Reconfiguration of the Indian Film Industry During the COVID-19 Pandemic

2022 ◽  
pp. 197-206
Author(s):  
Selvalakshmi M ◽  
Kabila RM
Keyword(s):  
Film Industry ◽  
Secondary Data ◽  
Ticket Sales ◽  
Box Office ◽  
The World ◽  
Recent Trends

The Indian film industry has consistently performed well across years and has emerged as the largest in the world in terms of the number of movies it produces annually. However, the year 2020 presented a crude shock to the prospects and promises of the industry. The catastrophic effect of the pandemic in the year 2020 led to the drop in the global box office by as much as 72% with a mere $12 billion collections across the world in the form of ticket sales. To understand the factors facilitating the Indian film industry to go beyond theatres during the pandemic and to explore the key challenges faced by the industry in light of its advancement, secondary data was collected from available publications, industry reports, and official websites of various bodies. The chapter aims at exploring the factors which contribute to the recent trends of the Indian film industry, attempts to identify the new and emerging challenges that plague its growth and how this transition can speed the recovery of Indian film industry as this would provide ample input to the various stakeholders of the industry.

scholarly journals Implementasi Metode Improved K-Means dengan Algoritma Dbscan untuk Pengelompokan Film

2020 ◽  
Vol 6 (01) ◽  
pp. 1-8
Author(s):  
Muhammad Muhajir ◽  
Annisa Ayunda Permata Sari
Keyword(s):  
Film Industry ◽  
Optimal Number ◽  
Optimum Number ◽  
Number Of Clusters ◽  
The Past ◽  
Box Office ◽  
Dbscan Algorithm ◽  
The People ◽  
The World ◽  
Optimal Number Of Clusters

The Indonesian film industry continues to experience an increase seen from the number of films that appear in theaters today with a box office increase of 28 percent each year in the past four years. Internet Movie Database (IMDb) is a website that provides information about films around the world, including the people involved in it from actors, directors, writers to makeup artists and soundtracks. In this case the researcher wants to conduct research on the characteristics of the film and the factors that make a film to be included in the IMDb Top 250. The data used in this study uses scraped data from the website. The method used is a non-hierarchical clustering method, namely kmeans and Dbscan. Where the Dbscan algorithm is used to determine the optimum number of clusters then proceed by grouping data based on centroids with k-means algorithm. From the analysis it was found that the factors that could influence a film included in the IMDB Top 250 were duration, number of votes, and films directed by Rajkumar Hirani and the optimal number of clusters using Dbscan algorithm obtained six clusters. With the improved k-means algorithm, the accuracy value for the cluster results is 87.2%.

English Gothic

2019 ◽  
pp. 79-98
Author(s):  
Bryan Turnock
Keyword(s):  
Film Industry ◽  
Source Material ◽  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Box Office ◽  
The World ◽  
Iconic Images ◽  
1960S And 1970S ◽  
The 1960S

This chapter evaluates the British horror film industry. Given the country's input in the success of the Hollywood horror films of the 1930s, in terms of source material as well as technicians and actors, horror film production in Britain was remarkably slow to emerge. This was due in no small part to the stringent censorship rules of the British Board of Film Censorship/Classification (BBFC), who did their best to dissuade British studios from making such films. The chapter investigates how one studio took up the reins of the genre and went on to dominate it for almost two decades. Matched only by the golden age of Universal in the 1930s and 1940s, Hammer Films produced some of the genre's most iconic images and characters through dozens of productions, while breaking box-office records around the world. The chapter looks at Terence Fisher's The Curse of Frankenstein (1957), the company's first foray into the genre, one which would lay the foundations for their success and set the template for the English Gothic horror film as it flourished into the 1960s and 1970s.

