Blockbuster Era Research Articles

The Evolution of Film Genres: A Historical Analysis

Since its beginnings more than a century ago, cinema has undergone tremendous change as both an artistic medium and a cultural phenomenon. Changes and improvements to film genres are illustrative of this progression. looking back at the development of film genres from their inception all the way up to the current day. historical events, trends, and critical variables that have moulded cinematic genres. early film genres including silent comedies and melodramas emerged at this time, marking the beginning of cinema. Next, it explores how innovations in technology, such sound and colour, influenced the evolution of genres. Examining cinema history in chronological order, this study reveals pivotal epochs of experimentation and invention, such as the silent film era, the Hollywood musical heyday, and the blockbuster era.keywords:- Film Genres, Film History, Cinema Evolution, Genre Development, Silent Film Era, Sound in Film

The Evolution of Chinese Cinema in the New Century: From Martial Arts Classics to New Mainstream Blockbusters

This study explores the evolution of the new century film from martial arts to the new mainstream film blockbuster era. Firstly, the article reviews the heyday of martial arts films and their influence on film industry and culture. Then, it studies the transformation and evolution of martial arts films in the new century and the background of the rise of new mainstream films in this period. Subsequently, the article analyzes the characteristics and value orientation of the new mainstream blockbuster, as well as the fusion and difference between martial arts and the new mainstream. Furthermore, the audience and market performance of the two film styles and the influence of technological progress on martial arts and new mainstream films are studied. Finally, the article discusses the roles and challenges of directors and producers in the transformation of film style. This research reveals the evolution and diversification of the film industry in the new century, as well as the interaction and development between different film genres.

Randomized Controlled Trials Versus Real World Evidence: Neither Magic Nor Myth.

Compared with drugs from the blockbuster era, recently authorized drugs and those expected in the future present a heterogenous mix of chemicals, biologicals, and cell and gene therapies, a sizable fraction being for rare diseases, and even individualized treatments or individualized combinations. The shift in the nature of products entails secular trends for the definitions of “drugs” and “target population” and for clinical use and evidence generation. We discuss that the lessons learned from evidence generation for 20th century medicines may have limited relevance for 21st century medicines. We explain why the future is not about randomized controlled trials (RCTs) vs. real‐world evidence (RWE) but RCTs and RWE—not just for the assessment of safety but also of effectiveness. Finally, we highlight that, in the era of precision medicine, we may not be able to reliably describe some small treatment effects—either by way of RCTs or RWE.

Contemporary Transformations in the Global Pharmaceuticals Industry and Strategic Imperatives for Bangladesh Enterprises

Global pharmaceuticals industry is expected to reach $1.5 trillion by 2021 with a moderate growth of 4%-7% although it was almost 9% in the recent past (IMS, 2016). This changes in the regular growth projection is due to some basic transformation in this sector among which gradual reduction of blockbuster era, innovation crisis, requirement of high R&D investment, reduced health budget by many governments, emergence of biosimilars and traditional medicines, uneven price competition, drug approval stagnation, institutional buying, strict regulatory guidelines are important. Nevertheless, Bangladesh pharmaceuticals industry is now a promising global player with a domestic market size of $2 billion (BAPI, 2017). This sector is exporting medicines to 127 countries including USA, UK and other regulated countries with a global market capitalization of almost $ 82.11 million after meeting 98% of the local demands. The average growth in domestic and export markets are 15% and 24% respectively (The Daily Star, 2017 & BAPI, 2017). Although this industry seems to be very flourishing both in domestic and global market but it is highly dependent on other countries considering researches and technologies that would be major setbacks in the upcoming days. Therefore, this study illustrates the contemporary transforming in global pharmaceuticals industry & suggests some strategic imperatives for Bangladesh enterprises.

The Comics of Hergé: When the Lines Are Not So Clear ed. by Joe Sutliff Sanders, and: Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era by Drew Morton

The Comics of Hergé: When the Lines Are Not So Clear ed. by Joe Sutliff Sanders, and: Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era by Drew Morton

Whatever Happened to Drama? A Configurational–Comparative Analysis of Genre Trajectory in American Cinema, 1946–2013

Although usually conceived of and studied as individual types, genres are frequently combined in practice. This research examines how genres are combined in popular American films, and how the popularity of particular combinations changed between 1946 and 2013. Distinguishing between “contextual genres” (which identify a film's subject matter) and “affective genres” (which identify a film's intent), we find marked differences between the postwar and blockbuster eras of the Hollywood film industry. The blockbuster era exhibits less generic diversity than the earlier postwar era. Furthermore, the popular postwar-era films dealt with serious subjects and were set in realistic settings. The blockbuster era replaced these with intense, nonrealistic films. We also find that the relationship between contextual and affective genres changes within industry eras, with affective genres dominating at the beginning of new periods and the popularity of contextual genres growing as the period progresses.

Bye, bye blockbusters, hello niche busters

The year 1975 was a lucrative time for a great white shark named Bruce. A mechanical beast weighing 1.5 tonnes, Bruce was the star of Jaws , a movie that grossed US$260 million in the United States, ushering Hollywood into the summer blockbuster era. Like the movie industry, the pharmaceutical

‘Not the obstacle but the means’: Film history and the postmodern challenge

This article consists of two main parts. The first part provides a brief summary of the historico-philosophical debate between so-called modernist and postmodernist historians, before moving on to an investigation of how film historians have responded to the challenge posed by postmodern historiography. As it turns out, they have very rarely taken into account the epistemological issues raised by postmodern historians, possibly because the field of film history for so long was rather out of sync with most other kinds of history, relying as it did on anecdotal accounts of heroic individuals. Only after turning to methodical, archive-based research in the early 1980s could postmodern historiography become an issue, for presumably there has to be a body of accumulated knowledge to critique and be reflexive about in the first place. The second part of the article considers the possible practical consequences of postmodern historiography by looking at two competing accounts of the transition in American cinema in the late 1970s and early 1980s from the Hollywood renaissance to the blockbuster era. The two accounts are not postmodern, but I hope to suggest a different epistemological ideal from which to consider them that might be thought of as postmodern.

Le cinéma américain et le parc jurassique : technologie mystique

The American movie industry has undoubtedly lost a large part of its artistic creativity since the beginning of the blockbuster era in the seventies. No doubt Star Wars or Jaws were important movies, but they opened up for the industry an era in which the special effects, the overblown noisy soundtrack and the numerous (and often incoherent) action scenes have become a standard. The question is now to know if there is a way back for American cinema. But such a situation must not prevent an objective analysis of the technological fictions made in Hollywood, those films in which techonology becomes a subject (Jurassic Park) or a power (Mission : Impossible). From Close Encounters of the Third Kind to Jurassic Park, Steven Spielberg has been exploring the connections between technology and the mystical contact with otherwordly forms, the sublime emotion in front of a revelation, revisiting a traditional form of the Hollywood biblical or religious melodrama. Moreover, Jurassic Park takes the dinosaur park as a metaphor for both the power of technology and the power of the image, the power to provoke a mystical revelation. Whether it succeeds in doing so or whether it resolves itself into an enigma, a sign to be decyphered, gives the film its dynamics.