Taking Netflix to the Cinema: National Cinema Value Chain Disruptions in the Age of Streaming

This article explores how international over-the-top services impact the national feature film value chain in Canada and Australia. The main objective of this exploration is to interrogate the tendency to classify Netflix as television—whether in the context of broadcasting policy or in light of disciplinary biases that tend to separate media industry studies from the more cinephilic text-focused approaches of film studies. By equating entertainment services like Netflix with television, the discussion of how feature films will sustain themselves in a rapidly changing market becomes sidelined. Examining examples from Canada and Australia, we seek to draw attention to the ways in which film sustains and develops its industry and how services like Netflix relate to policy mechanisms designed to foster national cinema. This article offers an intervention into the developing discourse around Netflix as television to ask the question: what does it mean to consider Netflix as cinema?

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The Permanencia Voluntaria archive and the historical study of Mexican cinema

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00005_1 ◽

2019 ◽

Vol 16 (3) ◽

pp. 383-401

Author(s):

Colin Gunckel

Keyword(s):

Film Studies ◽

Film History ◽

Historical Study ◽

Media Industry ◽

Industry Studies ◽

Mexican Cinema ◽

Mexican Film ◽

The 1950S ◽

Media Industry Studies ◽

Production Company

This article provides an overview of the archival materials held at the Permanencia Voluntaria collection in Tepoztlán, Mexico. Focusing on the documents of the production company Cinematográfica Calderón, in operation from the late 1930s to the 1990s, the article makes a case for using such material to construct critical industrial histories of Mexican cinema. Drawing on concepts from media industry studies, the article examines three intertwined aspects of the production company’s operations during the 1950s and 1960s: marketing, censorship negotiations and transnational distribution. Accordingly, it proposes that these factors be placed in conversation with cinematic texts as a way of reconsidering the place of the nation in Mexican film studies, expanding the objects of analysis in this field and re-evaluating a period of film history whose significance has largely remained overlooked.

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Lynne Ramsay's Ratcatcher: Towards a Theory of Haptic Narrative

Paragraph ◽

10.3366/e0264833408000163 ◽

2008 ◽

Vol 31 (2) ◽

pp. 138-158 ◽

Cited By ~ 4

Author(s):

DAVID TROTTER

Keyword(s):

Film Studies ◽

Narrative Form ◽

Recent Theory ◽

Feature Film ◽

Feature Films ◽

Siegfried Kracauer ◽

Narrative Cinema ◽

History Of ◽

Narrative Process

The aim of this essay is to extend and refine the concept of ‘haptic visuality’ which has taken decisive shape in film studies so that it can be used to describe narrative form. In recent theory, the haptic has on the whole been set in opposition to narrative. Should narrative cinema then be understood in and through its neglect or disavowal of haptic visuality? Or might certain feature films in fact incorporate haptic imagery, without thereby ceasing to narrate? These are questions urgently provoked by Lynne Ramsay's brilliant first feature film, Ratcatcher (1999). The answer proposed here takes its bearings from the history of literary and filmic Naturalism, and from the understanding of narrative process Siegfried Kracauer develops in his Theory of Film.

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Cultural Industries from an Economic/Business Research Perspective

Canadian Journal of Communication ◽

10.22230/cjc.2000v25n1a1146 ◽

2000 ◽

Vol 25 (1) ◽

Cited By ~ 4

Author(s):

Stuart McFadyen ◽

Colin Hoskins ◽

Adam Finn

Keyword(s):

New Media ◽

Cultural Industries ◽

Business Research ◽

Television Programs ◽

Industry Studies ◽

Feature Film ◽

Research Perspective ◽

Feature Films ◽

International Borders ◽

Cultural Discount

Abstract: This article reviews, and provides a context for, the cultural industries research carried out by the authors over the last 20 years. This work focuses on the television and feature film industries and uses a micro-economic analysis approach which recognizes the three unusual economic characteristics of feature films and television programs: they suffer a cultural discount when traded across international borders, they are joint consumption goods, and they may result in external benefits. The work encompasses industry studies of Canadian broadcasting, U.S. domination of international trade in audiovisual products, international co-production, and new media. Résumé: Cet article passe en revue les recherches sur les industries culturelles menées depuis vingt ans par les auteurs et place ces recherches dans leur contexte. Ces recherches portent sur les industries de la télévision et du long métrage, et ont recours à des analyses micro-économiques qui tiennent compte de trois caractéristiques économiques particulières aux longs métrages et aux émissions de télévision : ceux-ci éprouvent une diminution de valeur culturelle («cultural discount») quand on les exporte; ce sont des biens consommés conjointement; et ils peuvent produire des bénéfices externes. Le travail englobe des études industrielles de la radiodiffusion canadienne, la domination américaine du commerce international de produits audiovisuels, les co-productions internationales, et les nouveaux médias.

