ABSTRACT The film industry plays a crucial role in driving economic growth, fostering new business ventures, stimulating local economies during production, increasing tourism by shaping audience preferences and advancing globalization through cross-cultural exchange and international content distribution, all of which have been the subject of research. This study examines the location preferences, clustering dynamics and the reasons behind the decline of the film cluster in Beyoğlu, which has historically been the heart of the Istanbul film industry. Based on 110 interviews with representatives from 275 film companies, the results were analysed using the analytic hierarchy process (AHP) and QGIS. The findings highlight that the building's physical quality, proximity to public transport stops and location in the heart of the city are the most important factors in film companies' location choices. The decline of the film cluster in Beyoğlu can be explained by factors such as inadequate building quality, traffic congestion, logistics and parking challenges and high rental costs. Moreover, the results indicate a shift in the film industry towards the Levent-Maslak corridor, which has emerged as the linear extension of Istanbul's central business district since the 1990s.

This study aims to analyse how detik.com constructs cultural reality in its coverage of the film Jumbo. The study was conducted because mass media plays a significant role in shaping public understanding of the film. The media not only conveys factual information but also constructs cultural reality. Using the Reality Construction Theory of Peter L. Berger and Thomas Luckmann, this study maps three main phases of news coverage: pre-screening, screening, and post-screening. With 34 articles as research objects, data were collected through articles published between February 13 and April 30, 2025. With a qualitative approach, content analysis was used to identify news units, dominant narratives, themes, and interpretations of meaning and symbols. The results showed that the externalization process occurs through the promotional narrative and representation of Jumbo as a national film. Objectivation is realized through the strengthening of success symbols, such as viewers, symbolic awards, and comparisons with other popular films. The internalization process is formed through the collective image of Jumbo as a representation of the successful national animation industry. Explicitly, the media framed the film Jumbo as an achievement of the national film industry, and implicitly, the narrative strengthened the construction of Indonesia’s popular culture.

This article is a report and a reflection on the events and interventions in the Telugu film and media world after the 2018 #MeToo movement. It uses the conceptual frame of the “intervention” to gather together different initiatives—legal, professional and artistic—that are attempting to change the ethics and aesthetics of the film industry. It draws attention to the work of the Voice of Women (VOW) collective that is calling for systemic and concrete changes in the industry to tackle sexism and misogyny. In a different section, the article focuses on the work of actor and VOW member Jhansi, discussing, in particular, a satirical play, Tit for Tat , written and directed by her. The article concludes that the interventions being made in this particular conjuncture are without guarantees but are definitely shifting the terms of the debate even if it is slowly and slightly.

Nollywood, the Nigerian film industry, releases close to 2,500 titles a year and ranks second in the world by output, behind India and ahead of the United States in some years. How far has Nollywood become the center of filmmaking in Africa, and how does the film diplomacy it carries travel to global audiences? The study draws on Joseph Nye on soft power, Daya Kishan Thussu on media contra-flow, and Simon Anholt on nation branding, and it uses Michael Porter's value chain and diamond model as business tools to read Nollywood as a commercial system and a diplomatic instrument at once. The design is mixed methods. A qualitative comparative case study sets Nollywood against Hollywood, Bollywood, and the Korean Wave, and a quantitative layer reads industry indicators and the Brand Finance Global Soft Power Index across the four countries. The finding is twofold. Nollywood already anchors African cinema by volume, distribution reach, and continental cultural pull, so the first answer is clear. Its diplomacy, by contrast, works mostly through market-driven diffusion rather than a coordinated state programme. The quantitative reading sharpens this: Nigeria produces the most films of the four yet sits 77th on the 2025 Soft Power Index, while Korea, producing far fewer titles, sits 12th, which shows that raw output does not convert into measured influence without orchestration. That organic character gives Nollywood standing as a Global South voice, yet it leaves the diplomatic value under-used next to Korea's governed model.

<p>The study explores the monetization of Edo language films, a vital yet underexplored segment of Nigeria’s Nollywood, with a specific focus on Benin language films produced in Edo State. Despite increased production output, sustainability remains a significant challenge. To address this issue, the research employs a multi-method approach, combining historical analysis, participant observation, and in-depth interviews with key stakeholders (with the film <em>Ikoka</em> serving as a central case study). The study reveals critical gaps—limited distribution access as noted by a respondent—in the current monetization landscape, primarily the lack of insurable, bankable, and auditable standards. This has severely limited access to mainstream channels and confined these films largely to informal digital platforms such as YouTube. This restriction not only hampers the financial viability of Edo language films but also stunts their potential reach and impact. In response to these challenges, the study proposes tailored strategies designed to bolster the Edo language film industry. These strategies include expanding distribution channels to reach wider audiences, strengthening industry partnerships to leverage resources and expertise, and improving production standards to enhance the quality and marketability of the films. By implementing these strategies, the study aims to amplify Edo films’ impact, enhancing their visibility, commercial viability, and sustainability within Nollywood and Nigeria’s creative economy.</p>

