Analysis of Budapest as a Film Tourism Destination

The Hungarian film industry has undergone a huge change recently, becoming a pull sector and repositioning the country in Europe. The economic performance of Budapest's film industry is growing steadily, which has also been facilitated by the strategic steps of recent years, making the capital a key player on the film map of Europe. In the case of Budapest, the diversity of the city is clearly outlined, as it primarily serves as a backdrop for various film productions. Using primary and secondary sources, the research focuses on the supply elements of film tourism in Budapest and the changes in the economic environment affecting the film industry. In the analysis, different types of film tourism are explored through interviews with the actors of film tourism. The research seeks to highlight factors that can boost film tourism in Budapest and make the city even more prominent on the film map of Europe.

The Trans/national Cultural Economy of Latin American Film Musicals (1930s-50s)

This essay traces the tensions between national imaginaries and transnational global media flows of tango, samba, and ranchera film musicals, taking into account their cross-media and intercultural configurations as well as interconnections between these three “transgenres.” From a comparative perspective and by means of a “histoire croisée,” or crisscrossing history, it touches upon developments in early Latin American sound film, Hollywood’s Spanishlanguage films and its Pan-Americanism, Spain’s cinematic Hispanoamericanismo, and Pan-Latin American film productions. The essay makes a case for the multifaceted trans/national cultural economy of the tango, samba, and ranchera film musical productions during their main phase, in the 1930s and 40s.

Representations of Racial Minorities in Popular Movies: A Content-Analytic Synergy of Computer Vision and Network Science

In the Hollywood film industry, racial minorities remain underrepresented. Characters from racially underrepresented groups receive less screen time, fewer central story positions, and frequently inherit plotlines, motivations, and actions that are primarily driven by White characters. Currently, there are no clearly defined, standardized, and scalable metrics for taking stock of racial minorities’ cinematographic representation. In this paper, we combine methodological tools from computer vision and network science to develop a content analytic framework for identifying visual and structural racial biases in film productions. We apply our approach on a set of 89 popular, full-length movies, demonstrating that this method provides a scalable examination of racial inclusion in film production and predicts movie performance. We integrate our method into larger theoretical discussions on audiences’ perception of racial minorities and illuminate future research trajectories towards the computational assessment of racial biases in audiovisual narratives.

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand. The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand. This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand. The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand. This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand. The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand. This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand. The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand. This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

IMPACT OF SOCIO-CULTURAL TRANSFORMATION IN THE COMMUNICATIVE DESIGN IN GALICIA

The development of information and communication technologies has determined their spreading in the design of the visual information environment of human activity. This was the main reason for this research — the search for the starting points of the communicative design in Galicia as the phenomenon of artistic-project culture and examining it. The methodological basis of the paper includes interdisciplinary and system approaches in solving the assigned tasks. The comparative historical analysis and the culturological method has been used to analyze socio-cultural processes in Galicia. This paper analyzes the historical and socio-cultural preconditions for the formation and development of design in Galicia. This paper observed that public organizations, industrial committees, associations, educational and cultural societies have a salience role in improving the design of industrial products. The graphic design of printing products, advertising style, photo, and film productions models the communication characteristics and identity of the graphic design objects. The result of the probability of design in Galicia was obvious due to the activity of artists, whose graphic design works created harmonious communicative encirclement of human activity. The complexity of the language of European aesthetics and the sources of national creativity of the Galician masters constituted the paradigmatic basis of communication design. An integral communicative and multifaceted process in the context of socio-cultural transformation consolidated the phenomenon of formation and development of design in Galicia..

Content characterization of Latin American film productions on Netflix: a Bolivian perspective

We study international film flows between Bolivia and Latin America to explore the lack of Bolivian content on Netflix and its limited presence in other SVOD platforms. We characterize Netflix originals, third-party content, and recent Bolivian films, and develop a thematic analysis of their synopsis and genre description, completed with the results of a survey on the Bolivian consumption of streaming content. We identify common patterns in Netflix content and show how it differs from the more nationally minded Bolivian cinematic tradition. Our results point to a homogenizing effect SVOD platforms like Netflix might have on film productions.