ABSTRACT Using previously unavailable material from the archives of the Motion Picture Costumers union (IATSE Local 705), this article reconstructs the emergence of television from the perspective of those working in Hollywood’s wardrobe department. Focussing on an area of screen production typically overlooked within media histories, it provides a corrective to the narratives of ‘great men’ in television and argues that the work of these (largely female) practitioners contributed enormously to the aesthetics of early television and ultimately secured its success in both the US and on the international stage. The article reexamines a period in which Hollywood’s supposed antipathy towards television was at its peak in the 1940s and 1950s, challenging the view that television was perceived as film’s subordinate ‘other’. It argues that this sentiment was not felt equally by all working in the ‘great industry’ of cinema. Rather, news of a potential ‘television boom’ was well received by Local 705’s members, and the union moved quickly to capitalise on this potential new influx of costuming work. Television promised not only stable employment for members, but also required a broadening of creative and technical skill, which many hoped would translate into a newfound professional respect.

ABSTRACT Nollywood, Nigeria’s prolific and rapidly evolving film industry, is financed through a combination of private and corporate investment. The industry is also shaped by numerous professional guilds, which regulate labour and advocate for practitioners’ rights. This study focuses on two of the most prominent guilds, the Actors Guild of Nigeria (AGN) and the Theatre Arts and Motion Pictures Practitioners Association of Nigeria (TAMPAN), to examine how they address discrimination, harassment, and gender disparities affecting women. It situates these practices within the framework of Nigeria’s National Gender Policy (NGP), which promotes self-regulated gender equity in media. Drawing on in-depth interviews with 11 female film professionals, a key informant interview with a guild president, and an analysis of guild initiatives and policy responses, the study investigates intersectional gender inequality in Nollywood. Findings indicate that while guilds recognise their role in mitigating gender disparities, interventions remain limited. Women continue to face sexual harassment, exploitation, and pay inequities. Using Acker’s concept of inequality regimes, the article therefore demonstrates how Nollywood’s structures and practices resist change and reproduce systemic inequalities. Finally, the study identifies opportunities to challenge entrenched gendered hierarchies and advance more equitable practices in the industry.

Motion Picture Paradise: A History of Florida's Film and Television Industry

This article explores Turkey’s national cinema policy’s legal, economic, and geopolitical foundations during and after World War II. Focusing on the 1948 Municipal Revenues Law, which introduced differentiated admission taxes for domestic and foreign films, the study examines how this fiscal tool functioned as economic regulation and a mechanism of cultural protectionism. Drawing on archival records, parliamentary debates, diplomatic correspondence, and trade data, the article traces how Turkish cinema gained institutional ground against Hollywood’s dominance and Egyptian melodrama’s popularity. The analysis reveals how taxation policies, sectoral mobilisation, international agreements, and cultural diplomacy converged to open space for domestic film production. Situating Turkish cinema within broader Cold War dynamics and cultural imperialism debates, the article argues that national cinema policy was shaped at the intersection of internal industrial agency and external political pressures, challenging conventional accounts of postwar cultural development.

The distribution of Soviet films in the United States began in 1926 with the screening of Eisenstein’s Potemkin, managed by Amkino, a company registered in the U.S. but closely aligned with the Soviet government’s Sovexportfilm agency. Amkino facilitated the circulation of Soviet films, documentaries, and newsreels, targeting Russian-speaking audiences and American communist sympathisers. This initiative was part of the USSR’s broader strategy to spread communist ideology globally by directly engaging with the masses.Renamed Artkino in 1940, the company sought to penetrate the American film market, which was largely dominated by Hollywood studios until 1948. This essay examines the history of Amkino/Artkino and its role in distributing Soviet films in the U.S. from its origins through the early Cold War, a process that remained on the fringes of the industry. The study also explores the company’s decline following the 1958 U.S.-Soviet cultural exchange agreement and the death of its president in 1960. By then, Soviet efforts had shifted towards engaging with the Motion Picture Association of America, having lost faith in Artkino’s abilities to access major Hollywood theatres.Drawing on archival materials from the Artkino collection at the Berkeley Film Archive, the Russian State Archive for Literature and Art (RGALI) and other sources, this research highlights Soviet attempts to challenge Hollywood’s dominance and gain access to mainstream American cinema.

