Film Company Research Articles

Generic overlap as a mode of (social) production in Portuguese silent non-fiction film: the case of A Covilhã Industrial, Pitoresca e seus Arredores (1921)

ABSTRACT The article offers a contribution to the international debate on non-fiction film genres in the silent period by proposing a historically and socially informed analysis of ‘generic overlap’ in the Portuguese documentary A Covilhã Industrial, Pitoresca e Seus Arredores (1921) [Industrial and Picturesque Covilhã, and Its Outskirts]. Made by Artur Costa de Macedo (1894–1966) for Invicta Film, a short-lived but prolific production company based in the North of Portugal, the film is a composite of different genres, such as the travelogue, the scenic view, the actuality, the industrial process film, and the local film. While in keeping with well-established international film practices, this kind of generic overlap also reflects the specific set of constraints and opportunities that the filmmaker encountered (and, respectively, sought to overcome and take advantage of) when he took on this film commission. Local newspaper research, though selective and incomplete, was crucial for gaining a deeper knowledge of this film’s local and regional underpinnings. The article also discusses the film’s 2002 restoration in light of its generic overlap, considering how genre-bound and genre-blind decisions resulted in a ‘new version’ and a ‘new original’ that sought to address a new set of concerns and scale configuration. It concludes that filmic genre has played (and continues to play) an active role in creating and sustaining social goals and relations in both silent filmmaking and film restoration projects.

Analysis Of the Future Development Trend of Marvel Superhero Movies: An Empirical Study Based on Time Series Method

With the expansion of the global entertainment market, Marvel superhero movies have had a significant impact on modern culture. Superhero movies have gained a wide audience with their unique themes, exciting plots, and visual effects. However, factors such as aesthetic fatigue and the pandemic have led to poor performance in recent years. This study aims to predict the future trend of superhero movies through time series analysis, providing decision-making basis for film and television companies. This article adopts a review study, ARIMA model time series analysis, and second-hand data analysis to predict using indicators such as historical box office, Tomatometer, and Audience Score. Research shows that superhero movies maintain a strong development trend, thanks to advances in digital technology and visual effects, as well as continuous exploration of new content. It’s thrilling, humorous, and righteous themes continue to attract loyal fans. New elements such as superheroes with different identities also attract new audiences, indicating that superhero movies will continue to develop.

Research on Proprietary Intellectual Property Management and Marketing Model of Film and Television Companies: A Case Study Based on Warner Bros

This research explores the proprietary intellectual property (IP) management and marketing model in the film and television industry, with a particular focus on Warner Bros. The study aims to elucidate the complex strategies employed by Warner Bros. in the management, monetization, and marketing of its exclusive IPs, demonstrating the company's innovative approaches in this competitive landscape. The research is structured sequentially and examines Warner Bros.' IP management model, revenue streams, and marketing strategies. By closely examining these key elements, the study aims to identify the fundamental factors that contribute to Warner Bros.' success in intellectual property management, revenue generation, and marketing prowess. The insights derived from this comprehensive analysis are intended to provide valuable lessons and insights for industry professionals and researchers within the broader entertainment sector, offering a deeper understanding of the strategic intricacies and successful practices employed by Warner Bros. in navigating the complexities of the entertainment industry's IP-driven landscape.

An Analysis of the Marketing Strategies Employed by Film Companies of their Proprietary Intellectual Properties: A Case Study of Walt Disney Company

This comprehensive study meticulously explores the intricate ways in which the Walt Disney Company leverages its vast intellectual property (IP) assets to fortify brand recognition, amplify audience engagement, and catalyze revenue growth. It conducts a profound investigation into Disney's marketing strategies, revealing how these strategies are meticulously crafted across various business units to harness the full potential of their IPs. The research delves into the four fundamental pillars of marketing—the product, pricing, place, and promotion—demonstrating how Disney's IPs are seamlessly woven into each to consolidate its dominance in the entertainment industry. Further, the study employs sophisticated analytical tools, such as Porter's Five Forces model and the Boston Consulting Group (BCG) Matrix, to dissect Disney's strategic positioning. It evaluates the marketing effectiveness of the company's IP utilization, offering a nuanced perspective on how Disney's IPs are not just assets but strategic weapons in navigating the competitive entertainment landscape. The research provides insights into how Disney's IP settings are optimized, contributing to the company's ability to innovate, adapt, and maintain its market leadership in a rapidly evolving industry. By examining case studies and analyzing data, the study uncovers the symbiotic relationship between Disney's IPs and its marketing prowess, illustrating the company's strategic acumen in leveraging its creative content for sustainable business success.