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Towards an Integrative Methodological Approach of Film Remake Studies

Adaptation ◽

10.1093/adaptation/apz033 ◽

2020 ◽

Vol 13 (2) ◽

pp. 210-223

Author(s):

Eduard Cuelenaere

Keyword(s):

Future Development ◽

Textual Analysis ◽

Consumer Preferences ◽

Methodological Approach ◽

Translation Studies ◽

Media Industry ◽

Industry Studies ◽

Disciplinary Boundaries ◽

Cultural Mediators ◽

Critical Media

Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.

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Behind the money: Alejandro González Iñárritu as career director

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00033_1 ◽

2021 ◽

Vol 18 (1) ◽

pp. 9-18 ◽

Cited By ~ 1

Author(s):

Paul Julian Smith

Keyword(s):

Mass Culture ◽

Television Drama ◽

Feature Film ◽

Feature Films ◽

Primary Materials ◽

Alejandro Gonzalez Inarritu

This article is presented in two halves. The first analyses little known interviews with Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás del dinero/Behind the Money. The conclusion argues that even as Iñárritu has more recently distanced himself from broadcasting, his later career as an artistic and commercially successful feature film director embodies a precarious balance between artistic innovation and mass culture and a focus on the audience which he first learned in his early work in advertising, radio and television.

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Examining the factors influencing adoption of over the top (OTT) services among Indian consumers

Journal of Science and Technology Policy Management ◽

10.1108/jstpm-09-2020-0135 ◽

2021 ◽

Vol ahead-of-print (ahead-of-print) ◽

Author(s):

Som Sekhar Bhattacharyya ◽

Shaileshwar Goswami ◽

Raunak Mehta ◽

Bishwajit Nayak

Keyword(s):

Structural Equation ◽

Online Survey ◽

Structural Model ◽

Reliability And Validity ◽

Adoption Process ◽

Media Industry ◽

Content Type ◽

Content Quality ◽

Use Of Technology ◽

Over The Top

Purpose The purpose of this paper is to identify and predict the key factors that influenced the usage intention of over the top (OTT) services by consumers. This was done by applying the modified unified theory of acceptance and use of technology 2 (UTAUT2) model. Design/methodology/approach An online survey questionnaire assessed the proposed motivational factors for the adoption of OTT services. Confirmatory factor analysis and structural equation modelling were conducted on collected data (n = 598) to demonstrate the reliability and validity of the measurement and structural model. Findings The model consisted of nine factors, namely, value expectancy (VE), ease of effort (EE), social influence (SI), favourable infrastructure conditions (FIC), hedonistic motivation for usage (HMU), favourable economic position (FEP), content quality (CQ), habitual behaviour (HB) and security conditions (SC). SC, VE, SI, HB and EE were the antecedent variables. FEP, CQ and FIC were the mediating variables and HMU was the dependant variable. SI and CQ of OTT services were positively associated with HMU of OTT services, FEP had no significant effects on HMU. The results also supported the explanatory strength and predictability of UTAUT2 as a model. It further extended UTAUT2 boundaries and paved the way for an extended UTAUT2 model to be developed. Originality/value The promising role of OTT services in the entertainment and media industry had gained consumer attention, however, limited empirical investigations had been conducted on explicating how user attitude and usage intention were shaped regarding the use of OTT services in the Indian context. This study served as one of the first attempts to empirically examine the adoption process, with implications for the HMU regarding OTT services. This was one of the first studies to extend the UTAUT2 theoretical model.

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Rob Roy: Britain’s First Feature Film

Early Cinema in Scotland ◽

10.3366/edinburgh/9781474420341.003.0007 ◽

2018 ◽

Cited By ~ 1

Author(s):

Caroline Merz

Keyword(s):

Language Production ◽

English Language ◽

Film Production ◽

Feature Film ◽

Study Approach ◽

Feature Films ◽

Production History ◽

History Of ◽

Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

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