The creative economy has become a strategic pillar of Indonesia's national development agenda, with the film industry recognized for its dual capacity as cultural soft power and internationally tradable commodity. Yet despite a rapidly expanding domestic market recording 122 million cinema-goers in 2024 Indonesia's film export performance remains marginal relative to the size of its industry and the performance of regional competitors. This study analyzes the comparative advantage and export competitiveness of Indonesian film exports over 2015 - 2024, benchmarking against Japan, South Korea, and Thailand. Secondary time-series data sourced from Trade Map are analyzed using the Revealed Comparative Advantage (RCA) index and its symmetric transformation, the Revealed Symmetric Comparative Advantage (RSCA) index. Independent sample t-tests statistically verify inter-country differences in export values. RCA values for Indonesia ranged between 0.0007 and 0.0232 across the entire study period wholly below the threshold of 1 indicating no comparative advantage. RSCA values remained consistently negative and approaching -1, confirming the absence of structural export competitiveness throughout the decade. Statistical tests confirmed significant differences (p < 0.001) between Indonesian film exports and those of all three comparator nations: Japan (mean USD 4,738,340 thousand), South Korea (mean USD 909,763 thousand), and Thailand (mean USD 10,226 thousand), against Indonesia's mean of USD 1,540 thousand. These findings reveal a structural disconnect: Indonesia's film industry is domestically powerful but internationally marginal, constrained by underdeveloped international distribution infrastructure, concentrated export markets, and insufficient export-oriented policy. Strategic interventions in distribution diversification, a collective trading house mechanism, and cross-ministerial export coordination are proposed.

This article examines state-supported Iranian cinema as a form of statecraft that mediates the Islamic Republic’s pursuit of ontological security. Drawing on international relations theory, it argues that post-revolutionary Iran’s state-supported film industry operates as a regulated epistemic field where film production, ideology and threat perceptions converge in pursuit of ontological security. The institutionalisation of state-supported filmmaking through bodies such as the Islamic Republic of Iran Broadcasting University, the Farabi Foundation, and the Owj Arts and Media Organization contribute to a media environment in which cinema functions as ideological advocacy. Within this context, Amnyati films articulate a dual narrative: Iran as both a nation under siege by hostile foreign powers and a guardian of regional order. These narratives conform with state discourses that externalise insecurity and sanctify resistance, reinforcing the regime’s moral authority and continuity. Accordingly, this study illuminates how state-supported film production serves to stabilise national identity and justify foreign policy amid external pressure and internal dissent in an effort to sustain ontological security.

Costume design is an essential visual narrative element in the film, which aids in the character building, cultural representation, and theme expression. This paper analyzes the history of the costume aesthetics in the Bollywood films of the same genre over the time featuring an emphasis on the determination of the shifts in the style depending on the genre. The qualitative research method is applied, and the chosen films are analyzed comparatively in visual and textual forms. The research compares the films Mughal-e-Azam (1960) and Jodha Akbar (2008) as the works of historical genre, and Umrao Jaan (1981/2006) and Gangubai Kathiawadi (2022) as the films of contemporary cultural narratives. The results demonstrate that there is a major shift in the mode of costuming, where the designs are stylized, spectacle oriented, to being research based and authentic as well as character-centred. The costume design in historical films has developed not only theatrical spectacles to the depiction of the actual historical events based on the research and the use of modern technologies in the movie industry. The same can be applied to the modern narratives, where imagining femininity becomes less decorated and ideal, and more symbolic, minimalistic, and psychologically based. Modern Bollywood cinema costume design is becoming an important narrative element, which displays the characterization of change, socio-cultural processes, and gender identity. The paper notes the increased significance of authenticity, symbolism and narrative integration in costume design due to technological developments, professional experience and shifting audience demands. The notion of the genre-bound style shift highlights the way the aesthetics of costumes would be changed as a part of the genre structure when accommodating a larger cultural and cinematic shifts. On the whole, the work underlines the idea that the costume design ceased to be only ornamental but a focus of the development of the history of visual language and narration of modern Bollywood movies.

Optimal ticket pricing by seat location in the movie industry

Globally, the gaming industry generates more revenue than the music, film and gambling industries combined. Australia ranks first globally in gaming market penetration. People game for various reasons. Defining harmful gaming, however, can be challenging. General practice can often be the first point of contact for patients who engage in harmful gaming. The aim of this article is to provide practical tools for screening, diagnosing and managing gaming disorders in general practice. When a patient presents to general practice with likely harms from gaming, it is useful to assess the patient's problem against a validated screening tool. A comprehensive assessment, assisted by the timeline followback tool, may assist with a comprehensive risk assessment and biopsychosocial formulation, which informs an individualised treatment plan.