Beyond Toy Story: Pixar's Business and Marketing Strategies for Enduring Success in Entertainment

As the animated film industry continues to grow, many companies are faced with a lack of content innovation and character innovation, and some companies continue to experience a decline in market competitiveness as well as an increase in investment risk as a result. However, Pixar Animation Studios, a subsidiary of the Disney Group, has created a series of classics through its compelling storytelling and superior animation techniques, which have not only won wide acclaim from audiences around the world, but also continue to set box office records. These achievements perfectly reflect Pixar’s innovation and market leadership in the animation industry. This study examines how Pixar continues to engage a new generation of audiences through unique storytelling and innovative strategies, as well as addressing some of the creative challenges it may face. The importance of the study is demonstrated by understanding the significant role that innovation has played in the development of the animated film company and how it has helped the company to address potential issues and challenges by approaching them from different innovative perspectives. Using a case study approach, this study assesses Pixar’s market performance, innovation strategies and potential for developing future growth through data analysis and literature research. The study finds that Pixar has successfully maintained its innovation and leadership in the animated film industry through technological innovation, creative marketing, cross-border collaborations, and adherence to originality, resulting in a series of award-winning productions such as “Coco” and “The Lion King”.

Intellectual Capital and Innovation through Market Orientation in the Indonesian Film Industry

This article aims to analyze the relationship between intellectual capital and innovation through market orientation in the Indonesian film Industry as a creative economy in the new economic age based on information intensification and creativity with superior ideas, knowledge and competencies of human resources. To collect data, a questionnaire was used. Out of 65 populations of film companies, by random sampling, 56 were selected as representative samples. The Partial Least Square Structural Path-Modeling (PLS-PM) was used to test the hypotheses. The research outcomes revealed that intellectual capital, market orientation, and innovation are fairly high. Intellectual capital has a positive effect on market orientation and innovation. Market orientation mediates the effect of intellectual capital on innovation. Intellectual capital may directly affect the innovation of the Indonesian film industry and through market orientation. Human capital, structural capital, and customer capital must be strengthened to support customer orientation, competitor orientation, and internal integration of the company, so that innovations in products, processes, and strategies can be increased. This study implies that the innovation will develop more with the pertinent intellectual capital and suitable market orientation.

1950~60년대 문화영화 애니메이션 연구

This paper argues for the need to re-catalog animations in cultural films produced by the National Film Production Center, which are fading into the mists of Korean film history. Given the center’s obligation to promote national policies, it is essential not only to specify when these cultural films were made but also to accurately identify the artists involved in the animations. However, the basic information varies among institutions that introduce these cultural films. First, the role of short animations produced by the National Film Production Center from the 1950s to the 1980s is examined in this paper, with their inception and decline being analyzed through articles published in each era. This paper argues that the first cultural film animation should be identified not as “Cartoon of Killing Rats” (September 1959), but as “Acacia Tree Growing in Korea” (April 1959). Moreover, the migration of animators from the National Film Production Center to private film companies and the government’s dismissive attitude towards cartoons are cited as reasons for the decline. Finally, the relationship between the animations in cultural films and contemporary short animations featured in Daehan News (Korean News) is explored. This paper advocates to expand the research horizons of the cultural films.

