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.

Digital Film Production Time

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
New Technologies ◽  
Film Structure ◽  
Production Model ◽  
Film Production ◽  
Production Time ◽  
Study Materials ◽  
Production Practice ◽  
Digital Film ◽  
Digital Processes

This chapter explores the notion of digital film production ‘time’ By examining the various different temporalities of film production. Drawing primarily upon the case-study materials of Ginger & Rosa, the chapter maps the 2012 moment of transition from working with film to working with data, and the hybrid practices and protocols that manifested as a result. It examines how the introduction of new technologies and digital processes challenged the orthodoxies of long-established film industry production practice including how workflow patterns were effected with the advent of the digital in film production. The chapter includes the proposition of a ‘Creative Core’ Structure of Production model with which to understand the determinants and impacts of on-set workflow, illuminating the emergence a specific aesthetic of production which is referred to as ‘workflow-warp’ and ‘workflow-weft.’ The former refers to the temporal bending of the traditional film structure and pace out of shape, and the latter – the process of weaving together a complex blend of the film and the digital into an inextricable tapestry.

Epilogue

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Analytical Framework ◽  
Technological Innovations ◽  
Book Production ◽  
Film Production ◽  
Text Production ◽  
Look Back ◽  
Key Concepts ◽  
Digital Film

This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.

Digital Film Production Representations

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Modes Of Representation ◽  
Production Practice ◽  
Different Types ◽  
Digital Film ◽  
Invisible Labour

This chapter explores the various modes, tools and types of film industry representation, whereby film is the conduit through which we see film production, and is subject to its own representational modes, aesthetics and practices. A genealogy of different types of mediated films and their making are presented. The chapter details how Ginger & Rosa communicated and embedded its Production Aesthetic in a number of different ways. The chapter presents the inherent paradox which is innate to these modes of representation where the film production attempts to make itself visible whilst simultaneously rendering itself invisible. This leads to a conflicting aesthetic of ‘pseudo-visibility’ and ‘hyper-invisibility’ – the simultaneous openness and foreclosure of film production practice obscuring people, histories and practices. Drawing on themes of invisible labour, invisible economies, politics of invisibility and aesthetics of erasure, the chapter then turns to considerations where aesthetics of production are made manifest in modes of resistance – where the tools, iconography and aesthetics of production are subverted for moments of protest by film industry practitioners.

Digital Film Production Space

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Hardware Design ◽  
Film Production ◽  
Digital Medium ◽  
Production Space ◽  
Design Software ◽  
Digital Film ◽  
Production Apparatus

This chapter disentangles the deeply ingrained celluloid practices of digital film production. Through the examination of embodied practices, onset processes and protocols, including considerations of filmmaking iconography in hardware design, software and interface aesthetics. The origins of the often perplexing film and celluloid skeuomorphs are also traced. The chapter considers the reasons for the persistence of these practices which conversely seek to simultaneously erase the analogue whilst at the same time mask the use of the digital medium. In its close textual examination of Digital Film Production Space, the chapter includes detailed considerations of the attendant ‘production apparatus’ of Ginger & Rosa (which is the same apparatus used by the film industry in a diversity of national contexts) and the manifestation of the film in digital and virtual representations – proposing a ‘Production Aesthetic’ which visually characterizes the making of the film. The chapter includes a consideration of ‘celluloid pedagogies’, and how the various practitioners on Ginger & Rosa learned their crafts, and how they describe them through material practices and tactile experience.

Digital Film Production People

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Critical Examination ◽  
Working Relationships ◽  
Film Production ◽  
Organisational Structure ◽  
Assistant Director ◽  
Overlapping Spheres ◽  
Digital Film ◽  
The One ◽  
Industry Professionals

This chapter presents a critical examination of the wider context of the film industry using Ginger & Rosa as a lens through which to examine the three main professional working frameworks that film industry professionals operate within - the network, the department and the project itself, the film. Drawing on interviews with established film professionals, the chapter examines these three distinctive, yet overlapping spheres, their intersections, their challenges and their moments of contradiction. The chapter extrapolates the organisational structure as specific to the Ginger & Rosa ‘project’ and examines in detail the structures and working relationships of three different departments–Camera/Electrical, Assistant Director (AD), Production and Post-production. These discussions draw out the complex interplay between, on the one side, a highly craft-based, traditional classical narrative film production, and, on the other, a production shaped by new digital technologies and interstitial work specific to the film-to-data moment. Through the mapping of a Personnel Structure and Working Relations model, the chapter examines how Sally Potter manages to nurture innovation and experimentalism within these seemingly inflexible structures through ‘collaborative’ and ‘transitional’ auteurism.’

Making Movies at Hammer

2016 ◽  
pp. 11-22
Author(s):  
Victoria Grace Walden
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Production History ◽  
History Of ◽  
Production Practices ◽  
Production House

This chapter discusses how the production history of Hammer Films is illustrative of the complexities of the British film industry, which has often struggled to compete with Hollywood. Though Hammer had a difficult start, it flourished into an internationally renowned horror brand. However, even the success of Hammer's horrors wore thin eventually. Its demise as a film production house in the 1970s, short-lived shift to television in the 1980s, and rebirth in the 2000s expresses the turbulent nature of British film production. The history of Hammer's production practices also raises interesting questions about what constitutes a 'British film industry', for like many studios its success has relied heavily on American backing and distribution.

Film Marketing: the Case of the New Horizons Association

2020 ◽  
Vol 4 (2) ◽  
pp. 75-94
Author(s):  
Marcin Ptasznik
Keyword(s):  
Film Industry ◽  
Participant Observation ◽  
Study Participant ◽  
Cultural Institutions ◽  
Literature Study ◽  
Online Questionnaire ◽  
Changing Environment ◽  
New Horizons ◽  
Marketing Actions

Approaches to marketing actions in culture are exhibiting rising significance in the modern dynamically changing environment. This paper is focused on the identification of possible applications of marketing in the sphere of culture, with particular reference to the film industry, field of operations of the New Horizons Association. The author’s research was based on a literature study, participant observation, and an online questionnaire, enabling creation of a case study on the New Horizons Association. Empiri-cal research allowed for exploration of the perception of marketing actions of this organization, as well as identifying possible directions for its development. Changes in the needs of modern consumers are related to ongoing virtualization and globalization of culture, and allow for academic discussion about the future of innovative cultural institutions and audio-visual ventures, including within the context of the current global coronavirus/COVID-19 pandemic.

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s

2018 ◽  
Vol 45 (1) ◽  
pp. 81-95
Author(s):  
Maria Pia Pagani
Keyword(s):  
Nobel Prize ◽  
Film Industry ◽  
Silent Film ◽  
White Hair ◽  
Point Of View ◽  
Artistic Creation ◽  
Box Office ◽  
Original Case ◽  
Italian Film

From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.

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