Racebending aims at promoting diversity and representation of ethnic minorities in films. It involves casting a Black person for a role that was previously played by a White character, often in the context of a live remake of an existing movie. This approach has generated a range of perceptions among audiences, leading to controversies, particularly online, where people express their views on the matter. While some people favour Racebending, especially Black people who are generally underrepresented in films, others oppose it. This study employed a mixed methods approach, combining sentimental analysis and quantitative research (N=154 respondents), with a focus on the new live remake of Ariel: The Little Mermaid (2023). 2,800 comments have been analyzed. The findings of this study reveal that people generally perceive Racebending negatively. As such, the film industry should consider creating new films for underrepresented minorities rather than relying on live remakes of existing movies. The social media content analysis identified seven categories of people's perceptions, including loss of childhood memories, falsification of the original, inequality, need for new storylines, tokenism, equality, and excitement/enjoyment. Furthermore, the study found that psychological involvement has a significant positive impact on people's perception of racebending. On the other hand, film nostalgia has a significant negative impact on people's perception of racebending. Those who possess limited recollection of film contents and backdrops, and are not inclined to emulate the protagonist's conduct, tend to view racebending in a less unfavourable light.

ABSTRACT Virtual Reality (VR) is a rapidly evolving medium within the film industry with the ability to engage viewers in an immersive storytelling experience that transcends traditional 2D film techniques. This research is developed from a student internship program to explore the transformative potential of VR180 and the use of 3D imaging in the realm of cinematic storytelling, focusing on the reimagining of traditional 2D cinema conventions for immersive films. The project experiments with innovative ways of conveying narrative elements, such as framing, pacing, and visual composition. This paper details techniques filmmakers can use to adapt traditional cinema language for immersive VR works. The short VR180 documentary film, A Love Letter to Skating, allows viewers to view a story in the VR environment. Utilising recent technology that combines Artificial Intelligence (AI) and a mobile application that captures a 3D render, a static immersive VR scene was created for viewers to step inside the film for a multisensory experience. The project contributes to the evolving discourse on the intersection of traditional filmmaking and VR, paving the way for a new era in immersive storytelling where the boundaries between audience and narrative are blurred, and the cinematic experience is redefined for the VR generation.

Hollywood cinema often portrays individuals with High Abilities/Giftedness with a focus on logical-mathematical intelligence. This representation is rooted in the historical context of industrialization and technological advancements in the United States, where such ability is widely valued. This article explores how highly talented individuals are represented in popular American cinema, presenting relationships between culture and economic interests, but also indicating intrapersonal problems faced by these individuals, highlighted in literature and depicted in films. In conclusion, it reflects on the film industry's significant role in shaping popular opinions and values, however, it is important to emphasize that such representations, no matter how realistic they may seem, are social and cultural constructions that can simplify or stereotype the complexity of the human experience.

Abstract The movie industry offers a useful context to study consumer-driven gender biases, as it enables observation of how the gender of leading actors, directors, and producers relates to movie performance outcomes. Using a dataset of over 5,000 globally produced movies from 1998 to 2008, we document a distinct non-linear relationship between female representation in leading roles and audience ratings. Specifically, ratings initially decline significantly as the number of female leads increases, reaching a turning point at approximately two female leads, beyond which ratings stabilize or slightly improve (convex pattern). This negative impact on audience ratings is driven by male viewers, whose presence diminishes as female representation grows. In contrast, professional film awards exhibit a concave pattern peaking significantly at two female leads. Further accounting for selection, we reveal that audience gender biases persist even after accounting for the selective attrition of male viewers from movies featuring female leads.

The research focuses on the mechanisms for developing screenwriting personnel based on Lan Xang cultural capital toward film production for the creative industry. This is supported by Program Management Unit for Human Resources & Institutional. Development, Research and Innovation (PMU-B) under the Ministry of Higher Education, Science, Research and Innovation. The methodology consists of a mixed-methods approach, combining qualitative research with action research. The objectives are to examine the mechanisms for developing screenplays grounded in Lan Xang cultural capital and to establish a system for nurturing screenwriting personnel to advance into the creative industry. The research instruments employed in this study include surveys and assessment forms, comprising screenplay quality evaluations and workshop activity evaluations. The findings revealed that the development mechanism consisted of two main components: (1) the mechanism for personnel development through learning from experts, and (2) the screenplay development, which focused on creating narratives based on the shared Lan Xang cultural identity. The outcome consists of 6 Khen Bot Khuen Phukhao workshops. The workshops attracted more than 526 participants, resulting in 19 screenplays selected, among which 7 screenplays were advanced to creative production, and 5 were produced into short films for commercial release. In addition, the feature “Phra Mai” (The Wooden Buddha), which was not part of the official selection of the Khen Bot Khuen Phukhao program, but was developed through the same personnel development mechanism, bringing the total number of produced works to 6. Moreover, the project organized the “Kaen International Film Festival” as a public platform for showcasing works to s and investors, serving as a key mechanism for network building and creating opportunities for further advancement into the regional and national film industries.

