scholarly journals Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training

2021 ◽  
Vol 9 (1) ◽  
pp. 1-13
Author(s):  
Murat Akser
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Slow Recovery ◽  
Diversity And Inclusion ◽  
Film Distribution ◽  
Policy Alternatives ◽  
Global Pandemic ◽  
Film Education ◽  
And Training

This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.

scholarly journals Cinema, Life and Other Viruses: The Future of Filmmaking, Film Education and Film Studies in the Age of Covid-19 Pandemic

2020 ◽  
Vol 8 (2) ◽  
pp. 1-13
Author(s):  
Murat Akser
Keyword(s):  
Film Studies ◽  
Film Distribution ◽  
Global Pandemic ◽  
Film Education ◽  
The Future ◽  
Production And Distribution ◽  
Streaming Services ◽  
Film Productions

This issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. Ne reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.

scholarly journals Film education pedagogy in Nigeria: A nation-specific approach to a non-Western university curriculum

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Lani Akande
Keyword(s):  
Indigenous Knowledge ◽  
Film Studies ◽  
Film Industry ◽  
Specific Approach ◽  
Post Secondary ◽  
University Curriculum ◽  
Film Education ◽  
Close Relationship ◽  
Definition Of

Examining the pedagogy of Nigeria’s post-secondary film studies, this paper joins the call against the universalization of film studies practices under a Westernized umbrella. To make that argument, it implicates issues of (neo)colonialism and indigenous knowledge-making processes in the analysis of Nigeria’s film studies, taking into account the close relationship between Nigeria’s film education and the local film industry, Nollywood. Calling on criticisms advocating for alternative ways for engaging with the practice of film studies ( Irobi, 2014 ; Chambers, 2018 ; Redfern, 2014 ), the paper sets out to help reinforce the definition of the global by its many diverse and constitutive parts.

How Can the Living Ties be Severed in the Field of Culture

2020 ◽  
Vol 29 (3) ◽  
pp. 108-129
Author(s):  
Irina Kitova
Keyword(s):  
Film Studies ◽  
Scientific Revolutions ◽  
Film Distribution ◽  
Structure Of Scientific Revolutions ◽  
Cultural Field ◽  
The Arts ◽  
Film Education ◽  
History Of ◽  
Cultural Functions ◽  
The Ideal

In this paper we will try to apply Kuhn’s views on the structure of scientific revolutions in the field of culture and film art. We will try to find to what extent we can apply or reject such understandings of the field of culture, even if only in the strictly national dimensions of a cultural phenomenon. By tracking the development of the film art and industry through the changes they cause or the cultural functions they perform, we can verify whether and to what extent the ideal in science is comparable to the ideal in the culture and the arts. We will also be looking for anomalies, non-functional paradigms and paradoxes, which could influence not only the development of culture in national context, but also the construction of the essential matter of the cultural field as a unique global phenomenon, the result of human activity, ideas and creativity.Through the history of building the first movie theater “Modern Theater” in Bulgaria, in 1908, the beginning and evolution of cinema as an art, a national cine-ma industry, film networks and film distribution, film studies and film education will trace the genesis of a new layer in the field of the Bulgarian national culture and the preconditions for its sustainability, significance and vitality.

Accessible Filmmaking and Media Accessibility

2020 ◽  
pp. 323-353
Author(s):  
Pablo Romero-Fresco
Keyword(s):  
Production Process ◽  
Film Studies ◽  
Film Industry ◽  
Theoretical Framework ◽  
Potential Solution ◽  
Creative Team

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. As a potential solution to this problem, accessible filmmaking (AFM) aims to integrate translation and accessibility into the production process through the collaboration between the creative team and the translator. This chapter outlines, firstly, the theoretical framework that underlies AFM, drawing on both translation/media accessibility and film studies and incorporating the notion of the global film. It then reviews the application of AFM in the filmmaking industry through the collaboration between accessible filmmakers and directors of translation and access. Finally, it introduces a new engagement-based approach to media accessibility that has resulted from AFM and compares it to the comprehension-based approach that has traditionally been used in this area.