Decision-making under Risk: Evidence from the Hindi Movie Industry

2018 ◽  
Vol 1 (1) ◽  
pp. 15-33 ◽  
Author(s):  
Soham Ghosh ◽  
Abhishek Paul ◽  
Megha Sharma ◽  
Sumanta Basu
Keyword(s):  
Decision Making ◽  
Film Industry ◽  
Secondary Data ◽  
Movie Industry ◽  
Decision Making Under Risk ◽  
Input And Output ◽  
The World ◽  
The Relationship

Despite being the largest producer of movies in the world, Bollywood—the Hindi movie industry—is underresearched. In this article, we first identify the factors that make this industry unique in such a way that research conducted in the context of any other film industry may not be applicable in Bollywood. Using a mix of primary and secondary data, we provide insights into the relationship between various input and output variables. We also identify the major determinants of the satellite right price of a movie and statistically show why the current determinants are far from optimal. We also propose better factors for determining the satellite right price.

scholarly journals The Product of Film Industry - a Cultural Good in Commodity Form

2018 ◽  
Vol 10 (2) ◽  
pp. 27-36
Author(s):  
Mikhail I Zhabsky
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Psychological Mechanisms ◽  
Box Office ◽  
Societal Needs ◽  
Cultural Good ◽  
Production And Consumption ◽  
The World ◽  
The Individual ◽  
Commodity Form

In consideration are the essence characteristics of a theatrical feature as a product of film industry. The focus of attention is a contradiction between the psychic-cultural use value of film-industry products and the commodity form of their production and consumption. As the object of spectatorship needs, the product of film industry distinguishes itself in the capacity of a story narrated in the language of cinema, interestingly to the targeted movie-goer. Spectatorship needs are emotional, intellectual and other psychic impetuses of the individual, requiring satisfaction through ones immersion in the image world of cinema. A difference is drawn between the spectators needs toward cinema and those of society as a whole. The film production aimed at a profitable satisfaction of individual needs is incapable of explicating and meeting certain societal needs. Psychological mechanisms of immersing spectators in a film world are the processes of empathy and identification, regression and projection, imparting cinema with some sort of magic. The modern film industry has grown on the soil of commodity film production to which some essential demerits are endemic. Picture of the world created by it is a function of the films commodity form, thus rendering the picture mongrel in many respects. The magnitude of the box office, functioning as a code for establishing and maintaining interaction between the societys cultural highs and lows, entails certain dysfunctional consequences. In the modern conditions of globalization the national commodity-film production is forced to adapt to the demands of Americanized mass audience. With the irreversibility of an objective law, there crops up a certain loss of the national productions own face. In this regard, consideration is given to the issues of authentically expressing and reproducing the nations identity by the means of cinema.

scholarly journals Broadkast of the film’s box office

2020 ◽  
Vol 18 (2) ◽  
pp. 24-37
Author(s):  
Irina G. Knyazeva ◽  
Daria M. Ivanova
Keyword(s):  
World Economy ◽  
Film Industry ◽  
Investment Project ◽  
The United States ◽  
Chinese Film ◽  
Box Office ◽  
The World ◽  
Russian Film ◽  
Film Market ◽  
Market Volume

The film industry is a relatively young, but at the same time, promising and continuously growing branch of the world economy with a market volume of more than 100 billion US dollars. Russia is also an active participant in the global film industry. This is due to both the growth of film production and the growth of consumption of products of the world film industry. The possibility of obtaining high returns, which is accompanied by high risks, makes market participants, from producers to potential investors, to look for any ways to reduce the risks of investing in this industry. The film as an investment project has its own risks, profitability and other characteristics of any other investment project. That is why it is important to find a way to predict the success of this film project in the form of a forecast of its box office, as the main source of profitability. Because of the globalization process here are also importance of searching any universal tool for predicting the success of box office not only in the country of origin, but also beyond, in the territory of other countries. In this paper, the authors will select a universal tool for forecasting box office of both foreign films and films of domestic production in order to reduce investment risks of investing in the film as an investment project. According to the results of the research, the selected tool was tested in practice by creating an interface for its application in Microsoft Exel and then calculating the forecast of box office, finding the forecast error of two projects: the box office of a foreign film co-produced by the United States and Great Britain named "Three billboards on the border of Ebbing, Missouri" in the Russian film market and the film produced by Russian company "Ice" in the Russian and Chinese film markets.