This study investigates the role of financial reporting in small and mediumsized film production houses, focusing on its economic significance and the social construction surrounding its practices. Utilizing a constructivist approach with grounded theory methodology, the research comprises indepth interviews, observations, and documentation, further analyzed through triangulation. The findings reveal that these production houses view financial reporting as essential for business sustainability, with stakeholder theory explaining the need for both financial and non-financial information to meet internal and external requirements. Specifically, financial reports typically include simple income statements, cash flows, and balance sheets with tangible assets and trade payables, alongside nonfinancial data. These results offer a foundation for further studies and insights for financial reporting regulations within the film industry. However, the research scope is limited to specific regional practices and a narrow observational timeframe.

This paper critically examines the reception and integration of artificial intelligence (AI) within the South Korean and French film industries, highlighting how each national context shapes the trajectory of technological adoption. Employing a comparative methodology, the analysis draws on industry reports, trade publications, government policy documents, and festival materials to trace recent developments in both countries. As this research argue, South Korean cinema is negotiating a particularly important shift for its economic and cultural situation with the help of AI, in a way that allows it to transcend a system that was once successful but has now run out of steam. On the contrary, French film industry sees the same situation as a further loss of authority for its already waning artistic hegemony. By contrasting South Korea’s proactive embrace of AI as a means to restore industrial profitability and cultural competitiveness with France’s cautious approach rooted in artistic tradition and regulatory frameworks, the paper thus illuminates how divergent cinematic traditions and policy responses mediate the impact of AI, ultimately influencing the preservation – or transformation – of cultural specificity in a rapidly globalizing media ecosystem.

The rapid evolution of generative artificial intelligence (GenAI) is transforming the film industry. This article reviews key GenAI algorithms, including GANs, VAEs, diffusion models, and transformer-based architectures, and explores their application across various stages of film production, from scriptwriting to post-production. Through case studies such as The Frost and Netflix's AI-assisted projects, the study illustrates GenAI's creative potential and workflow innovations. It also addresses critical ethical and legal concerns, including authorship disputes, deepfakes, and algorithmic bias. Finally, the paper outlines future directions, such as multimodal model integration and AI-human co-creation, advocating for a responsible and human-centered implementation of these technologies.

Digital media platforms have increasingly reshaped the ways in which creative talent is discovered and integrated into contemporary entertainment industries. Among these platforms, Instagram has emerged as a prominent space where creators produce short-form videos, construct performative identities, and cultivate large follower communities. In recent years, several Instagram-based creators have transitioned from online popularity to acting roles in Indian mainstream cinema, indicating a shift in conventional entry pathways to film careers. This study examines how digital content creators move from Instagram to film acting by analyzing the online content of six creators who later appeared in Indian cinema. Using qualitative content analysis, selected Instagram posts were examined with attention to performance style, online persona, narrative format, audience engagement, and film-related indicators. The findings reveal that creators initially gain recognition through relatable humor, character-driven storytelling, and consistent interaction with followers, which contribute to the formation of distinctive digital personas. As their visibility and audience engagement increase, these creators attract opportunities within the film industry. The study highlights Instagram's growing role as an informal talent discovery platform that is reshaping contemporary pathways to acting careers in Indian cinema.

ABSTRACT This article addresses areas of French Star Studies by looking at ‘stars at home’. Its focus is on the affective aspects of this fascination, in relation to intimacy, longing and private worlds. The stakes of this are high at a moment when #MeToo is casting light on the French film industry. The article looks at Charlotte Gainsbourg’s loving documentary about her mother, Jane Birkin, Jane par Charlotte/Jane by Charlotte (2021). The complex relation of Charlotte and Jane to the French film industry and its narratives of older men and younger women, fathers and daughters, is discussed. Charlotte’s film is seen as, in various ways, a feminist work with fresh perspectives on fascination with stars and intimacy. Jane par Charlotte is read as a film about two houses, Kachalou, the last house of Jane Birkin, recently sold (2024), and Maison Gainsbourg, the house of Charlotte’s father, Serge Gainsbourg, recently opened as a museum (2023). Charlotte Gainsbourg, as filmmaker, is shown to pay particular attention to the display of photographs in each house, creating in the film montages of these images through which to highlight questions of memory, voyeurism and vulnerability.