What a Desirable Woman Is Like: Hsia Moon and the Cultural Agenda of Leftist Film Companies in Hong Kong, 1951–1966

Hsia Moon (Xia Meng) was a famous leftist film star in postwar Hong Kong, whose social persona was tailored for specific cultural purposes under the prevailing star system. Her early cinematic roles generally portrayed exemplars of women’s empowerment, as derived from the programmatic ideas of the New Culture Movement in the early decades of the twentieth century. But from 1958 onward, Hsia Moon’s characters began to transform in a more traditional and family-oriented direction. In her film Garden of Repose (1964), for example, the female protagonist voluntarily retreats into the family space, offering a quite different answer to the question of women’s liberation. While this story, one among many, threatened to undermine Chinese women’s painstaking struggle for individual freedom that had been in train for many decades, Hsia Moon’s well-maintained social persona justified the harmonious landscape of family life and conjugal relations, redefining women’s family-oriented position as a kind of “Chineseness.” This Chineseness was not limited to the artistic level. Rather, it was a sociocultural representation of leftist filmmakers’ nostalgic memory of their distant homeland, that is, Mainland China itself. And at another level, Chineseness also embodied the Chinese Communist Party’s desire to maintain cultural ties with British-controlled Hong Kong through the political metaphor of a “big family,” which in China’s prescribed hierarchical order alluded to the state. In this sense, Hsia Moon and her characters provided an alternative option to women’s empowerment within the master narrative of the nation-state and the cinematic star system helped shape that narrative.

Analysis of Modern PR Strategies in the Show Business Industry

Introduction. In the modern world, the show business industry is central to the cultural and entertainment life of society. Show business is an important mechanism for shaping social stereotypes, influencing mass consciousness, creating trends and defining cultural values. Professional PR has become an integral part of successful activities in the show business industry. It plays a key role in building a positive image of artists, production companies, film companies, music bands and other market participants. Purpose and methods. The purpose of the study is to theoretically analyze modern PR strategies in the show business industry, to study and understand modern approaches to PR communications in this area, taking into account technological, social and economic trends. The methodological basis is the systemic and interdisciplinary approaches, as well as methods of general scientific, terminological, expert, observation and comparison, critical analysis, abstract and logical modeling. Results. The types of PR, the essence and the role of PR strategies in the show business industry are defined. The essence of using social media as a PR tool is revealed. Modern PR strategies in the show business industry are substantiated. Conclusions. The study indicates that factors such as authenticity, consistency and cooperation with influential personalities are of great importance in modern PR strategies. In addition, the effectiveness of PR strategies is also determined by the ability to adapt to changes in society, responding to challenges and trends. There is a need to integrate PR strategies into the overall marketing strategy of companies and artists, which will ensure their consistency and interaction with other types of marketing.

Research on Disney's Streaming Media Industry Behavior under the Digital Transformation

In the era of the digital economy, competition among media and film companies in the streaming media sector has entered a new stage. Following the steady growth of global users, the streaming media market is now trending towards a relatively consolidated monopoly. This paper takes Disney, an American media giant, as a case study to analyze its internal and external motivations for undertaking streaming media reform. It examines Disney's strategic layout in the streaming media industry from an industrial behavior perspective, focusing on organizational behavior and pricing strategies. Additionally, HHI is employed to verify that North America's streaming media market structure can be characterized as a "competitive monopoly" market. Therefore, considering the current market situation, this analysis aims to provide insights and explore potential pathways for traditional film and television companies' digital transformation.

The ‘Queer Woman’ between Shanghai and Nanyang, 1920s–1930s

This article examines the actress Yang Naimei and a movie produced by her film company entitled Qi nüzi (A Queer Woman, dir. Shi Dongshan, 1928), based on the recent suicide of Yu Meiyan, a headline-making femme fatale. Premiered in Shanghai in October 1928, Yang took the film on tour in British and Dutch colonies across Nanyang (today’s Singapore, Malaysia, and Indonesia) between 1929 and 1931. This first film company founded by a woman in China and its sole film output have sunk into oblivion in Chinese film historiography. I argue that this disappearance reflects two acts of negligence: the negligence of the ‘queer woman’ (qi nüzi) vis-à-vis the canonical ‘new woman’ (xin nüxing), and that of diasporic/Sinophone film spectatorship outside China proper. Drawing on a miscellany of texts, this article excavates the forgotten ‘queer woman’ in Chinese film and inquires into the historical conditions that contributed to her omission. It also charts the cultural exchanges of films, performances, and discourses between Shanghai and Nanyang, illuminating the complexities and ambiguities of screening and performing in these interstitial spaces.

