From Indie to Mainstream

2019 ◽  
pp. 51-82
Author(s):  
Thomas Barker
Keyword(s):  
Film Industry ◽  
Dominant Mode ◽  
Creative Work ◽  
Feature Film ◽  
New Generation ◽  
Over Time ◽  
Mode Of Production

New creative work began to appear in the 1990s through television culminating in the breakthrough feature film Kuldesak (1998). It became the watershed for a new generation of young Indonesians to make their own films, often through an indie philosophy. At first being indie and independent were important values, but over time and with the regularisation of production, the need for consistent capital meant more filmmakers turned to big production companies for capital. A new accommodation between creativity and capital has become the dominant mode of production in the post-1998 film industry.

How Has the Field of Middle East Studies Changed in the Last Five Years? An IJMES Retrospective

2010 ◽  
Vol 42 (1) ◽  
pp. 3-5
Author(s):  
Judith E. Tucker
Keyword(s):  
Middle East ◽  
Editorial Office ◽  
Creative Work ◽  
Critical Engagement ◽  
Per Se ◽  
New Generation ◽  
Middle East Studies ◽  
Over Time

As editor of IJMES from 2004 to 2009, I spent the last five years in the catbird seat of Middle East studies, where I had the privilege of reading well over 500 article submissions that flowed into the editorial office, some 100 of which were ultimately destined for publication. I characterize the experience as very gratifying on the whole; ours is a field that has attracted talented and skilled scholars who are doing some very creative work—this is not a change per se, although it can be argued that we have a new generation involved in increasingly more theoretically informed projects. Have there been other, more tangible, developments in the field as reflected in submissions to IJMES? I mention four trends I have spotted over time that may suggest some of the recent shifts—in region, topic, scope, and critical engagement—in research foci.

scholarly journals The Other Sex of Polish Cinema. The Contribution of Female Filmmakers to Feature Film Production in the People’s Republic of Poland

Panoptikum ◽  
2020 ◽  
pp. 24-42
Author(s):  
Monika Talarczyk
Keyword(s):  
Quantitative Research ◽  
Film Industry ◽  
Creative Work ◽  
Film Production ◽  
Feature Film ◽  
Production Studies ◽  
Feature Films ◽  
Production Manager ◽  
Assistant Director ◽  
Female Filmmakers

The paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work.

scholarly journals Reinventing Nollywood: The impact of online funding and distribution on Nigerian cinema

2017 ◽  
Vol 25 (3) ◽  
pp. 466-478
Author(s):  
Ugo Ben Ebelebe
Keyword(s):  
Digital Media ◽  
Film Industry ◽  
Global Marketplace ◽  
Production And Distribution ◽  
Nigerian Film ◽  
New Generation ◽  
Film Making ◽  
The Impact ◽  
Depth Interviews ◽  
Mode Of Production

The Nigerian film industry, often referred to as Nollywood, is currently experiencing significant transformations in its mode of production and distribution. These far-reaching transformations are driven by tech-savvy Nigerian film-makers who are willing to consider innovative models in the film-making practice – from crowdfunding to content distribution via online platforms – in their effort to become relevant in the changing digital global marketplace. Drawing on pertinent case studies and in-depth interviews with stakeholders in the Nigerian film industry, this article suggests that advances in digital technologies, such as the Internet and digital media, are creating new ways for new-generation film-makers in Nigeria to fund and circulate their creative work to a vast global audience.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

scholarly journals Road Maintenance in Africa: Approaches and Perspectives

2018 ◽  
Vol 38 ◽  
pp. 01005
Author(s):  
Mostafa Hassan M
Keyword(s):  
Rural Communities ◽  
Dominant Mode ◽  
Poor Health ◽  
Operating Costs ◽  
Road Maintenance ◽  
Significant Progress ◽  
African Countries ◽  
Institutional Reforms ◽  
Similarities And Differences ◽  
Over Time

In Africa, roads are the dominant mode of passenger and freight transport, for which the need is growing rapidly. It is noticeable that most of the African countries do not do enough to ensure the sustainability of road infrastructure as it has been widely reported that roads are affected, to varying degrees, by premature deterioration. Most of the African countries have adopted institutional reforms, notably entailing the creation of road funds and road agencies, and made significant progress on road maintenance. However, many challenges remain to be addressed in all of them to ensure appropriate maintenance. Although spending on road maintenance has increased over time in all African countries it remains insufficient to cover the needs. Poorly maintained roads constrain mobility, significantly raise vehicle operating costs, increase accident rates and their associated human and property costs, and aggravate isolation, poverty, poor health, and illiteracy in rural communities. This paper focuses, in particular, on road maintenance in some African countries considering types of road maintenance and the different approaches aiming at a comparison to reflect on similarities and differences.

The Doctrines of Specification and Accession: Potential Bases for Legal Ownership through Labor?