KPop Demon Hunters is an animated musical fantasy film that premiered on Netflix in 2025 [1]. Since then, it has received international recognition, including designation as TIME magazine's 2025 Breakthrough of the Year and the 2026 Golden Globe Awards for Best Animated Motion Picture and Best Original Song [2, 3]. Like many, we initially tuned in for the movie's blend of Korean popular music (K-pop), fantasy, and action. But as we watched, we were struck by something unexpected: the film is a metaphor for living with a visible skin condition. The movie centers on Rumi, the lead singer of a fictional K-pop group who secretly doubles as a demon hunter. However, Rumi harbors a deeper secret: she is half demon. As a result, her skin has “patterns”—violaceous, reticular patches pathognomonic of demon heritage and thus a “constant reminder of…shame” and “pain that lies below.” At the film's start, these patterns are limited to her upper extremities and chest and can be hidden by doing what many with visible skin diseases feel pressured to do: wear concealing clothing and avoid activities that might expose their skin [4]. Despite her ability to cover up her patterns, Rumi is determined to get rid of them, “to wake up and feel like me, put these patterns all in the past…finally live like the girl they all see…shining like I'm born to be…” as she sings in the film's award-winning song, “Golden.” Much to her distress, however, her patterns spread to her neck, face, and hands. At her lowest point after being bullied on stage, Rumi feels so ashamed that she asks someone to end her life. Indeed, studies have shown that patients with visible skin diseases are at increased risk of social stigma, depression, anxiety, and suicidality [4]. Ultimately, after unexpectedly bonding with a demon and reconciling with her bandmates, Rumi embraces her skin and associated identity. In the film's final song “What It Sounds Like,” she sings a message of self-compassion: “Nothing but the truth now, nothing but the proof of what I am…I'm seeing all the beauty in the broken glass, the scars are part of me…”. Dermatology often feels inaccessible to patients, with its unpronounceable diagnoses and treatments and endless acronyms. But through musical storytelling, KPop Demon Hunters and other works that deal with visible differences, like Wicked and The Greatest Showman, do what popular media does best: they provide a relatable framework for shared experiences, connection, and understanding [5]. By framing Rumi as a role model for destigmatizing visible conditions—whether those without available treatment, those that people choose not to treat, or those undergoing treatment—dermatologists can help patients find representation and strength. The authors have nothing to report. Dr. Kristen I. Lo Sicco is a prior investigator for Pfizer and Regen Lab; consultant for Pfizer, Lilly, Aquis, Priovant, Veradermics, and Ro; and board member for the Scarring Alopecia Foundation and American Hair Research Society. Dr. Daniel R. Mazori reports consulting fees from Veradermics. All other authors declare no conflicts of interest. Data sharing is not applicable to this article as no datasets were generated or analysed during the current study.

Many business settings involve fluid teams, where team members come together to work on a project, after which the team is disbanded. It is well-known that coordination can be challenging and affect the performance outcomes of fluid teams. The literature has studied how several facets of experience can facilitate learning and improve outcomes for fluid teams. However, the role of experience with success and failure and its effect on improving outcomes for fluid teams has remained unexplored. In this study, we use data from the motion picture industry to examine how the experience with success and failure resident within key members of a movie production team affects profitability. Our analysis of the data for 2,091 movies released in the United States between 1999 and 2018 reveals that a movie’s profitability depends on the production team’s history with success and failure. Additionally, we find that teams with a history of success result in movies with higher profits, whereas teams with a history of failure result in movies with lower profits. We also find that increased relative dispersion in the team’s experience does not affect the movie’s profitability. Further analysis of the composition of movie teams indicates that financial performance can be significantly impacted when movie teams are predominantly composed of members with a history of success or failure. We contribute by illustrating a new measure of team experience relevant for fluid teams and by providing insights on how to compose teams based on members’ experience with success and failure. This paper was accepted by Elena Katok, operations management. Supplemental Material: The online appendix and data files are available at https://doi.org/10.1287/mnsc.2023.03756 .

We present an automated shot-matching algorithm that incorporates perceptual effects and scene-specific context. Focusing on viewer-centric elements, such as attention to faces or objects and overall color mood, the system uses publicly available deep learning models to detect salient features. A committee-based approach matches these aspects independently, then combines them into a single RGB balance and black-level offset per shot. Although fully automated, the system supports manual adjustments to the strictness of face, object, mood, and temporal matching. This transparent, parameterized design avoids black-box behavior and provides intuitive, editable results for colorists. Visual examples demonstrate perceptual accuracy, and a study with five professional colorists evaluates match quality and potential time savings. Comparing manual grading of raw footage with algorithm-assisted pre-matched footage, results show a human-comparable match achieved 20% faster, with the algorithm reaching about 70% of colorist quality. These findings highlight the value of extended real-world evaluation.

