scholarly journals Review of the Impact of Cultural Imperialism in the Context of Globalization to the Film Industry

2021 ◽  
Author(s):  
Xinyi Chen ◽  
Siwen Shen
Keyword(s):  
Film Industry ◽  
Cultural Imperialism ◽  
The Impact

Italian Tax Incentives for Film Industry: The Impact on the Domestic Sector and on the State

2010 ◽  
Author(s):  
Francesca Medolago Albani ◽  
Barbara Bettelli ◽  
Paolo Boccardelli ◽  
Alessandra Priante
Keyword(s):  
Film Industry ◽  
Tax Incentives ◽  
The State ◽  
The Impact

Studying Hammer Horror

2016 ◽  
Author(s):  
Victoria Walden
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Auteur Theory ◽  
Film Market ◽  
The Impact

When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic. This book treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas. The book examines genre, auteur theory, stardom, and representation within case studies of Curse of Frankenstein (1957), Twins of Evil (1971), and Hammer's latest film, Beyond the Rave (2008). The book weighs Hammer's impact on the British film industry, past and present. Intended for students, fans, and general readers, this book transcends superficial preconceptions of Hammer horror in order to reach the essence of Hammer.

The Impact of Socio-Economic Position on Perceived Oppression: Using Social Support as a Mediator

2021 ◽  
Vol 36 (2) ◽  
pp. 1-19
Author(s):  
Lee Nakyung ◽  
Im Tobin
Keyword(s):  
Social Support ◽  
Social Inequality ◽  
Cultural Imperialism ◽  
Hierarchical Regression ◽  
Economic Downturn ◽  
New Paradigm ◽  
Network Ties ◽  
Distribution Of Resources ◽  
Economic Position ◽  
The Impact

Within the continuing economic downturn, our society has been facing rapid dichotomization and bi-polarization between groups which reinforces social inequality. Young (2011) states that social inequality should be viewed as a concept of oppression, not by the distribution of resources, which has been considered as a general indicator of social inequality. Following her argument, she suggests exploitation, marginalization, powerlessness, cultural imperialism, and violence as sub-concepts of oppression. In this sense, this study uses the distribution of resources as an independent variable and the ‘perceived oppression’ presented by Young as a dependent variable to identify the role of social support as a factor that makes the difference between social-structural inequality and contextual inequality. Through hierarchical regression analyses and bootstrapping methods this paper looks at how the two different perspectives on inequality are related, and how the social support mediates the relationship between socio-economic position and perceived oppression. By shedding light on the meaning of socio-economic isolation of individuals, this study will contribute to the academia in searching for the alternatives to strengthen the stability of our society where the new paradigm of communication is being used to form network ties and corresponding sense of supports.

The Fourth Industrial Revolution: Inclusiveness, Affordability, Cultural Identity, and Ethical Orientation

2021 ◽  
Vol 10 (3) ◽  
pp. 57-68
Author(s):  
Reginald M.J. Oduor
Keyword(s):  
Cultural Identity ◽  
Industrial Revolution ◽  
Cultural Imperialism ◽  
Human Society ◽  
Ethical Orientation ◽  
Human Beings ◽  
Persons With Disabilities ◽  
Fourth Industrial Revolution ◽  
The Impact ◽  
Normative Considerations

Discussions on the impact and future directions of technology often proceed from an empirical point of view that seems to presume that the ebb and flow of technological developments is beyond the control of humankind, so that all that humanity can do is adjust to it. However, such an approach easily neglects several crucial normative considerations that could enhance the standing of individual human beings and whole communities as rational users of technology rather than its slaves. Besides, more often than not, technological products are designed in ways that neglect the needs of persons with disabilities, thereby perpetuating their exclusion from society. Consequently, this article proposes four normative considerations to guide the initiatives of African societies in their deployment of the technologies of the Fourth Industrial Revolution, namely, inclusiveness to meet the needs of all human beings, affordability to bridge the digital divide, respect for cultural identity to guard against cultural imperialism, and an ethical orientation as the over-arching guide to building a truly human society.

Of War and Beyond

2019 ◽  
pp. 129-166
Author(s):  
J. P. Telotte
Keyword(s):  
Film Industry ◽  
Coming Of Age ◽  
Story Content ◽  
The 1950S ◽  
Post War ◽  
The Impact

Abstract: As a conclusion, this chapter considers how the impact of that popular cinematic imagination changed during the war and immediate post-war years, that is, in the lead-up to SF’s coming of age in the 1950s, a coming of age that would be accompanied by film’s own explosion of SF narratives. The chapter argues that film had, during this period, become much more of a cultural “given,” a fact of life, and one that no longer evoked the same sort of SF-like “wonder” that it had during the pre-war era. While still visible in the rhetoric of SF and to a lesser extent in story content, film and the film industry would increasingly move in a different direction in this time, with SF literature, in both its pulp and hardcover forms, finding a new significance and respectability, while that burgeoning SF cinema would struggle to achieve a similarly respectable status.

