Filmbeleid in Vlaanderen en Denemarken: een comparatieve analyse

2010 ◽  
Vol 38 (2) ◽  
Author(s):  
Gertjan sv Willems
Keyword(s):  
Comparative Analysis ◽  
Support System ◽  
Film Festivals ◽  
Policy Documents ◽  
Feature Film ◽  
Feature Films ◽  
Direct Support ◽  
Structural Differences ◽  
Contemporary Film ◽  
Film Policy

A comparative analysis of contemporary film policy in Flanders and Denmark A comparative analysis of contemporary film policy in Flanders and Denmark Flanders and Denmark are highly comparable regions, particularly regarding their film sectors, which makes it interesting to compare their success and to take a closer look at the policy towards feature film support in both regions. This research focuses on the year 2007 and is based on an analysis of film policy documents and facts and figures about the Flemish and Danish film sectors.It turns out that the Danish government allocates much more money to the direct support of feature films than the Flemish government does. In addition, there are some important structural differences in their film policies. While Denmark chooses to support artistic and commercial films via separate support systems, Flanders has one support system for both types of film. Regarding the success of the films, we see that Danish films attracted a bigger domestic audience and won twice as many prizes on international film festivals than Flemish films.

scholarly journals Netflix fictional feature film originals: an analysis of release strategies

2021 ◽  
pp. 125-139
Author(s):  
Antoni Roig ◽  
Judith Clares-Gavilán ◽  
Jordi Sánchez-Navarro
Keyword(s):  
Science Fiction ◽  
Film Industry ◽  
Extensive Literature ◽  
Film Festivals ◽  
Feature Film ◽  
Case Examples ◽  
Feature Films ◽  
Production And Distribution ◽  
English Speaking ◽  
Micro Level

This article offers an analysis of the strategies behind the release of original Netflix fictional feature films. Even if there is an already extensive literature about the streaming giant, little academic attention has been devoted to the release strategies of feature film originals and its implications for film production and distribution. With this goal in mind, we have built a database of titles identifiable as original Netflix features between 2015 and 2018 (n=171), considering theatrical exhibition, festival presence, language, genre, release territories and involvement in production. We have contrasted this macro-level approach with a more micro-level analysis through specific case-examples, in order to consider the case-by-case particularities of the film industry. Per our results, (a) Netflix has combined consistent release methods with some contingent experiments based on trial and error; (b) the unfolding of these strategies is related to the company’s transnational identity and to the (c) goal of recognition according to established quality standards, like top film festivals or prestigious awards. Furthermore, the observed tendency towards capillary collaboration with local agents points to more potential diversity of catalogue titles and in some cases a greater international exposure of non-English speaking titles, even if circumscribed to popular genres like science-fiction, thriller or horror.

scholarly journals Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta

2019 ◽  
Author(s):  
Roksana Pilawska
Keyword(s):  
Comparative Analysis ◽  
Jane Austen ◽  
Film Adaptation ◽  
Pride And Prejudice ◽  
Feature Film ◽  
Research Material ◽  
New Form ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Audiovisual Presentation

Pilawska Roksana, Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta [Dirty (un)Romantic story. An Analysis of Aesthetic Aspects in the Film Adaptation of Pride and Prejudice Directed by Joe Wright]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 417–431. ISSN 1644-6763. DOI 10.14746/pt.2019.32.23. The aim of my study is to attempt a comparative analysis of the two most famous film adaptations of the bestselling novel by Jane Austen, Pride and Prejudice. As research material, I chose the mini-series produced by the BBC in 1995, which was part of the then popular trend of heritage films (heritage cinema) and the feature film from 2005, directed by Joe Wright, which, in the opinion of film experts, was a completely new form of audiovisual presentation of Austen’s work. In the article, I focus only on interpreting the aesthetic aspects of both productions, which would indicate similarities and differences, thus showing numerous shifts of emphasis in the aesthetic layer of the newer version.

Behind the money: Alejandro González Iñárritu as career director

2021 ◽  
Vol 18 (1) ◽  
pp. 9-18 ◽  
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.

Rob Roy: Britain’s First Feature Film

2018 ◽  
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.

scholarly journals The Evolution of Polish War Feature Films (1940-1980)

2018 ◽  
Vol 7 (4.38) ◽  
pp. 474
Author(s):  
Elena Shatova
Keyword(s):  
World War Ii ◽  
Cultural Development ◽  
World War ◽  
Feature Film ◽  
Modern Times ◽  
Feature Films ◽  
Spiritual Culture ◽  
Verification Methods ◽  
Sociocultural Processes

Introduction. The relevance of this study is explained by the rapid social and political homogenization of Europe; the “disclosure” of many documents indicative of sociocultural changes in Eastern Europe; an increasing chronological gap between the research subject and its researcher that enables to use scientific verification methods instead of ideologically “correct” paradigms.Methods. The methodological basis of this article is the principles of systematicity and objectivity. While conducting this research, the author also used genetic, typological, comparative, hermeneutic and semiotic methods.Results. Throughout the postwar history, Polish filmmakers were bringing stories about World War II to the silver screen. The concept of a war feature film also changed depending on the postwar development of Poland.Discussion. The necessary conditions for studying the evolution of Polish war feature films based on systematicity and objectivity are as follows: the analysis of the Polish sociocultural postwar development (periodization with distinguishing essential characteristics of each period); the determination of main trends in the development of spiritual culture as a part of sociocultural processes; the analysis of the state-party politics in the sphere of culture, art and cinema.Conclusion. Throughout the postwar development, Polish filmmakers were addressing the topic of war. Their attitude to war changed depending on the country’s socio-cultural development and the evolution of its spiritual culture. For instance, war feature films were the most prominent trend in the development of the Polish cinema in the second half of the 1940s and the first half of the 1950s. Between 1956 and 1960, the Polish Film School was established and was characterized by a high interest in war-related films (alongside other topics and problems represented in the cinema of that time). In the 1970s, war feature films were still relevant but gave way to flicks about modern times. In the 1980s, this topic “withdrew into the shadows” not only in cinematography but also in other artistic spheres. It was mostly used in films to better interpret other topics.  

scholarly journals Protest Leadership and Repertoire: A Comparative Analysis of Peasant Protest in Hunan in the 1990s

2013 ◽  
Vol 42 (2) ◽  
pp. 167-194 ◽  
Author(s):  
Wu Zhang
Keyword(s):  
Comparative Analysis ◽  
Communist Party ◽  
Education Level ◽  
Contemporary China ◽  
Policy Documents ◽  
Ethnographic Fieldwork ◽  
Peasant Protest ◽  
Party State ◽  
Local Party

Based on detailed ethnographic fieldwork, this paper compares two cases of peasant protest against heavy taxes and fees in a northern Hunan county in the 1990s. It argues that peasant protest did not arise spontaneously. Rather, it erupted when leaders emerged who used central policy documents on lowering peasant taxes and fees to mobilise peasants. Protest leaders were articulate and public-spirited peasants who had received political training from the local party-state. Furthermore, the number of leaders, their education level, and their relationship with the local party-state explain why the repertoire and the scope of the two protests varied. Protests led by less educated veteran Communist Party cadres tended to be milder and smaller than those led by better-educated peasants more distant from the local party-state. This paper helps us to understand the process of peasant mobilisation in contemporary China and explains why peasant protest varies across cases.

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