Domestic Film Industry Research Articles

Regional film in the dynamics of the national film industry

Background: In the last ten years, the Indonesian film industry has experienced significant growth. The national film industry and the regional film industry, one of which is indie films produced in the city of Makassar. The development of films in Makassar began to receive national public attention with the explosion of the film Uang Panai in 2016. Also, in 2017, the success of the movie Silariang received an audience of 183.340 people. Purpose: Examining the impact of Makassar-produced films on the dynamics of Indonesia's domestic film industry is the main objective of this study, including examining its impact on cultural identity, economic variables, and its role in enhancing the uniqueness of national film. Methods: This study employs a qualitative methodology and gathers data through content analysis, observation, and interviews. Results: According to the study's findings, regional films—like those made in Makassar—are essential to the growth and advancement of the country's film industry. This demonstrates how crucial it is to acknowledge and encourage filmmaking outside of the major industrial hubs. Conclusion: Research shows that regional films have the potential to positively impact economic growth, especially in the regions where they are produced. It encourages the creative economy, creates local employment opportunities, and offers direct and indirect financial benefits. Implications: There is a need to recognize and promote regional films to encourage the diversity of Indonesian films; this study is also expected to provide a comprehensive understanding of the relationship between regional films and the dynamics of Indonesian films.

The Growth of the Turkish Film Industry and the Death of Suphi Kaner: Articulating a Star’s Suicide to the History of Labour in Cinema

This article focuses on the death of Suphi Kaner by suicide in 1963, an incident that overlaps with the rapid growth of the domestic film industry in Turkey. Kaner’s tragic death is discussed in popular literature solely in relation to his alcohol addiction, his possible depression, and his inability to cope with sudden stardom, leaving almost unmentioned the key role of the boycott call of the Producers Association against him. In 1963, the power struggle between the producers and the star actors was very visible. Within the framework of this power struggle, producers made a boycott statement about Kaner, for allegedly interrupting the shooting of a film. I approach the chain of events that concluded with Kaner’s suicide as an early example of labour disputes in Turkish cinema. This case demonstrates that the scope of labour disputes in film industries encompasses even star actors who are often considered as a privileged class. I argue that Kaner’s suicide could have been avoided by fairer employment conditions, and if the Producers Association had not called for the boycott. To examine the case, I make use of a variety of historical texts including memoirs, auto-biographies, news pieces, interviews, and commentaries.

Optimizing Film Companies' Marketing Strategy Using Blockchain and Recurrent Neural Network Model.

With the growing scale of the domestic film industry, the output of domestic films is also increasing. The design and execution problems in ticket marketing strategies adversely affect the revenue of domestic films. This paper aims to propose solutions to optimize film companies' marketing strategies by analyzing the marketing environment and current situation to increase the income of domestic films. Firstly, the current situation of BJ's marketing is analyzed, and the main problems are clarified. Secondly, the necessity and feasibility of applying blockchain technology to the operation and management of film companies are introduced. New marketing strategies and safeguards have been developed by analyzing the target market and optimizing the program. A quantitative method is used to predict a new movie's box office in its premiere month. The proposed method introduces three factors affecting the box office: new film positioning, film marketing, and film prerating, as input variables. Besides, a Recurrent Neural Network (RNN) is implemented to predict the monthly box office of the premiere of new films. The results show that the predicted monthly box office of the movie adopting the optimized marketing strategy is 1,451,718.6 CNY, which is smaller than the target box office of 1414029.8. The Mean Absolute Error (MAE) is only 0.026. The proposed model's Root Mean Square Error (RMSE) is 0.45 for the long-term prediction of a single movie price. The MAE is 0.106, and the accuracy is 0.80. The model proposed beats the unimproved Long Short-Term Memory (LSTM) model and the Autoregressive Moving Average (ARMA) model. This paper provides a reference for optimizing the film company's marketing system.