Marion Evelyn Hong before and after the Curse of the Quon Gwon (1916)

This article is a result of an invitation to share the authors’ knowledge and family stories and offer perspectives about Marion E. Hong (1895–1969, also known as Marion Evelyn Wong). The intent is to provide scholars and researchers with first-hand knowledge about Marion’s life milestones and experiences directly from her family. The main source for the content of this article comes from remembrances of Marion’s descendants and documents as well as photographs in the Kumaradjaja Family History Archive. As Marion’s direct descendants, the authors offer first-hand knowledge about her and insight into possible motivations for making the silent motion picture film The Curse of the Quon Gwon: When the Far East Mingles with the West (dir. Marion E. Wong, Mandarin Film Company, US, 1916). Lisa Kumaradjaja is Marion’s granddaughter; Lisa’s mother, Arabella Hong Young, is Marion’s daughter who followed in Marion’s footsteps as a singer, performer, and entrepreneur. This article is written by the granddaughter and great-grandson of Marion E. Hong, Lisa Kumaradjaja and Chris Kumaradjaja, who now serve as the family historians. Information for this article has been gathered from the Kumaradjaja Family History Archive, family oral histories, as well as Lisa’s direct recollections of Marion.

The Development and Strategy Analysis of Huayi Brothers

Huayi Brothers Media Co., LTD., once known as the "first stock of Chinese film and television entertainment", has been mired in continuous financial losses since 2018. According to the financial statements of Huayi Brothers in 2021 and the semi-annual financial statements in 2022, Huayi Brothers has been in a state of loss in profit, and there are major flaws in its main business planning. The company had ideas and actions to save the market but to no avail. This article starts with the financial report of Huayi Brothers and discusses the problems exposed in its development. It can clarify the current difficulties faced by the Chinese film industry and list film and television companies and propose appropriate solutions to help the further development of the Chinese film industry and also provide other Film and television companies sounded the alarm.

A Case Study in Disney Compared with SONY, Warner Bros and Paramount

Film, as a form of cultural art, has been continuously developing since its inception. With the changes of the times and the progress of technology, film art has gradually penetrated into people's hearts and become an indispensable part of modern cultural life. In this context, film research has gradually become a subject of widespread concern. And film companies are significant basis for the support of the industry. This article will analyze and make judgments based on the operating conditions and achievements of some major film companies recently. And based on the research, this article will provide reference opinions for the future development of enterprises. This article selects Disney, Warner Bros, Sony, and Paramount as the analysis objects. In the end, a recommended invest choice will be given after analysis. And there will be SWOT analysis in this industry. Finally, some suggestions will be provided at the end of the article.

Financial Analysis and Risk Study of Global Film Companies: A Case Study of Warner Bros. Entertainment, Inc

The income of the film industry mainly depends on the box office, but the COVID-19 epidemic in the past three years has led to the suspension of cinemas in many regions, the postponement of films under production, and the postponement of the release of films, which has the most direct impact on the film industry. Therefore, this paper takes Warner Bros. Entertainment as an example, this paper introduces the reasons why the film industry is chosen and why Warner Bros. Entertainment is chosen. At the same time, through the introduction of Warner Bros. and the trend of its financial data in the past five years, we can analyze the possible crises and opportunities that the company may encounter. At the same time, we also conducted an industry analysis of the global film industry through this company and gave the specific crisis and the formation of opportunities.

Research on Business Strategy Based on New Culture and Entertainment Industry

The Disney Company and Warner Brothers have long played an important role in shaping and disseminating American popular culture. With the gradual development and improvement of the Internet and the information technology these days, they are quietly subverting the traditional culture and entertainment industry. Disney and Warner Brothers, as two large and classic film and television companies, their success from their founding to today cannot be separated from their own business strategies. As Disney gradually became bigger and bigger, it acquired many famous companies as its subsidiaries, and Warner Brothers also developed many peripheral products, or cooperated with other companies for their marketing. However, in the process of continuous development, the two companies also faced different problems. This paper studies and analyzes the development status and business strategies of these two companies. At the same time, it also provides some suggestions that are beneficial for the two companies. This paper uses the comparison method, and uses the tabulator data to more convincingly reflect.

