Producing an Oligopoly

2019 ◽  
pp. 165-181
Author(s):  
Thomas Barker
Keyword(s):  
Film Industry ◽  
New Order ◽  
Film Production ◽  
Television Production ◽  
The 1960S

Even with the entry of new filmmakers, production companies, and investors, the Indonesian film industry remains dominated by an oligopoly of old producers. In identifying this group, this chapter traces their connections back to the 1960s and their consolidation throughout the New Order. With significant presence in television production, these producers are both now wealthy and well-connected, allowing them to reassert themselves in the reformed post-1998 film industry. Largescale capital has been important to the systemisation of film production for the mainstream market but speaks to the legacy structures of the New Order.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

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.

scholarly journals Zrównoważona produkcja filmowa w Polsce. Geneza i perspektywy

2021 ◽  
Vol 22 (3) ◽  
pp. 365-383
Author(s):  
Anna Wróblewska
Keyword(s):  
Carbon Dioxide ◽  
Carbon Dioxide Emissions ◽  
Film Studies ◽  
Film Industry ◽  
The United States ◽  
Film Production ◽  
Global Context ◽  
Television Production ◽  
Film And Television ◽  
Waste Production

Sustainable Film Production in Poland. The Origin and Prospects The 21st century has seen a growing awareness of the serious impact of film and television production on the natural environment. The film industry pollutes our environment in many ways, including carbon dioxide emissions, waste production, and energy and water consumption. The initiatives for sustainable development undertaken in many sectors of the economy have also reached the film industry. In Europe and the United States, various organisations and institutions have developed a number of recommendations in the field of sustainable film production. This paper, set in the film studies trend known as production culture, presents the global context as well as the nascent Polish practices of green filming. These initiatives, based on European examples, have so far been mainly bottom-up and dispersed or in the form of non-binding recommendations. The handful of producers and authors who have undertaken them are not in any way encouraged to be eco-friendly. Driven by their concern for the environment, however, they show the forward-looking way of thinking that should be followed by the entire industry.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Film Production and Consumption in Contemporary Taiwan

2016 ◽  
Author(s):  
Ya-Feng Mon
Keyword(s):  
Film Industry ◽  
Sensory Experience ◽  
Media Convergence ◽  
Film Production ◽  
Production And Consumption ◽  
And Control ◽  
Depth Interviews

This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.

Auteurism, Machismo-Leninismo, and Other Issues

2018 ◽  
Vol 4 (1) ◽  
pp. 11-36 ◽  
Author(s):  
Isabel Seguí
Keyword(s):  
Entire Range ◽  
Driving Factors ◽  
Personal Relationships ◽  
Women Filmmakers ◽  
Film Production ◽  
Women's Labor ◽  
Political Cinema ◽  
Production Practices ◽  
The 1960S ◽  
Shed Light

This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian María Barea—mainly in their roles as film producers and managers of small producing companies, but also as directors. In order to effectively incorporate women into Andean cinema history, I advocate for a nonhierarchical historiographical methodology and the academic consideration of personal relationships as one of the driving factors in artisanal political production cultures. A non-auteurist approach to unearthing Andean women filmmakers is central to this revisionist project that aims to shed light on an entire range of women's labor in collaborative film production, not only directorial work.

scholarly journals Scene, Aesthetics and Industry Chain: Postmodern Cultural Thinking of Films in 5G Era

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
Post Modernism ◽  
The Way ◽  
Film Aesthetics

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

scholarly journals Spotlight on Challenges and Prospect of Directing in Nollywood: A Decade’s Study (2006-2016)

2021 ◽  
Vol 21 (4) ◽  
pp. 100-117
Author(s):  
Kingsley Chukwuemeka Anyira ◽  
Divine Sheriff Uchenna Joe
Keyword(s):  
Survey Research ◽  
Research Method ◽  
Film Industry ◽  
Film Production ◽  
View Point ◽  
Data Collation

The art of video film directing is all encompassing as the director deals with virtually all aspects of film production. This comes with herculean challenges that tend to mar the efforts of directors if not properly addressed. Film scholars cum critics have done a lot of work investing the challenges of the Nigerian Video Film industry with little or no effort to directly ascertain the peculiar challenges of each sector of the industry. To this effect, the paper seeks to source from the directors what these challenges have been over the decade in view and as well through the affected, proffer plausible suppositions asmeasure to ameliorate the identified challenges. In doing so, this paper adopts the view point that the director is the author of the film and thus engages the Survey research method wherein Personal interviews are employed as data collation tool and later analyzed with inferences made from the responses. Conclusively, it anchors on the directors’ views of possible ways to improve/enhance the director’s art in future productions.

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.

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