The Film Industry as a Sector of the Economy: Current Problems and Trends

Nowadays, the film industry is an important sector of the economy of many countries. Scientific interest in the research of cinema will grow with each passing day. This is because the film industry, consisting of producers and commercial organizations, is an object of investment and a successful asset. The article focuses on defining the role of the film industry in Kazakhstan’s economic and social development. The article’s primary goal is to identify and discuss current problems and trends in the development of the domestic film industry by analyzing its current state. The paper reveals the essence of the three main functions of the film industry - economic, social and ideological. The current state of the domestic film industry is analyzed by the use of statistical and sociological data. Relevant issues, socio-economic peculiarities, critical participants in the film market of Kazakhstan were considered. The research results established that private film companies dominate the domestic film business. The market is dominated byproducts of the foreign film industry, evidenced by their financial receipts. The task of increasing the share of domestic films, including national cinema in the film market, becomes more relevant. In addition, the article presents the problems that prevent the development of the domestic film industry and the factors that contribute to its further development. These factors include improving public administration in the field of cinematography, the establishment of clear parameters for the quality of domestic films, ensuring the principles of accessibility of Kazakhstani films.

The impact of protectionism on cultural industries: the effect of China’s film policies on imported films

ABSTRACT Hollywood studios have actively sought to export more films to China in order to benefit from its huge film market. Facing this expansion, the Chinese government has introduced quotas in order to restrict the market access of foreign films while protecting its domestic film industry and preserving Chinese values. Nonetheless, this protectionism has brought about an unexpected effect; a limited number of Hollywood films in China have been able to attract large audiences and even exert a strong influence upon society. This paper examines how this paradox has been possible. First, it compares the level of China’s overall protectionism with other countries. Second, China’s two main policy instruments in the domestic market are scrutinized: import quota (buy-out and revenue-sharing models) and screen quota. In revealing their true effects, this paper demonstrates that these instruments of protection have produced unexpected negative business practices that foster rather favorable conditions for US films in China which is contrary to what the Chinese government is seeking to achieve.

Hollywood’s Embassies

Hollywood’s Embassies

The Development of Contemporary Ukrainian Cinema

The purpose of the research is to investigate the history of contemporary Ukrainian cinema and to analyze the ways of its development. Highlight the main problems of national film production; identify the main principles and areas of its potential realization, the conditions for creating a successful and engaging film industry in Ukraine. The research methodology consists of the following methods: analytical – the study and analysis of historical materials of the Ukrainian cinema formation; empirical – the generalization of monitoring the intensity of filmmaking; theoretical – the research of prospects and directions of national film potential realization. Scientific novelty. For the first time, the prospects and directions of the national film potential realization are outlined based on the detailed in-depth analysis of the Ukrainian cinema historical development, an estimation of its modern condition. Conclusions. Analysis of the current state of Ukrainian cinema showed that the national cinema has undergone changes in the basic guidelines and value vectors of its development, intensified the process of realizing its potential, began building effective mechanisms of administrative and legal regulation of this area for development and proper functioning of the domestic film industry.

РЕГІОНАЛЬНІ АСПЕКТИ РОЗВИТКУ КІНЕМАТОГРАФІЧНОГО ТУРИЗМУ

The specifics of the formation of an innovative direction of cultural and cognitive tourism, namely, cinematic, taking into account the renaissance of the cinema cult, especially among young people, is considered. It is justified that cinematic tourism becomes a powerful motivator of international tourism, because a modern person aspires not only to restore physical health, but to physical-emotional unloading due to new impressions associated with the feelings that were carved into memory while watch-ing one’s favorite movies. Based on the generalized world experience, it is shown how the development of this type of tourismcontributes to the intensification of tourist sphere of the country and creates positive synergetic effects for the revitalization of economy of certain regions that have tourist facilities –film locations. The peculiarity of cinematic tourism, which consists of a clear objectivity, since it is about a regionally defined destination associated with the filming of a particular movie, is empha-sized. Tourists that choose this type of vocation fall into the aura of regional specifics; this opens up the opportunity to promote the image of the region, development of the tourism infrastructure. It is proved that cinema tourism, under the conditions of its scientific based organization, can become a kind of a driver of economy of a separate region.Issues of the formation of the domestic film industry in close connection with the development of the relevant direction of tourism are considered. Regionally defined forms of individual destinations of the domestic film industry, which can be-come a kind of tourist “magnets” for domestic and foreign visitors are systematized.Prospects for the film industry development in Chernihiv region are revealed, the list of well-known films and serials that were shot on the territory of the region in different periods of time is presented. It is shown that these places can become the objects of film tours under the conditions of bringing them into proper state, ensuring a proper advertising company and coordination of logistic schemes of routes. The need to coordinate the interests of government officials, tourism and cine-matographic business and territorial communities, as well as priority tasks to be solved for the intensification of the regional film industry of Ukraine, is stressed