The February 2001 Journal published in: “SMPTE Technology Committee on Digital Cinema-DC28: A Status Report” by R. M. Rast. “During the past year, a new SMPTE technology committee has been active, DC28, the Technology Committee on Digital Cinema. This report discusses its work and progress. - Most conclude digital cinema is the future of the consumer movie theater experience. Indeed, numerous press reports claim its imminence, and D-Cinema projection can be seen in several dozen theaters in the U.S. and abroad. However, what has been in the theaters has been in the nature of demonstrations of partial systems. DC28's activity applies to an overall end-to-end system for theatrical release of motion pictures, replacing the existing 35mm distribution model. The entire system must be defined, designed, proven in, and standardized. The work needed extends well beyond that which anyone organization, including SMPTE, can provide. However, SMPTE's standards work is essential, and it is now well underway.” For the full article, see: https://tinyurl.com/38km3ut6.

documents a direct connection between actin filaments and cytoplasmic movements.The primary data showing movements in cell-free extracts of Amoeba proteus were recorded on 16-mm movie film and shown at the 1968 Annual Meeting of the American Society for Cell Biology (ASCB; Pollard and Ito, 1968).However, no technology was available at the time to include this data in the paper.This addendum includes eight video sequences from those movies.

Abstract This article investigates the style of motion pictures using some of the tools of multivariate analysis and looks for stylistic evidence of directorial authorship.

The development of flexible wearable sensors in health monitoring has garnered significant attention, and piezo electric pressure sensing technology has emerged as a piv otal research direction. This study successfully fabricated a n ovel ZnO NRs/PVDF-TrFE nanocomposite material for construct ing high-performance piezoelectric nanogenerators (PENG). Zn O nanorods (ZnO NRs) were synthesized via high-temperature hydrothermal synthesis and integrated into the PVDF-TrFE poly mer matrix through electrospinning. The effects of ZnO content on the piezoelectric performance and β-<italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">phase</i> crystallinity of th e composite were systematically investigated. Experimental res ults demonstrated that a 5 wt% ZnO content yielded optimal co mposite performance: achieving a β-phase content of 87.6% an d a significant voltage output increase to 12 V. The composite fi lm exhibited excellent mechanical stability, maintaining stable e lectrical output after 3000 consecutive compression cycles, pro ving its potential as a durable wearable device. Finally, when ap plied to monitor standing long jump movements in adolescents, the sensor demonstrated outstanding dynamic response capa bility and sensitivity, validating its practical value in real-time hu man motion monitoring.

The decline in motion picture box office receipts and shortened release windows following the COVID-19 pandemic have placed heightened pressure on early performance as a critical determinant of commercial viability. Building upon earlier research suggesting that, as moviegoing frequency decreases, consumers are more likely to rely on audience reviews than critics’ reviews when making a decision to see a movie (Chakravarty et al., 2010), we examine which source of early reviews—professional critics reviews or audience reviews (WOM)—has an impact on early performance following the COVID-19 pandemic. We estimate a linear regression model using actual behavioral data—namely, eight years of motion picture box office receipts (four pre-COVID years 2016-2019 and four post-COVID years 2021-2025) and movie reviews (RottenTomatoes.com, CinemaScore.com). Our findings provide theoretical insight into a broader shift from a reliance on expert authority to increasing consumer influence. This research informs studios with their distribution and advertising strategies.

Movies are more than just works of art and fiction. Oftentimes, motion pictures portray, allude, and satirize social phenomena. This paper observes control mecha­nisms used by the government in Suzanne Collins’ book adaptation movie The Ballad of Songbirds and Snakes (2023) to assert power over citizens. By analyzing selected movie scenes and dialogue related to power relations through textual and visual anal­ysis, the study reveals parallelism of dystopian elements shown in the movie with current sociopolitical situation through Foucault’s postmodernist view on power. The findings show that government in The Ballad of Songbirds and Snakes creates and utilizes citizens’ internalized discipline through surveillance to establish power with­in them as docile bodies, echoing how subtle power is used by governments across the world to cultivate public orderliness in the modern days.

This study examines how digitalization and the rapid advancements of streaming platforms are reshaping the motion picture industry and consumer behavior. The research mainly focuses on the shift in movie mode, spending intention, and the industry’s structure based on the digital environment, collaborating with consumer behavior theory, Maslow’s Hierarchy of Needs, and the framework from the attention economy. Research approaches primarily concentrate on literature reviews and case analyses, including a comparison of distribution strategies employed by Netflix and Disney+, as well as the role of Chinese short-video platforms (Douyin and Kuaishou) in driving film promotion and distribution. The result shows that digitalization brings up the producer’s big data and AI innovation the simultaneous release strategy of the distribution side, the KOL+UGC mechanism on the marketing side, coupled with consumers increasingly shifting toward subscription models and short dramas, enables maximized utility at lower costs and with greater flexibility. The study points out that digitalization has created new opportunities for the industry (immersive experiences, differentiated content, global distribution), but also created challenges (more covert piracy, conflicts of revenue between theaters and streaming platforms, and distraction). Therefore, film enterprises should maintain competitiveness through innovation in content and the integration of online and offline channels. Consumers need to improve their awareness of copyright protection and engage in rational consumption. At the policy level, it is important to strengthen the protection of digital copyrights and promote the digital transformation of cinemas.