ACTUAL ISSUES OF PUBLIC POLICY IN THE FIELD OF CINEMATOGRAPHY

2021 ◽  
pp. 32-40
Author(s):  
Aigerim MANAKBAYEVA ◽  
Serik SEIDUMANOV
Keyword(s):  
Public Administration ◽  
State Policy ◽  
Film Industry ◽  
Private Companies ◽  
The Public ◽  
Discursive Analysis ◽  
Current State ◽  
Global Pandemic ◽  
Common Task ◽  
Important Direction

Cinematography is one of the least studied and emerging areas of research in public administration. The main principles of state policy in the field of cinema are support for domestic cinema and providing access to Kazakhstani film products. The purpose of the article is to analyze the topical problems of domestic cinematography, taking into account the principles of state policy in the field of cinematography. The methodological basis of the research is based on scientific works on the issues under consideration, regulatory legal acts. The work used the official statistics of services in the field of cinema. A factorial analysis of the current state of the film industry was carried out using the analytical tool PEST-analysis. In addition, a discursive analysis of the representation of ideas of state policy in modern Kazakhstani cinema was carried out. Modern Kazakhstani films of the last 10 years were considered as additional materials. The study showed that the support of national films is an important direction in the public administration in the field of cinematography. Socially significant films have non-commercial, spiritual and artistic value. Financial profit belongs to commercial films of private companies. The sharp decline in industry statistics confirms that the global pandemic in 2020 was a tough time for the film industry. Further development of the industry should be a common task not only of the state, but also of all interested parties.

The Future of Tourism, Hospitality and Events Teaching and Training

2020 ◽  
Author(s):  
Clare Lade ◽  
Paul Strickland ◽  
Elspeth Frew ◽  
Paul Willard ◽  
Sandra Cherro Osorio ◽  
...  
Keyword(s):  
Online Education ◽  
Potential Application ◽  
Teaching And Learning ◽  
Online Courses ◽  
Massive Open Online Courses ◽  
Massive Open Online ◽  
Global Pandemic ◽  
The World ◽  
The Impact ◽  
And Training

This chapter examines the ways in which teaching and training in tourism, hospitality and events have evolved and adapted to the contemporary demands of academia and industry. It explores the development of education in tourism, hospitality and events, the contemporary factors which influence teaching and learning, and discusses the rise of Massive Open Online Courses with a particular focus on their potential application within tourism, hospitality and events curriculum. The chapter concludes by providing an overview of Open Badges and their importance in education. At the time of writing, the world has been confronted by the Covid-19 global pandemic which has caused great disruption at all levels. The impact of Covid-19 is briefly addressed in this chapter as the enforcement of social distancing measures has led to a significant increase globally in online education.

Diversity and data: an ontology of race and ethnicity in the British Film Institute’s Diversity Standards

2020 ◽  
pp. 016344372096092
Author(s):  
Clive James Nwonka
Keyword(s):  
Race And Ethnicity ◽  
Film Industry ◽  
Racial Diversity ◽  
Cross Sectional ◽  
Diversity And Inclusion ◽  
Film Productions ◽  
The Uk ◽  
Production Areas ◽  
The Impact

This article addresses the role of data in the analysis of racial diversity in the UK film industry. Due to the prolonged poor representation of racial difference, academic researchers increasingly identify the UK film sector as a particular site of multi-dimensional structural inequalities. This article will assess the impact of data-led interventions made by the UK film industry to increase the presence of BAME individuals within the sector. It will do this through an analysis of the policy approach of the UK’s lead body for film, the British Film Institute, examining how one major policy initiative, the BFI’s Diversity Standards launched in 2016 as an industry intervention into prevailing sector inequalities, has sought to achieve racial diversity and inclusion across its Film Fund-supported film productions between 2016 and 2019. Analysing cross-sectional data from 235 films which is aggregated across differing film genres, budgets and regions, the study assesses how the outcomes of the Diversity Standards have offered a representation of racial diversity across these production areas.

Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry.

Servis plus ◽  
2015 ◽  
Vol 9 (4) ◽  
pp. 17-26
Author(s):  
Марина Косинова ◽  
Marina Kosinova ◽  
Артур Аракелян ◽  
Artur Arakelyan
Keyword(s):  
Rural Areas ◽  
Film Industry ◽  
Operation Mode ◽  
Color Film ◽  
Qualitative And Quantitative ◽  
Artistic Value ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema

In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in 1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957, and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from films increased annually in largely through the construction and commissioning of new cinemas, and due to the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly centralized administrative-command system which had been formed in the 1930s continued to operate until the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films. Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.

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