scholarly journals Impact of Social Media on the Film Industry

2021 ◽  
Vol 2 (Anon) ◽  
pp. 117
Author(s):  
Sachin Gupta
Keyword(s):  
Social Media ◽  
Film Industry

Nollywood Afrogeeks

2019 ◽  
pp. 316-334
Author(s):  
Tori Arthur
Keyword(s):  
United States ◽  
Social Media ◽  
Cultural Values ◽  
Film Industry ◽  
African Immigrants ◽  
The United States ◽  
African Continent ◽  
Digital Community ◽  
Online Platforms ◽  
Nigerian Film

Viewing Nigerian film, known as Nollywood, in online platforms provides African immigrants living in the United States with digital spaces to engage with the African continent through films with relatable Pan-African themes. Nollywood on social media sites (YouTube and subscription services IrokoTV, Amazon, and Netflix) marks the Nigerian film industry as a transnational participatory movement that enables immigrants to use the technology at their disposal to watch and comment on films, connect with their cultural values, and become a part of a global digital community of dispersed Africans and African descended populations. Thus, immigrants become a part of a Nollywood focused digital diaspora, a cultural space that illuminated the plurality immigrants negotiate on and off the continent.

scholarly journals The Influence of Imperfect Film Moral Values on Society Regarding Body Shaming Problems in the Digital Era

2022 ◽  
Author(s):  
Risa Muarifah
Keyword(s):  
Social Media ◽  
Mass Media ◽  
Physical Condition ◽  
Film Industry ◽  
Moral Values ◽  
Observational Methods ◽  
Literacy Studies ◽  
The Public ◽  
Digital Era ◽  
Negative Comments

In this digital era, body shaming is increasingly prevalent on social media. Body shaming is the behavior of giving negative comments about a person's physical condition. Meanwhile, film is one of the mass media that is used as a medium of entertainment, information, and education to the public. In this case, we, the authors, examine the influence of the moral values of imperfect films on people's views in the digital era. The methods we use are observational methods and literacy studies. The result of this research is a film, especially in this case, imperfect films can be able to introduce or educate the public about the issue of body shaming that occurs in life in the digital era. The suggestion from this research is that the film industry in Indonesia should be more advanced in making positive works that can inspire and educate the public.

Marketing Strategies of Films in Bollywood Industry

2020 ◽  
pp. 314-325
Author(s):  
Ipsita Barat
Keyword(s):  
Social Media ◽  
Paradigm Shift ◽  
Film Industry ◽  
Marketing Strategies ◽  
Social Media Marketing ◽  
Principal Character ◽  
Hindi Cinema ◽  
The Impact ◽  
Hindi Film ◽  
New Millennium

This chapter examines the paradigm shift in the domain of marketing and promotion of Hindi cinema in the new millennium. The post-millennium Hindi film industry has resorted to the multimedia marketing of films with the incorporation of digital and social media marketing platforms as one of the key marketing strategies of contemporary Hindi cinema. Furthermore, in the modern scenario, release strategies such as saturated release and shorter release window have also become commonplace. The chapter elucidates on the impact of such practices on the narratives of Hindi cinema. It thereby considers the prevalence of high-concept style as the principal character is the trait of contemporary Bollywood cinema.

scholarly journals GERAKAN OPINI DIGITAL #TRUEBEAUTY PADA TWITTER UNTUK PEMERAN FILM ADAPTASI KOMIK WEBTOON

2020 ◽  
Vol 6 (1) ◽  
pp. 34
Author(s):  
Lady Joanne Tjahyana
Keyword(s):  
Social Media ◽  
Social Network ◽  
Social Network Analysis ◽  
Network Analysis ◽  
Text Analysis ◽  
Film Industry

Digital Movement of Opinion (DMO) using hashtag #TrueBeauty on Twitter was conducted by the fans of True Beauty as one of the most popular Webtoon’s comic. The fans gave their opinion about the perfect cast for the movie adaption of the comic. The objective of this research is to analyse the network that was formed by the DMO of #TrueBeauty. The method that had been used was social network analysis and the datasets mining was done using Netlytic. This research indicates that fans as the actors of the DMO were spreaded widely across the network and not centralized into certain dominant actors. The actors was divided into different clusters and every cluster has its own characteristics based on different locations and cultures. Therefore the role of influencers or dominant actors in every cluster is very important to deliver opinions with a style that suits every community. Moreover, text analysis found that film industry should pay attention to social media opinion, because many of the opinion were reflects the original desires of every fan without any intermediaton from any parties.

scholarly journals Social Media Marketing in the Yorùbá Video Film Industry

2021 ◽  
Vol 2 (2) ◽  
pp. 1-12
Author(s):  
Olagoke Alamu
Keyword(s):  
Social Media ◽  
New Media ◽  
Film Industry ◽  
Critical Evaluation ◽  
Copyright Law ◽  
Social Media Marketing ◽  
High Concentration ◽  
Traditional Media ◽  
Online Forms ◽  
Share Information

The thrust of this paper is the critical evaluation of the level of acceptance of social media marketing in the Yorùbá film industry. In this age of globalization, many film marketers across the world have abandoned traditional media in favor of online forms of communication, which enable them to share information and get feedbacks from their audience. Based on this premise, it is necessary to investigate the level of acceptance of social media as a channel for film marketing in the fledgling Yorùbá video film industry. Questionnaires were administered to fifty randomly selected marketers in Ibadan and the Lagos metropolis, where there is a high concentration of these video film personnel. The study reveals that due to technology deficiency and lack of interest many marketers have not adopted social media for marketing their film products. The ineffective implementation of the copyright law in Nigeria, which is the major bane of this industry, has also prevented the marketers from adopting the new media. The loose market structure in the industry also deters marketers from maximally utilizing the great potentials social media marketing offers. Recommendations are made for improvement.

