Treatment of Plurilectalism in Ousmane Sembène’s Camp de Thiaroye and Campo Thiaroye: Between Omission and Adaptation

The focus of the present study is the comparison between the feature film Camp de Thiaroye (1987) and its Italian version (IV) (1988), from the point of view of a phenomenon treated in the screenplay: plurilingualism and linguistic variations. Comparison of the dialogues of the original version (OV) and the IV shows the omission of some languages in the OV, subtitled in the IV instead. Also, the ‘français tiralleur’ speech was well adapted in the IV, suggesting a better adherence of the IV to the political-aesthetic programme of Sembène.

Ipar Haizearen Erronka: A boat trip from the Basque Country to Newfoundland

The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth century. Typically, Basque live action movies in the 80s would recreate foreign locations with nearby settings. Ipar Haizearen Erronka avoids this problem by showing America through drawings. In this paper, we will use the movie Ipar Haizearen Erronka to interpret how animation uses backgrounds and objects to represent a voyage across the Atlantic Ocean and determine the realistic accuracy of the social and historical moments represented in the movie. We will also see how this journey embodies the characteristics of the literary genre of Bildungsroman, as well as the narrative structures pointed out by Vladimir Propp’s folktale and Joseph Campbell's monomyth. The study also focuses on how the film depicts the most representative characteristics of the journey, and how they are used as filming narrative resources. A closer look will be taken into the main vessels, the captain's logbook, the map, the historical context of the sailing of the ship, the maritime laws where sexism is abundant, the financing of the trip, and the work on board.

Locating the Storyteller in Silent Waters: Sabiha Sumar’s Cinematic Tale of Shared Histories and Divided Identities

In her multi award-winning feature film Silent Waters (2003), Pakistani woman filmmaker Sabiha Sumar connects the socio-political traumas of the Partition of India and creation of Pakistan (1947) with the onset of military dictator General Zia-ul-Haq’s Islamization period (1977-1988) in Pakistan. Presenting a story based on real-life events, the film focuses on the impact of religious fundamentalism and nationalism on women in particular. Examining Silent Waters as an example of “history on film/film on history” (Rosenstone 2013), and film as an “agent, product, and source of history” (Ferro 1983), the discussion identifies and analyzes the filmmaker’s own tacitly embedded location and participation in the filmic narrative as an experiential ‘auto/bio-historiographer’, arguing for the value of this new paradigm in Cinema Studies.

An Annotated Bibliography on Screenwriting Manuals between 2000-2020 that aid in Character Development

<p>The New Zealand Film Commission (NZFC) is the government organisation that finances films. The NZFC agrees with many screenwriting authors that the most common problems with scripts relate to character development (Batty, 2011, p. 45; Frayne, 2019; Nelmes, 2010, p. 202; NZFC Scriptwriting, 2020). Therefore, a screenwriter needs resources to overcome character development problems in their scripts. However, there are too many screenwriting manuals in publication. Also, an inexperienced amateur screenwriter may not know which manuals would solve their particular character development problems. In this annotated bibliography, the screenwriter is the author responsible for developing the script. Furthermore, the script serves as a guideline to producing media content: feature film, short film, videogames, radio-play, television (Field, 2005, p. 19; Gallo, 2012a, Chapter 2; Nannicelli, 2013, pp. 11–18). On account of this, this annotated bibliography will focus mainly on screenwriting manuals dealing with feature film scripts. Feature film scripts are 90 minutes or longer in duration (Field, 2005, p. 22). Additionally, since a script encompasses story and character elements, this annotated bibliography will focus only on character development.</p>

An Annotated Bibliography on Screenwriting Manuals between 2000-2020 that aid in Character Development

<p>The New Zealand Film Commission (NZFC) is the government organisation that finances films. The NZFC agrees with many screenwriting authors that the most common problems with scripts relate to character development (Batty, 2011, p. 45; Frayne, 2019; Nelmes, 2010, p. 202; NZFC Scriptwriting, 2020). Therefore, a screenwriter needs resources to overcome character development problems in their scripts. However, there are too many screenwriting manuals in publication. Also, an inexperienced amateur screenwriter may not know which manuals would solve their particular character development problems. In this annotated bibliography, the screenwriter is the author responsible for developing the script. Furthermore, the script serves as a guideline to producing media content: feature film, short film, videogames, radio-play, television (Field, 2005, p. 19; Gallo, 2012a, Chapter 2; Nannicelli, 2013, pp. 11–18). On account of this, this annotated bibliography will focus mainly on screenwriting manuals dealing with feature film scripts. Feature film scripts are 90 minutes or longer in duration (Field, 2005, p. 22). Additionally, since a script encompasses story and character elements, this annotated bibliography will focus only on character development.</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>

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>

UTICAJ AUTORSKOG PRAVA I PRAVA KONKURENCIJE NA ZAČETKE I USPON AMERIČKE FILMSKE INDUSTRIJE

In the period prior to the inclusion of motion pictures in copyright law in 1912, film producers had built their businesses on copying each other's films. Film pioneers were inventors, holders of patents right on equipment who did not perceive motion pictures as art, but as a scientific experiment. With the increasing growth of new media, protection of piracy became necessary. The Sherman Act of 1890 was the first Federal antitrust act. However, at the beginning it did not outlaw monopolistic business practices of film producers, which gave a major contribution to the formation and rise of Edison's trust and later, the Independent producers as well. During the First World War feature film became a standard in the film industry. Progresive increase of costs of production determined the decline of the European film industry, which could not catch up to US dominance.