A Study on the Development Plan of the Domestic Film Industry through the Window Theory of Opportunity

A Study on the Development Plan of the Domestic Film Industry through the Window Theory of Opportunity

Target Hollywood! Examining Japan’s Film Import Ban in the 1930s

AbstractIn the 1930s Hollywood enjoyed a popular following in the Japanese film market, accounting for almost 90 per cent of imported sound films. Against a backdrop of emerging political tensions and war in China, the Japanese government announced in 1937 that it would place a ban on Hollywood film imports. This was a move that ushered in a new era of protectionism for Japan’s emerging film industry. Following this decision, Hollywood studios engaged with Tokyo and sought an agreement to ease the new restrictions. After a period of intense discussions, the Japanese government agreed to lift the ban albeit with certain conditions. This paper examines protectionism in the Japanese film market and considers the impact of political forces, both domestic and international, on the decisions made. It will show that economic factors were mostly behind the decision to implement the ban and therefore facilitated the reaching of an agreement between the two sides. Furthermore, the interests of the domestic film industry who would benefit from the import of Hollywood films helped lift the ban.

Taniec w kajdanach: chińska cenzura filmowa w latach 1949–1966

Dancing in chains: Chinese film censorship, 1949–1966 After the proclamation of the People’s Republic of China in 1949, and the subsequent nationalization of the domestic film industry three years later, the Chinese Communist Party gained unlimited control over the entire Chinese film world, while film itself became an instrument of state propaganda. In order to fulfill their role ‘in the service of workers, peasants, and soldiers’, filmmakers had to abide strictly by the requirements which the CPC had imposed upon them, and subject themselves to a rigorous film censorship system. Artistic independence and freedom were subject to the political needs of a one-party state and its ideology. The establishment of a full-fledged and extremely complex institutional censorship system in 1953 resulted in the emergence of two distinct phenomena: self-censorship and social censorship. Both of these made it possible for the CPC to gain full control not only over the film industry, but also, in certain aspects, over the minds of filmmakers as well as the audiences. This article aims at revealing the mechanisms of the Chinese censorship system in the period stretching from 1949 to 1966, and to elucidate the disastrous effects which these exceedingly rigorous control mechanisms brought upon the Chinese film industry in general in this turbulent era

Crisis, censura y búsquedas de la industria del cine mexicano en los años cincuenta. El caso de Sombra verde de Producciones Calderón

La película Sombra verde (Roberto Gavaldón, 1954), producida por los hermanos Pedro y Guillermo Calderón, fue un intento fallido para abrirse paso en el mercado anglosajón con una película de “alta calidad artística”, protagonizada por una estrella de Hollywood. En este artículo, a partir de la revisión de documentos del archivo de Producciones Calderón, se narran las incidencias en la realización y en la comercialización de la película, haciendo énfasis en las tensiones y negociaciones que solían establecer los productores de cine mexicano con las instancias públicas responsables tanto de la censura de los contenidos fílmicos como del financiamiento de la producción de cine. La revisión de este caso permite analizar la importancia estratégica del cine nacional, modulado por las instancias de censura, en el proceso de formación de las subjetividades durante los años cincuenta del siglo pasado.

