A Study on the International Comparison of Carbon Calculators in Film and Television Production Industry

2021 ◽  
Vol 43 (9) ◽  
pp. 803-822
Author(s):  
Sehwan Kim
Keyword(s):  
International Comparison ◽  
Television Production ◽  
Film And Television ◽  
Production Industry

Regions and Runaways: Film Assistance in New Zealand and British Columbia, 1999–2005

2005 ◽  
Vol 117 (1) ◽  
pp. 11-30 ◽  
Author(s):  
David Newman
Keyword(s):  
British Columbia ◽  
New Zealand ◽  
Tax Incentives ◽  
Television Production ◽  
Film And Television ◽  
Track Record ◽  
Oriented Film ◽  
Service Oriented ◽  
Strategic Goals ◽  
Production Industry

The film and television production industry is significant in both New Zealand and British Columbia. Governments in both localities provide substantial support for the industry through government agencies and tax incentives. This study reviews the effectiveness and success of the New Zealand Film Commission and BC Film in meeting their respective mandates and strategic goals over the last five years. The scope and success of government tax incentives in attracting and encouraging production in both localities are reviewed, with an analysis undertaken of the results. The paper concludes that the greater cultural focus by the New Zealand government compared with that of British Columbia has resulted in a stronger track record of critically acclaimed and commercially successful films from New Zealand, with a more mixed record from the service-oriented film economy of British Columbia.

scholarly journals Environmental Management in the Film and Television Production Industry

2021 ◽  
Author(s):  
Collingwood Brown
Keyword(s):  
Environmental Management ◽  
Swot Analysis ◽  
Film Industry ◽  
Management Program ◽  
System Boundary ◽  
Television Production ◽  
Film And Television ◽  
Current State ◽  
The Social ◽  
Production Industry

The purpose of this research is to examine the current state of the film industry’s environmental management efforts, by using the temporary structure of the film production itself as a framework. Film industry experts were interviewed, and a strengths, weaknesses, opportunities, and threats (SWOT) analysis was performed using the project-based organization (PBO) as a system boundary. The literature on environmental management for another project-based industry, construction, was reviewed and used as a comparison with the interview results. At present, the greatest strength of the PBO in pursuing environmental management is the social conscience of the employees within the PBO itself. The largest threat is the lack of financial resources. The construction comparison indicated that there was some divergence between the two industries, specifically with respect to competitive advantage and company image. The complex relationship each industry has with its stakeholders plays an important role in the ability to implement an environmental management program.

scholarly journals Environmental Management in the Film and Television Production Industry

2021 ◽  
Author(s):  
Collingwood Brown
Keyword(s):  
Environmental Management ◽  
Swot Analysis ◽  
Film Industry ◽  
Management Program ◽  
System Boundary ◽  
Television Production ◽  
Film And Television ◽  
Current State ◽  
The Social ◽  
Production Industry

The purpose of this research is to examine the current state of the film industry’s environmental management efforts, by using the temporary structure of the film production itself as a framework. Film industry experts were interviewed, and a strengths, weaknesses, opportunities, and threats (SWOT) analysis was performed using the project-based organization (PBO) as a system boundary. The literature on environmental management for another project-based industry, construction, was reviewed and used as a comparison with the interview results. At present, the greatest strength of the PBO in pursuing environmental management is the social conscience of the employees within the PBO itself. The largest threat is the lack of financial resources. The construction comparison indicated that there was some divergence between the two industries, specifically with respect to competitive advantage and company image. The complex relationship each industry has with its stakeholders plays an important role in the ability to implement an environmental management program.

Do State Corporate Tax Incentives Create Jobs? Quasi-experimental Evidence from the Entertainment Industry

2019 ◽  
Vol 51 (2) ◽  
pp. 92-103 ◽  
Author(s):  
Michael Thom
Keyword(s):  
Employment Growth ◽  
Tax Incentives ◽  
The United States ◽  
Creative Industries ◽  
Corporate Tax ◽  
Policy Makers ◽  
Television Production ◽  
Film And Television ◽  
Incentive Programs ◽  
Quasi Experimental

Policy makers allocate billions of dollars each year to tax incentives that increasingly favor creative industries. This study scrutinizes that approach by examining motion picture incentive programs used in over thirty states to encourage film and television production. It uses a quasi-experimental strategy to determine whether those programs have contributed to employment growth. Results mostly show no statistically significant effects. Results also indicate that domestic employment is unaffected by competing incentives offered outside the United States. These findings are robust to several alternative models and should lead policy makers to question the wisdom of targeted incentives conferred on creative industries.