Social Multimedia Computing: An Emerging Area of Research and Business for Films

2017 ◽  
Vol 12 (1) ◽  
pp. 31-47 ◽  
Author(s):  
Fernando Governo ◽  
Aurora A.C. Teixeira ◽  
Ana Margarida Brochado
Keyword(s):  
Social Media ◽  
Business Model ◽  
Business Models ◽  
Film Industry ◽  
Social Activity ◽  
Multimedia Computing ◽  
Social Multimedia ◽  
New Business ◽  
Social Media Platforms ◽  
Over The Top

We survey and analyze the relationship between ‘social media’ landscape and the ‘over-the-top’ film industry and provide a new market overview of how distinctive media platforms are leveraging each other features as part of their business model. With an elevated penetration of mass-market over the top (OTT) services and coexistence of several business models and value chains that need to be proven, our findings suggest that new entrants, to stand apart, will have to experiment new business models and with multimedia integration of content and services; and, unless they establish new niche services to communities of interest it will be difficult for them to differentiate their offerings and survive. Developing a social content network that connects people socially through films can offer media entrepreneurs and the ‘world film’ industry with a stable business model and a new window of opportunity in their competition for market share. By clarifying the boundaries and affordances of distinct OTT and social media platforms, the present research sustains that coupling video streaming and social networking is the future. It further bears that social multimedia computing should be used to capture and leverage the social activity and interaction of users in order to understand the drivers and trends in the film industry. Finally, it provides a direction for online world films.

scholarly journals PRODUKSI KONTEN VISUAL DAN AUDIOVISUAL MEDIA SOSIAL LEMBAGA SENSOR FILM

Jurnal Common ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 39-55
Author(s):  
Naurah Thifalia ◽  
Santi Susanti
Keyword(s):  
Social Media ◽  
Film Industry ◽  
Secondary Data ◽  
Negative Effects ◽  
The Public ◽  
Sensor Film ◽  
Study Approach ◽  
Film Censorship ◽  
Social Media Platforms

Indonesian Film Censorship Institution (Lembaga Sensor Film/LSF) uses the existence of social media to increase public knowledge about the LSF's role in the world of Indonesian cinema. As a government agency, LSF uses social media to share, increase public participation, collaboration, and assume the risk of fake news. Through social media, LSF intends to build an image, and educate the public to protect against the negative effects of film and promote the Indonesian film industry. This research reveals the content production on social media platforms used by the Film Censorship Institution (LSF) to convey information to the public. This study uses a qualitative method with a case study approach. Interviews, observation used to collect data, while literature review, and documents relevant to the research used as secondary data. Data analyzed using interactive data analysis techniques from Miles & Huberman. The results showed LSF uses Instagram, Facebook, and Twitter to convey visual and audiovisual information to the public. The visual content produces in four stages, ideas, visualization, revision, and final artwork (publication). The audiovisual content organizes in three stages, pre-production, production, and post-production. Changes in social media content increased LSF's Instagram, Twitter, and Facebook followers in six months. Keywords: content, social media, visual, audiovisual, film industry.

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.

The analysis of “Gels” in polymer films

1989 ◽  
Vol 47 ◽  
pp. 362-363
Author(s):  
G. M. Brown ◽  
D. F. Brown ◽  
J. H. Butler
Keyword(s):  
Molecular Weight ◽  
Film Industry ◽  
Local Stress ◽  
Melt Index ◽  
Polyethylene Films ◽  
Crosslinked Polymer ◽  
Polymeric Gels ◽  
Mineral Particles ◽  
Polymeric Species ◽  
Special Concern

The term “gel”, in the jargon of the plastics film industry, may refer to any inclusion that produces a visible artifact in a polymeric film. Although they can occur in any plastic product, gels are a principle concern in films where they detract from the cosmetic appearance of the product and may compromise its mechanical strength by acting as local stress concentrators. Many film gels are small spheres or ellipsoids less than one millimeter in diameter whereas other gels are fusiform-shaped and may reach several centimeters in length. The actual composition of gel inclusions may vary from miscellaneous inorganics (i.e. glass and mineral particles) and processing additives to heavily oxidized, charred or crosslinked polymer. The most commonly observed gels contain polymer differing from the bulk of the sample in its melt viscosity, density or molecular weight.Polymeric gels are a special concern in polyethylene films. Over the years and with the examination of a variety of these samples three predominant polymeric species have been observed: density gels which have different crystallinity than the film; melt-index gels in which the molecular weight is different than the film and crosslinked gels which are comprised of crosslinked polyethylene.

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