1983 ◽  
Vol 4 (1) ◽  
pp. 1-17
Author(s):  
Melissa A. Barker
Keyword(s):  
Case Law ◽  
Dominant Mode ◽  
Legal Basis ◽  
Collective Ownership ◽  
Legal Relationship ◽  
American Case ◽  
Ownership Rights ◽  
Mode Of Production ◽  
Composition Of Products ◽  
Means Of Production

This paper explores the viability of the doctrines of accession and specification as potential sources of a historical-legal basis for ownership rights accruing to labor by recognizing its unique capacity to create value. Focusing on examples from American case law, the origin and development of these doctrines are documented. The changes in these doctrines, from their first appearance in the early civil law or Code of Justinian to the present, often reflect the historic changes in the composition of products, the legal relationship between labor and capital and the changes in the dominant mode of production. The purpose of this inquiry is to determine if a legal rationale exists which justifies collective ownership of the means of production.

The Fall of Balmaceda and Public Finance in Chile: New Data for an Old Debate

1982 ◽  
Vol 24 (4) ◽  
pp. 421-460 ◽  
Author(s):  
John R. Bowman ◽  
Michael Wallerstein
Keyword(s):  
Public Finance ◽  
Economic Development ◽  
Latin America ◽  
Discrete Event ◽  
Political Stability ◽  
Parliamentary System ◽  
Presidential System ◽  
The Subject ◽  
New Generation ◽  
Over Time

The 1891 civil war that led to the downfall of President José Manuel Balmaceda is without doubt one of the most visible episodes of Chilean history. Already the subject of a voluminous bibliography by 1894 (Echeverría y Reyes, 1894), the “revolution's” importance to historians of Chile actually increased over time as a new generation of scholars came to view it not merely as a discrete event of limited intrinsic interest but as an important key to understanding Chile's subsequent political and economic development. In retrospect, the conflict came to be seen as a “crucial watershed” in Chilean history (Blakemore, 1974: 243), marking the replacement of a presidential system—1833-1891—notable in nineteenth-century Latin America for political stability, by a parliamentary system—1891-1924—notorious for political and monetary disorder.

scholarly journals ‘Pungent Sex’ and ‘Room at the Bottom’: Reframing British Exploitation Films of the 1960s

2014 ◽  
Vol 6 (4) ◽  
Author(s):  
Michael Ahmed
Keyword(s):  
Film Industry ◽  
Early American ◽  
Cultural Currency ◽  
Production Distribution ◽  
British Cinema ◽  
Exploitation Films ◽  
Exploitation Film ◽  
The 1960S ◽  
Exhibition Strategies ◽  
Mode Of Production

Eric Schaefer, in his exploration of the American exploitation industry, has argued that exploitation cinema developed in opposition to mainstream Hollywood products. Furthermore, the topics and subject matter presented in early American exploitation films dealt with subjects Hollywood were unwilling to produce. As a result, the production, distribution and exhibition strategies developed by exploitation filmmakers differed markedly from the American mainstream film industry. However, in Britain (amongst critics and scholars) the exploitation film has no similar defining characteristics and is a term that has been applied to a wide variety of British films without regard to their industrial mode of production, distribution or exhibition. As a result, the cultural currency of the British exploitation film, as it is now understood, has no connection to the films they now describe, and often fails to take into account how these films were originally produced, marketed, distributed and exhibited. In the British film industry during the 1960s, the term ‘exploitation’ was used by the industry to refer to a wide variety of films which are now viewed differently by contemporary critics and academics. In other words, the currency of the term exploitation has changed from its original meaning. Therefore, this article is an attempt to reframe the debate around the meaning of the British exploitation film from the 1960s onwards, and to re-evaluate our understanding of the development of British cinema during this period.

scholarly journals ‘That’s My Stuff’: Pasifika Literature and Pasifika Identity

2021 ◽  
Author(s):  
◽  
Courtney Wilson
Keyword(s):  
New Zealand ◽  
Significant Contribution ◽  
Mixed Race ◽  
Creative Work ◽  
Dynamic Field ◽  
Award Winning ◽  
New Directions ◽  
New Generation ◽  
The Relationship

<p>Pasifika literature is an expanding, dynamic field which, like other Pasifika creative productions, is often seen as representative of exciting new directions, and reflective of a nascent generation of young Pasifika who are firmly established in New Zealand. This thesis considers the relationship between Pasifika literature and Pasifika identity, tracing some ways that Pasifika literature articulates, references, and mediates Pasifika identity through the creative work of two prominent New Zealand-born Pacific scholar-poets: Karlo Mila (Tongan, Palangi, Samoan) and Selina Tusitala Marsh (Samoan, Tuvaluan, French, English). Both these women are highly acclaimed, award winning poets and academics who are well respected in their respective Pacific communities. Reading their creative works firstly as examples of a mixed-race Pasifika literature and then as Pasifika feminist texts offers compelling insights into their worlds as young ‘brown’ women in New Zealand. Their work makes a significant contribution to Pacific literature and New Zealand literature, and offers many points of entry for exploring what it might mean to be a Pasifika person in Aotearoa today. This work is furthered in a final chapter, which gestures towards a new generation of Pasifika writers. By referencing some of the new writing being produced by young Pasifika, in particular the work of Grace Taylor and Courtney Sina Meredith, I illustrate how Mila and Marsh’s writing has opened up necessary creative spaces for Pasifika voices to be heard and their senses of identity to be affirmed. Ultimately, the connections between Pasifika literature and Pasifika identities that have been explored in this thesis continue to be strengthened and developed by a new generation of young Pasifika writers, who continue to affirm identities that are fluid, open, and progressive.</p>

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