Predicting the development path of Bona Film based on the marketing mix theory

In 2017, with the rising Chinese film market, some Chinese private film and television companies began to establish other businesses, many of which failed. The aim of this study was to investigate the future development route of a Chinese private film and television company. In this paper, a detailed study of the case was employed to utilize facts and information such as the number of Chinese theater lines, the representative Chinese film box office, and Bona Films’ yearly financial statement. As a result of the article’s investigation, first and foremost, the Bona Film is in a loss situation in 4Ps due to the outbreak. Thus, Bona Film needs government policy support. Then, from the standpoint of the 4Ps, Bona Film is primarily concerned with the investment, production, and distribution of Nationalist films. The product category is too narrow. Finally, Bona Film’s cinema is too small to build a complete Bona Film system.

The Manchukuo Film Association and Its Afterlives: Animated Filmmaking in Wartime and Postwar Peking

abstract: Scholarship on the Manchukuo Film Association (Manying) has largely attended to documentaries, newsreels, and live-action films featuring Li Xianglan, neglecting animation. This article examines the animated film-making activities of the North China Film Company, a branch of Manying located in wartime Peking, by focusing on Chinese animator Liang Jin and a few Japanese animators such as Asada Isamu and Onozawa Wataru. With an animated filmmaking philosophy of territorialization and localization, Manying nonetheless created a de-territorialized world that enabled it to live multiple afterlives in socialist cinema, despite the institutional efforts to erase it from the history of Chinese cinema.

저작재산권의 보호기간이 만료된 저작물의 저작인격권에 관한 쟁점

Recently, as the copyright protection period of famous characters who have been loved and popular around the world has expired, anyone can use them freely. For example, as the copyright of the character “Winnie-the-Pooh”expired in 2022, a startup film company created a low-budget film called “Winnie-the-Poo: Blood and Honey”, transforming the cute and friendly Pooh into the wild killer bear. As can be seen in this case, even if the first character is changed to the opposite to the extent that it undermines the reputation of the author, it is not possible to claim copyright infringement because the copyright protection period has already expired. However, if malicious distortions or variations that can continue to undermine the author's personal interests after the expiration of the copyright protection period are left unprotected, it may confuse the general public's trust in the character's unique character that the original work has held for more than decades, so it is necessary to consider ways to prevent it.
 Author’s Moral Right is inalienable, and in comparative law, each French and Chinese IP-related Act legislates that moral right is permanently maintained, but Korea does not have such a legislation as to the protection period of moral right.
 In this study, the possibility of civil damages or criminal punishment for moral right infringement after author’s death, especially the current copyright law stipulates offense indictable without complaint in relation to criminal punishment for violations against moral right after author’s death, and it is proposed to revise to delete offense indictable without complaint under the copyright law by comparing it with the crime of defamation of a deceased person under the criminal law.

Queer Affects in the Wandering Films of Antonio Hens

This article proposes an analysis of queer affects as they manifest in the films Clandestinos (2007) and La partida (2013), directed by the Spanish filmmaker Antonio Hens. Our exploration situates these films within a complex transnational framework, a context that not only shapes Hens’s authorial poetics, driven by the imperatives of production within his own film company but also exerts a profound influence on the subjectivity of the queer adolescent characters, a distinctive recurring compositional element throughout Hens’s oeuvre. Both films abound with thematic elements revolving around nomadic subjective experiences, encompassing themes of displacement, deterritorialization, spatial disjunctions, national estrangement, and an enduring yearning for alternative geographical contexts. Hens’s cinematic techniques amplify a pronounced sense of wandering nomadism and queer itinerancy. Within the scope of this article, we embark on an exploration of nuanced representations of queer subjects and their intimate or romantic relationships in various geographic settings. This analysis employs critical paradigms linked to the concepts of homonationalism, queer migration, and emotional intelligibility. Hens’s ‘wandering films’ adroitly utilize male characters who traverse intricate geographic landscapes. These are youthful and sexually fluid figures navigating a complex web of intimate and public urban spaces consistently tethered to notions of national identity. Consequently, these films identify the convergence of corporeal experiences and geographic environments as the locus where ineffable queer affective experiences manifest.