The objective of this case is to highlight the various aspects of the ongoing struggle faced by writers in the entertainment industry, specifically focusing on the dynamics between renowned writers and lesser-known talents, and the increasing inclination of producers towards hiring artificial intelligence (AI) scriptwriters. The case has also highlighted the various aspects of the Writers Guild of America (WGA) strike and discussed the issue of the labour dispute with the Alliance of Motion Picture and Television Producers (AMPTP) in the USA. This research explores the dilemma where established writers often receive better pay and opportunities due to their brand image, while emerging writers struggle for recognition and fair compensation despite potentially superior skills. Additionally, the case delves into producers’ perspectives on cost-cutting measures, including the employment of AI to generate scripts, which presents a significant threat to the livelihood of human writers. The case has also investigated the potential impact of the strike on the entertainment industry. The main focus points of the strike, such as residuals from streaming media and concerns about the use of AI, were extensively discussed in the case. The strike seems to be the biggest threat and disruption to American television and film production since the COVID-19 pandemic in 2020. The significant impact of the strike was also explored, and the effect of the strike on movie production, including delayed or halted production, script limitations, changes in creative direction, financial implications and impact on industry reputation, has also been elaborated in the case. Additionally, the case has also thrown some light on the previous WGA strikes held in 1960, 1988 and 2007–2008 that highlighted the importance of demanding the rights for compensation of writers throughout history.

The prevalence of obesity in Indonesia has shown a consistent upward trend, reaching 23.1%, largely driven by dietary patterns that pose health risks. Food choices are influenced not only by social and personal factors but also by environmental cues, which are the focus of this study. This research aimed to investigate the effect of affective health cues presented through human motion picture videos on individuals’ healthy food choices. A quasi-experimental design was employed in the Psychology Laboratory at Universitas Negeri Semarang in December 2024, using a simulated supermarket setting with 186 student participants selected through purposive sampling. Data were analyzed using an Independent Samples t-test. The results indicated that the human motion picture intervention significantly influenced individual food choices (p &lt; 0.001, d = 0.98). These findings suggest that health cues play an important role in guiding individual decisions regarding healthier food options. In conclusion, environmental factors, such as health cues, can significantly impact healthy food selection and may serve as a strategic approach to reducing obesity rates in the future.

The article invokes a resurgent interest in John Boorman’s 1972 Hollywood classic Deliverance, spurred by the fiftieth anniversary of its release. The author considers the film’s reversal of the rhetoric of rape and sexual violence committed on nature by the extraction industry in Appalachia. Deliverance on the one hand reinforces, and on the other hand modifies region’s ill repute by dramatizing a clash between the grotesque model of local “uncouth” masculinity with the privileged masculinity of young, metropolitan professionals seeking to experience an encounter with the wilderness; a masculinity shaped in the context of the rapacious development of technology and industry in the USA at the turn of the 1960s and 1970s. The article analyzes the growing enmity between the “interlopers” and the local “hillbillies” that leads to sexual violence and a rape committed by the latter group on one of the tourists. The conclusion of the article points to the fact that the narrative of Deliverance makes use of a rhetorical inversion by employing the figure of chiasmus that evokes the process of contamination. Owing to this strategy, the fi lm offers viewers a glimpse of the ambivalence and equivocality of Appalachia, a region that has been assigned the role of abject in American culture.

The aim of this article is to analyze three Oscar ceremonies from the perspective of Polish media. Part one presents the history and founding of the American Motion Picture Academy and the evolution of the Academy Awards ceremony over the years. Part two focuses on Polish connections with the Oscars. Part three examines the opinions of Polish journalists and film critics regarding the 2021, 2022, and 2023 Oscars.

In seeking to understand what it might have been like to have read literature on the rise to prominence of narrative film from the 1910s, the author turns to an unusual reprint edition of Willa Cather’s 1923 novel, A Lost Lady. This 1925 Grosset and Dunlap photoplay (movie) edition includes, among its other cinematic paratexts, stills from the (lost) 1925 Warner Bros. adaptation. Reading what Henry Seidel Canby hailed as Cather’s “most gorgeous” novel in this mass form alters how we interpret this narrative of personality and spectatorship. In turn, the author argues, encountering literature in its new motion picture contexts, such as photoplay editions, generated or invited particular reading practices.