scholarly journals Research on box office influencing factors and innovation strategies of Disney (Asian market) theme films

2021 ◽  
Vol 14 ◽  
pp. 216-222
Author(s):  
Zizhou Fu ◽  
Yuhang Qian ◽  
Helin Wang ◽  
Xiwen Xue
Keyword(s):  
Chinese Culture ◽  
Film Industry ◽  
Great Influence ◽  
Secondary Data ◽  
The United States ◽  
Cultural Perspective ◽  
Asian Region ◽  
Box Office ◽  
Innovation Strategies ◽  
Asian Market

The income of Disney in the Asian region is a very important part because even though they have a great influence in the United States and Canada, it is still not enough because the consumption power of people in the Asian region is still a very large part. Asians still prefer their elements and character traits. This study is related to Disney revenue in Asia in the future and affects Disney income as a whole, as well as the company’s position in the field of film and its impact on the film industry. Using secondary data, we have analyzed Disney movie data in Asia from various aspects, how to increase the profitability of Disney movies. From a cultural perspective, we feel that Disney should focus on improving Chinese culture and even Asian culture to increase their ratings. Not only that, Disney should continue to innovate instead of repeatedly using the same means of consumption. Finally, the significance of this paper is that we have provided Disney movies with very good conditions for increasing profits.

scholarly journals China’s Cinema Watchdogs on the World Wide Web

2018 ◽  
Vol 11 (2) ◽  
pp. 39-59
Author(s):  
Lara Herring
Keyword(s):  
Social Media ◽  
Film Industry ◽  
State Intervention ◽  
Chinese Cinema ◽  
Private Industry ◽  
Employment Contracts ◽  
Chinese Film ◽  
Box Office ◽  
The World ◽  
Media Channels

Online communities play an important role in the development of the Chinese film industry in several significant ways. Taking social media as its focus, this article explores three areas of influence; promoting transparency, critiquing and policing. In China, the leaking of private industry documents, such as employment contracts and memos including information about incentives put forth by the State, are shared on social media with the intention of helping to ensure the opacity and integrity of the industry. Furthermore, where State-run media channels in China are heavily censored, film critiques are made possible through less-restricted social media sites such as Douban. Finally, this paper explores the role that users of social media play in policing distributors and cinema chains who are accused of committing box office fraud when Chinese film industry personnel and cinemagoers use social media to call out malfeasance. Thus, this paper contributes to existing research interested in State intervention in the Chinese cinema industry and the consequences of that intervention.

Profil Pasien Katarak Senilis Pada Usia 40 Tahun Keatas di RSI Siti Rahmah Tahun 2017

2019 ◽  
Vol 1 (1) ◽  
pp. 15-21
Author(s):  
Rada Puspita ◽  
Haves Ashan ◽  
Fidiariani Sjaaf
Keyword(s):  
High School ◽  
Secondary Data ◽  
Study Data ◽  
Vision Impairment ◽  
High School Education ◽  
Frequency Data ◽  
Private Companies ◽  
The World ◽  
Age Range ◽  
Cataract Patients

Vision impairment is estimated to affect 285 million people in the world, where 16-20% experience blindness, from the number of blindness suffered at the age of 40-50 years. Cataract seninis is all lens opacities that are found in old age that is above 40 years. The purpose of identifying and collecting frequency data Profile of Senilis cataract patients at the age of 40 years and above at RSI Siti Rahmah Padang in 2017. The research method is descriptive type of research, this study data taken is secondary data, In this study data was taken from the Medical Record at RSI Siti Rahmah Padang. When the study was conducted in February-August 2018, the population of this study were all cataract patients at the age of 40 years and above at RSI Siti Rahmah Padang in 2017 with 80 samples. Data analysis is univariate presented in the form of a frequency distribution table. Results From 80 respondents as many as 40 people (50%) were in the age range of 60-69 years, as many as 42 people (52.5%) patients were male, as many as 31 people (38.8%) patients with high school education and 35 people (43.8%) patients work as private companies. Conclusion In general, most patients are at the age of 60-69 years, the most sex is men, the highest education is high school and most patients are private.

