Estados Unidos por  parte de las organizaciones mexicanas, que les permitirá obtener atractivos rendimientos, buscando siempre la satisfacción del consumidor estadounidense. Por último, se analizan los factores críticos de éxito o fracaso en las producciones cinematográficas comerciales mexicanas, mencionando los aspectos financieros, como lo son la inversión en la producción, los apoyos gubernamentales y el retorno sobre la inversión; el marketing internacional, que incluye la promoción de películas y su distribución y exhibición; y el aspecto artístico comprendido por el talento humano y la historia que se cuenta en la película.Palabras Clave: Comercialización de películas, factores causales de éxito, ideas innovadoras, organización de producción cinematográfica, planeación de la producción, recursos humanos, rendimientos

scholarly journals P. Ramlee and Neorealism

2015 ◽  
Author(s):  
Jan Uhde
Keyword(s):  
Southeast Asia ◽  
Golden Age ◽  
Premature Death ◽  
Film Production ◽  
Kuala Lumpur ◽  
Professional Career ◽  
Art Forms ◽  
The 1950S ◽  
Film Productions

P. RAMLEE AND NEOREALISM P. Ramlee was one of the legendary filmmakers of Southeast Asia a multifaceted artist considered to be the most important creative asset of the "golden age" of cinema of Singapore and Malaysia in the 1950s and 60s. Born Teuku Zakaria bin Teuku Nyak Puteh in Penang, the Straits Settlements (now Malaysia) in 1929, he spent most of his professional career in Singapore, then a regional film production centre, working for the Shaw Brothers' Malay Film Productions. In 1964 he returned to Malaysia to work for its fledgling Merdeka (Independence) Film Productions in Kuala Lumpur. During his lifetime, P.Ramlee directed 34 features and acted in more than 60 films. The singular contribution of P. Ramlee to the development of cinema and other art forms of Singapore and Malaysia is unquestioned. In his time, he was tremendously popular and today, four decades after his premature death in...

Ficção e fricção: imagens da Amazónia no cinema internacional

2021 ◽  
Author(s):  
Fabiana Wielewicki ◽  
Guy Amado
Keyword(s):  
Amazon Region ◽  
Amazon Rainforest ◽  
Horror Film ◽  
One Dimensional ◽  
The Real ◽  
Western Countries ◽  
International Circulation ◽  
Feature Films ◽  
Film Productions

Explored by foreign travellers in different periods, the Amazon rainforest has long dwelt in the imagery of western countries. This trend is naturally extended to its numerous representations in cinema, often in a stereotyped perspective, full of clichés that respond to entertainment demands or to superficial foreign curiosity. This paper proposes to analyse its presence in some feature films produced mostly (but not only) in Hollywood along the last five decades. It aims at investigating how, in mainstream cinema, the features and characteristics that are supposedly typical of the region are shown, along with the demands of the respective film narratives, and at pinpointing the inevitable mismatches that emerge when facing the complexity of the ‘continent’ that effectively constitutes the region. In genres that run from adventure to comedy, fantasy or horror, film productions have set their plots there – partially, at least, and artificially or effectively – with varying approaches and degrees of depth to the region’s peculiarities. The choice of productions with so-called commercial appeal is due to such films having greater reach and international circulation. Thus their features are interesting for their capacity of spreading such imaginary, often with a shallow or distorted bias. The present is not a precise, socio-anthropological comparison between the ‘real’ Amazon region and that which is shown on the screens as a lost tropical paradise or a ‘green inferno’, for instance, but rather to point out how the logics of entertaining may assimilate a complex and multifaceted imaginary and present it in a simplistic, schematic, one-dimensional way.

Michael Winterbottom’s The Claim (2000) as a transnational and transcultural adaptation of The Mayor of Casterbridge

2021 ◽  
Vol 14 (2) ◽  
pp. 195-207 ◽  
Author(s):  
Margarida Esteves Pereira
Keyword(s):  
Thomas Hardy ◽  
Film Adaptation ◽  
Cultural Dimension ◽  
Clear Understanding ◽  
The Novel ◽  
Community Construction ◽  
Transcultural Adaptation ◽  
Film Productions ◽  
And Migration ◽  
Transnational Film

In this article, we will be focusing on issues of transnational and transcultural film adaptation using as a case study a particular screen adaptation of the novel The Mayor of Casterbridge by Thomas Hardy entitled The Claim (Michael Winterbottom 2000). The article aims to analyse the film in relation to these issues, taking into account notions of transcultural adaptation and transnational film productions, as well as mobility and migration in the context of a nineteenth-century film text. It is not only a text that relocates Hardy’s narrative into a new geographical/cultural dimension, but also it is itself a transnational production. Moreover, in the case of The Claim, there seems to be a clear understanding of processes of intercultural community construction that are particularly productive to look at. The article establishes a link between the particular transcultural perspective raised in this film and Michael Winterbottom’s oeuvre, taking also into account other adaptations of Hardy’s novels by the same director and the Western genre that underlies this film production.

Nollywood: The Creation of Nigerian Film Genres, Jonathan Haynes (2016)

Film Matters ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 99-102
Author(s):  
Matthew Johnson
Keyword(s):  
University Of Chicago ◽  
The Creation ◽  
Nigerian Film ◽  
The University ◽  
Film Genres ◽  
University Of Chicago Press

Review of: Nollywood: The Creation of Nigerian Film Genres, Jonathan Haynes (2016) Chicago: The University of Chicago Press, 416pp., ISBN: 9780226387956 (pbk), $35.00

Filming Hegemony: Hollywood and the Manichean Script of Geopolitics

2017 ◽  
Author(s):  
Georg Löfflmann
Keyword(s):  
United States ◽  
Popular Culture ◽  
National Security ◽  
Common Sense ◽  
American Exceptionalism ◽  
The United States ◽  
External Threats ◽  
Hollywood Movies ◽  
American Hegemony ◽  
Film Productions

The chapter focuses on popular culture as key site for the production of constructs of geopolitical identity and practices of national security as common sense knowledge and conventional wisdom, examining popular Hollywood movies of the ‘national security cinema’ and the involvement of the Pentagon in the filmmaking process. Representations of geopolitical identity and national security are analyzed in some of the commercially most successful films in the United States released between 2009 and 2015. The chapter’s analysis testifies to the enduring popularity of key ideational themes and mythologies, such as American exceptionalism, military heroism, and external threats endangering the existence of the United States, its interests and values under the Obama presidency. The serial reproduction of these national security narratives, realized in multi-million dollar film productions, illustrates the cross-discursive leverage of American hegemony over alternative formulations of grand strategy under the Obama presidency and the popularity of a particular national security imagery of American geopolitical identity.

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