Diversity and data: an ontology of race and ethnicity in the British Film Institute’s Diversity Standards

2020 ◽  
pp. 016344372096092
Author(s):  
Clive James Nwonka
Keyword(s):  
Race And Ethnicity ◽  
Film Industry ◽  
Racial Diversity ◽  
Cross Sectional ◽  
Diversity And Inclusion ◽  
Film Productions ◽  
The Uk ◽  
Production Areas ◽  
The Impact

This article addresses the role of data in the analysis of racial diversity in the UK film industry. Due to the prolonged poor representation of racial difference, academic researchers increasingly identify the UK film sector as a particular site of multi-dimensional structural inequalities. This article will assess the impact of data-led interventions made by the UK film industry to increase the presence of BAME individuals within the sector. It will do this through an analysis of the policy approach of the UK’s lead body for film, the British Film Institute, examining how one major policy initiative, the BFI’s Diversity Standards launched in 2016 as an industry intervention into prevailing sector inequalities, has sought to achieve racial diversity and inclusion across its Film Fund-supported film productions between 2016 and 2019. Analysing cross-sectional data from 235 films which is aggregated across differing film genres, budgets and regions, the study assesses how the outcomes of the Diversity Standards have offered a representation of racial diversity across these production areas.

Sex in the Cinema: War, Moral Panic, and the British Film Industry, 1906–1918

2002 ◽  
Vol 34 (3) ◽  
pp. 422-451 ◽  
Author(s):  
Dean Rapp
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Public Space ◽  
Film Industry ◽  
Leisure Activity ◽  
Young Audiences ◽  
Police Action ◽  
Separate Identity ◽  
The Impact ◽  
First Time

The film era in Britain commenced in early 1896, but its moral impact on viewers was not considered very much during its first decade. This was primarily because film was dispersed in a variety of venues like music halls and fairgrounds where other entertainment was provided, or in unused shops and other premises that were temporarily rented. Film thus had no permanent, separate identity as a leisure activity that took place in one particular type of public space, hence it was difficult for moralists to recognize, much less discern and evaluate its moral influence. Moreover, many of the middle class (from whom most moralists came) dismissed the early film industry as a passing, vulgar fad of the working class that need not be taken seriously.But moralists did begin to notice the impact of the industry when film acquired a conspicuous new identity of its own in the years after 1906 when thousands of purpose-built cinemas were constructed. The tremendous growth of both the cinemas and their mostly working-class, youthful audiences led some middle-class moralists to focus their attention on film for the first time. They soon concluded that the cinemas undermined the morality of their young audiences and launched a crusade against the film industry. The general outlines of the campaign are well known. Moralists charged that the darkened cinemas provided cover for couples to court and for some men to abuse children. They also asserted that many films were sensational ones about sexual indecency, crime, and violence. Such fare, they contended, encouraged immorality and incited juvenile delinquency among youth who imitated the crimes they saw enacted on screen. The moralists therefore demanded censorship of the films, brighter lighting in the cinemas to discourage sexual misbehavior, and police action against indecency. Moreover, Sabbatarians opposed the opening of the cinemas on Sundays as a further desecration of that holy day of rest.

scholarly journals THE IMPACT OF GLOBALIZATION TO CREATIVE INDUSTRIES: THE ANALYSIS OF FILM INDUSTRIES OF CENTRAL AND EASTERN EUROPE

2015 ◽  
Vol 9 (1) ◽  
pp. 64-74 ◽  
Author(s):  
Tomas Mitkus ◽  
Vaida Nedzinskaitė-Mitkė
Keyword(s):  
European Union ◽  
Eastern Europe ◽  
Central And Eastern Europe ◽  
Film Industry ◽  
Creative Industries ◽  
The Political ◽  
The Impact ◽  
Qualitative Changes

This paper explores changes of the political, legal, taxation and other circumstances in film industries of Central and Eastern Europe that kick-started qualitative changes over the last decade. Research conducted by European Union (EU) on European film industry suggests that in terms of film industry Central and Eastern Europe region at this stage is generally non-competitive and not commercially orientated. We argue that the region filmmakers systematic believe in concept that film art and film business is a combination of polar opposites is a key reason that holds back industry’s potential to make a considerable economical and cultural contribution to national prosperity.

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