PENERAPAN PRINSIP PERSONA NON GRATA TERHADAP DUTA BESAR DITINJAU DARI PERSPEKTIF HUKUM INTERNASIONAL (STUDI KASUS PENGANIAYAAN TKI OLEH DUTA BESAR ARAB SAUDI DI JERMAN)

2019 ◽  
Vol 1 (1) ◽  
pp. 60-71
Author(s):  
Devi Yusvitasari
Keyword(s):  
International Relations ◽  
International Law ◽  
Recipient Country ◽  
Secondary Data ◽  
Vienna Convention ◽  
Diplomatic Relations ◽  
National Interests ◽  
The World ◽  
Diplomatic Immunity ◽  
The Right

A country needs to make contact with each other based on the national interests of each country related to each other, including among others economic, social, cultural, legal, political, and so on. With constant and continuous association between the nations of the world, it is one of the conditions for the existence of the international community. One form of cooperation between countries in the world is in the form of international relations by placing diplomatic representation in various countries. These representatives have diplomatic immunity and diplomatic immunity privileges that are in accordance with the jurisdiction of the recipient country and civil and criminal immunity for witnesses. The writing of the article entitled "The Application of the Principle of Non-Grata Persona to the Ambassador Judging from the Perspective of International Law" describes how the law on the abuse of diplomatic immunity, how a country's actions against abuse of diplomatic immunity and how to analyze a case of abuse of diplomatic immunity. To answer the problem used normative juridical methods through the use of secondary data, such as books, laws, and research results related to this research topic. Based on the results of the study explained that cases of violations of diplomatic relations related to the personal immunity of diplomatic officials such as cases such as cases of persecution by the Ambassador of Saudi Arabia to Indonesian Workers in Germany are of serious concern. The existence of diplomatic immunity is considered as protection so that perpetrators are not punished. Actions against the abuse of recipient countries of diplomatic immunity may expel or non-grata persona to diplomatic officials, which is stipulated in the Vienna Convention in 1961, because of the right of immunity attached to each diplomatic representative.

Risk and Return of Retail Sukuk and Retail Bond in Indonesia Period 2008-2017 (Comparative Study)

2020 ◽  
Vol 15 (1) ◽  
Author(s):  
Rahma Yudi Astuti ◽  
Asad Arsya Brilliant Fani
Keyword(s):  
Standard Deviation ◽  
Comparative Study ◽  
Stock Exchange ◽  
Secondary Data ◽  
Bond Market ◽  
Bond Pricing ◽  
Risk And Return ◽  
Underlying Asset ◽  
The Real ◽  
The World

Sukuk and Bonds has differences and similarities. Fundamental differences between sukuk and bonds are first, underlying asset in every sukuk issuance, concept of profit loss sharing and the use of Islamic contracts. Whereas conducted research in practice of differences between sukuk and bonds are still an on-going discussion. This study aims to add the evidence in the discussion regarding whether there is differences between sukuk and bonds in the world of practice, provide investment preferences as well as educating investors in choosing sukuk or bonds as a sustainable and smooth instrument. The method used is Mann Whitney U-Test to test whether there is a different between yield to maturity (return) and standard deviation (risk) of both instruments. Using secondary data of Retail Sukuk (SR) and Retail Bonds (ORI) period 2008-2017 obtained from Indonesia Stock Exchange, Indonesia Bond Market Directory and Indonesia Bond Pricing Agency. The result shows that there is no significance difference of retail sukuk return and risk with retail bonds in Indonesia. Besides retail bonds are show higher return than retail sukuk because of higher coupon and longest mature date. While, retail sukuk is more stable rather than bonds as it backed up by the real underlying asset. Keywords: Retail Sukuk (SR), Retail Bonds (ORI), Yield to Maturity

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