The Evolution of the Concept and Practical Application of Cultural Diversity in Korea

The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions spurred Korean society to take an interest in and practice the concept of cultural diversity. Although the discourse on cultural diversity in Korea began from the fight to protect the domestic film industry over the screen quota system, it evolved to contribute ultimately to the growth of diversity within Korean society. This study examines how the cultural diversity discourse assisted Korea in overcoming the cognitive obstacles that Korean society faced in the process of transitioning into a multicultural society. In particular, this study reviews the role of the 2014 Act on the Protection and Promotion of Cultural Diversity in solidifying Korean society’s internal diversity by establishing the legal grounds and systems for paving a suitable path for cultural diversity in Korean society. In addition, special attention is given to how the 2005 UNESCO Convention continues to be an effective tool for protecting cultural diversity in the new digital age.

The Evolution of the Concept and Practical Application of Cultural Diversity in Korea

The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions spurred Korean society to take an interest in and practice the concept of cultural diversity. Although the discourse on cultural diversity in Korea began from the fight to protect the domestic film industry over the screen quota system, it evolved to contribute ultimately to the growth of diversity within Korean society. This study examines how the cultural diversity discourse assisted Korea in overcoming the cognitive obstacles that Korean society faced in the process of transitioning into a multicultural society. In particular, this study reviews the role of the 2014 Act on the Protection and Promotion of Cultural Diversity in solidifying Korean society’s internal diversity by establishing the legal grounds and systems for paving a suitable path for cultural diversity in Korean society. In addition, special attention is given to how the 2005 UNESCO Convention continues to be an effective tool for protecting cultural diversity in the new digital age.

In Search of an Effective Trade Policy for the Film Industry: Lessons from Korea

This article explores which trade-related policies are effective – that is both economically and culturally sound – to promote the film industry that has recently been highlighted more due to its prominent political, economic and cultural dimensions. By examining the trade-related policies of nine major countries for their film industries over the last forty years, several important findings are extracted which contribute towards a more pragmatic debate on ‘trade and culture’. First, regulatory barriers such as import or screen quotas should be avoided at all costs since they do not protect the domestic film industry. Second, tax relief schemes are unreliable because they tend to offer excessive support to attract foreign film producers. Third, as a choice to be considered, subsidies should be kept reasonable in size and focus on consistent goals. Fourth, well-designed trade agreements can contribute greatly to enhance film policies. Finally, once combined, these results explain to a large extent the remarkable success of the Korean film industry over the last two decades, which can be a good bench marker for countries that want to enhance their film industry and to promote their culture.

Механизмы государственной поддержки услуг киноиндустрии в Российской Федерации на основе международного опыта

In the conditions of globalization of the world economy intensive development was gained by the industry of services, in particular, film industry. Film industry is one of the most important sectors of the modern world market of services. At the same time, development of this industry in Russia is accompanied with influence of many negative factors connected with weak competitiveness of domestic movie products. The article presents the possibilities of the state support of the Russian cinema on the basis of the leading foreign countries' experience. A subject of this article is tendencies of state regulation of domestic film industry based on the leading developed countries in this sphere. The article purpose is the analysis and generalization of competitiveness increase problems of cinema in Russia on the basis of implementation of special, unique state support mechanisms. As a result there are revealed many problems of the domestic film industry development, in particular, imperfection of protection mechanisms of intellectual property rights, lack of promotion systems of Russian movies on the foreign markets, differentiation of regions on the development level of the cinema infrastructure. The solution of these problems is limited with weak involvement of foreign investors into development of the film industry, and also poor development of special mechanisms of subsidizing of moviemakers.

Анализ современного состояния отечественной киноиндустрии

The formation of scientifically grounded approaches to improve the management of the film industry needs to analyze the contemporary state of film industry in order to identify its most important problems and untapped opportunities for further dynamic and effective development. The analysis of the status and trends of Russian cinema-business development, the peculiarities of its historical development and study of logic interdependent processes are relevant prerequisites for solving the problem of forming of risk management system of project im- plementation; because in many cases these risks are caused by the specificity of Russian cinema and features of its functioning. The article is devoted to the analysis of the contemporary state of the domestic film industry based on which it is possible to make the conclusion about the need to improve management. The author analyzes the main economic indicators of the industry and describes the main development trends and their positive and negative features. The author studies thoroughly such indicators as dynamics of film distribution in the Russian film market, divided into the percentage of domestic and foreign films, attendance of cinemas in Russia, the number of cinemas and particular cinema hall in the country, takings of the Russian and foreign film projects, the production facilities of film studios, etc. A detailed analysis of the statistical data for the last 10 years allows the author to make the main conclusion about the origin of real prerequisites for the formation and development of scientifically based management systems in general and risk management system in particular in the production of Russian film projects.