Imagined spectators

Target ◽  
2016 ◽  
Vol 28 (2) ◽  
pp. 261-275 ◽  
Author(s):  
Carol O’Sullivan
Keyword(s):  
Rapid Change ◽  
General Sense ◽  
Comprehensive Overview ◽  
Television Production ◽  
Film And Television ◽  
Home Entertainment ◽  
Automated Translation ◽  
Audio Description ◽  
Catch Up ◽  
Research Questions

Abstract This article considers theoretical and methodological questions of language and translation policy in the dissemination of audiovisual products across languages. This is an area where scholarly research is inevitably playing catch-up with rapid change both in the language industries and in film and television production. For example, we have a general sense of ‘dubbing territories’ and ‘subtitling territories’ but in reality the picture is more complex. Norms changed in the course of the home entertainment revolution, with the arrival of the DVD format in the late 1990s ostensibly increasing viewer choice and flexibility of translation provision. The relocation of much audiovisual material to an online environment has also generated fundamental changes in the way that works circulate, with volunteer translators and automated translation processes playing a larger role. Policy developments in access translation have meant that there have also been great changes relatively recently in the availability of SDH subtitling, audio description and other modes of access translation. This is a very broad field which raises many compelling research questions. At the same time, its very breadth does not lend itself to a comprehensive overview. The article will therefore aim to provide an orientation to, rather than a summary of, the theoretical and methodological challenges of research on this topic.

Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series

2001 ◽  
Vol 100 (1) ◽  
pp. 33-48 ◽  
Author(s):  
Sue Turnbull ◽  
Felicity Collins
Keyword(s):  
Joint Venture ◽  
Private Investment ◽  
Commercial Television ◽  
Film And Television ◽  
Sketch Comedy ◽  
Public Money ◽  
International Sales ◽  
Venture Company ◽  
Joint Venture Company ◽  
Production Industry

Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series format. Drawing on private investment and public money (FFC, FilmVic, CTPF), Beyond Simpson Le Mesurier exemplifies the current convergence between the film and television industries. Paradoxically, the local success of Simpson Le Mesurier's series (particularly with a post-Fordist, 18–39-year-old demographic) highlights a crisis in the drama production industry — a crisis precipitated by a dramatic drop in international sales, forcing a return to licence fee productions.

scholarly journals Gay the right way? Roles and routines of Irish media production among gay and lesbian workers

2020 ◽  
Vol 35 (4) ◽  
pp. 355-369 ◽  
Author(s):  
Anne O’Brien ◽  
Páraic Kerrigan
Keyword(s):  
Sexual Identity ◽  
Career Progression ◽  
Gay And Lesbian ◽  
Production Data ◽  
Structured Interviews ◽  
Television Production ◽  
Sexual Identities ◽  
Film And Television ◽  
Irish Film ◽  
The Right

This article explores how gay and lesbian identities are incorporated, or not, into the roles and routines of Irish film and television production. Data were gathered in 2018–2019 through semi-structured interviews with a purposive, snowball sample of 10 people who work in the Irish industries. The key findings are that for gay and lesbian workers their minority sexual identity impacts on the roles that they are likely to be included and excluded from. Sexuality also affects their promotion prospects and their career progression. Similarly, in terms of routines of production, gay and lesbian workers are associated with certain genres, based on stereotypical assumptions about their sexual identities by their hetero-managers and colleagues. In short, Irish gay and lesbian media workers articulated an overarching tension between the heteronormativity of the industry and the queerness of the gay and lesbian media worker. Some workers respond to that tension by adopting a homonormative approach to work while others attempt to forge a queer way of producing.

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