Формирование условий повышения инвестиционной привлекательности киноотрасли в России

For a long time the industry of cinematography in Russia has been unprofitable, which in turn determines the difficulty in finding investment for new film projects. The part of Russian films in total box office of domestic distribution is negligibly small, the most produced Russian film projects do not pay back the investment made in them. The situation is critical and requires a comprehensive approach to the analysis of all the possible causes of this situation and to develop measures and create conditions to increase investment attractiveness
 of this industry in Russia. They are still making incompleted attempts to reform the industry, for example, an adjustment has been made in the distribution system of state support, multiple meetings with theater owners have been held where they taked about a voluntary increase of quotas on rolled domestic films and a number of other measures. However, all these measures are chaotic, and therefore futile, attempts to correct the current situation, do not have single cohesive system of designed reforms that will help to improve the overall
 investment attractiveness of this industry. The article attempts to analyze the reasons that have not allowed the domestic film industry to become powerful, profitable and, most importantly, attractive for investment for a long time. The article also suggests actions that should be implemented and adapted to the Russian realities, to increase the investment attractiveness of the film industry in Russia that can serve as a locomotive for the
 output of the industry from years of systemic crisis.

‘Masking madness with gaiety’: innovating sound exhibition in Australia and the Royal Commission's failure to prevent the talkie wars

The 1927–1928 Royal Commission on the Moving Picture Industry in Australia sought to strengthen the domestic film industry's competitiveness against foreign investment, technology and manpower. Although it concluded before the wide-scale rollout of sound exhibition, it began collecting evidence after the coming of sound had already begun to make waves. Beginning in 1924 and continuing beyond the Commission, agents of the US De Forest Phonofilms company, primed the local market for sound through a series of publicity events. Their activities lead the local trade press to dub the Australian Phonofilms franchise as the instigator of a ‘Talkie War’, challenging the Commission's ability to curtail the expansion of human capital and technology from the USA. Within a year of its conclusion, agents from the US Western Electric company arrived in Australia to wire the major capital city theatres with sound. Initially, this strengthened Hollywood's foothold in ways that the Commission was anxious to avoid. Hoyts Theatres intensified the ‘Talkie-gear war’ by backing the ‘Australian-made’ Markophone as a competitor to the US Fox–Movietone sound system. Hence, while the Commission failed to achieve its aims, local pioneers took action by innovating rival sound systems with local technology, engineering and showmanship. Markophone wired up the ‘Talkie War’ in face of local and international competition in ways that differed from nearly all alternative sound systems.

Lost in Thailand: Travel metaphors in contemporary Chinese comedy

Abstract Chinese cinema at the turn of the twenty-first century is replete with metaphors of travel – migration, roaming, exile, diaspora, and more recently, adventure and tourism. This article explores the allegorical uses of mobility and journey in recent New Year’s comedies, as exemplified by Xu Zheng’s 2012 blockbuster release Ren zai jiongtu zhi taijiong/Lost in Thailand, a film that is widely considered to have shaken up China’s domestic film industry. The notion of Thailand in the film as simultaneously a commercial and spiritual destination is crucial to the matter at hand. I argue that the spatial consumption typical of travel films acquires an alternative form here, one that does not fortify but rather undermines the imagination of Chinese power in a foreign land. This form of spatiality is best understood within the generic framework of New Year’s comedy, as well as the larger context of consumer culture and mass entertainment. Inquiring into the mixed tropes of comedy and melodrama, I seek to illustrate how the newly emergent tourist discourse builds upon the organizational principles of holiday-themed films, and how this particular genre and style, at times, can enable apolitical encounters with the society’s collective consciousness, while critiquing the limits and conditions of China’s post-socialist reality from within.