Film Industry Research Articles

A Digital Trail of Rupture. The German Film Exile 1933-1945 in the Data of Günter Peter Straschek

How can digital humanities methods reveal the productivity and connectedness of a group of historical individuals linked by displacement from a country? German film exile during National Socialism, 1933-1945, has always been a complex subject to research because of the scattered nature of the sources in the international distribution of archives (Asper, Horak, Hilchenbach). It remains challenging to reconstruct the worldwide dispersed separate flight routes of more than 3000 individuals who worked for the German film industry before 1933. This contribution concerns a list of film exiles collected by the exile researcher and filmmaker Günter Peter Straschek (1942-2009), whose collection of files belongs to the German National Library, German Exile Archive 1933-1945, Frankfurt am Main and was inventoried according to their Normdata. To this end, a database of GND exile data containing names, birth and death dates, professions, and countries of exile was compiled and enriched with data from online resources (Wikidata and IMDb). How can a more comprehensive look at the data reveal the devastating loss for German film (2) and, on the other hand, the collaboration on the flight (3) showing exiles remaining defiant? By incorporating new data from the Straschek Estate, digital methods further enhance historical research findings.

Escape from the periphery. World-system of cinema and Polish film

The main aim of this text is to outline the possibilities of applying Immanuel Wallerstein’s world-systems theory to the analysis of cinema. Concepts developed by Wallerstein, especially the notion of the relationship between the core and the periphery of international political-economic systems, can be useful in trying the hegemony of Hollywood cinema in the global circulation of film content, as well as the positions smaller film industries occupy in relation to it. The assumptions of this theory will be tested using the example of the cinema of Central and Eastern Europe in recent decades, making it possible to determine its relative hierarchy in the global chain of production and consumption of audiovisual content. Special attention has been focused on Poland, presented as a model example of a local film industry attempting to emerge from the peripheral position it occupied after the political transformation of 1989.

Pengaruh Konten Instagram terhadap Minat Menonton: Studi Kasus Film 'Mencuri Raden Saleh'

This research is motivated by the high number of social media users from year to year which also coincides with the birth of very popular social media platforms such as Facebook, Twitter, Youtube, Tiktok, Instagram. These social media platforms come with their own sophistication and advantages. Social media users can share anything with other users around the world in the form of text, video, sound or images. In Indonesia itself, Instagram is the most popular social media. Based on the We Are Social report, the number of global Instagram users reached 1.63 billion as of April 2023, which shows an increase of 12.2% compared to the previous year. The popularity of Instagram is certainly not wasted by film industry companies in Indonesia. Instagram @mencuriradensalehfilm is a social media account for a film produced by Visinema Pictures and directed by Angga Dwimas Sasongko entitled Mencuri Raden Saleh. Mencuri Raden Saleh is the first Indonesian film in the theft genre. The film Mencuri Raden Saleh is more active in promoting on Instagram @mencuriradensalehfilm because it can take advantage of Instagram's features. This film also managed to enter the 10 best-selling Indonesian films in 2022. Therefore, this research was conducted to find out how much influence Instagram content @mencuriradensalehfilm has on interest in watching the film Mencuri Raden Saleh. This research uses the AIDA Theory (Attention, Interest, Desire, Action) to see whether Instagram content can generate interest in watching the film Mencuri Raden Saleh. The research method used is quantitative, with the sample selection used being Non-Probability Sampling, namely a sampling technique that does not provide a chance for each selected population to become a sample. (Instgram followers @mencuriradensalehfilm). This research uses data analysis including descriptive analysis, normality test, simple linear regression test, coefficient of determination, and t hypothesis test. Based on the test results, the promotional variable Mencuri Raden Saleh Film on the Instagram account @mencuriradensalehfilm or variable X has a positive influence of 35.6% on variable Y and the remaining 64.4% is influenced by other factors.

From Eccentric incarnations to dehumanized stereotypes: A reading of Malayalam films showcasing the visually impaired

Literature and films are two of the most creative engagements of people of all times. The artists express their feelings, imagination and thoughts about different facets of life through various creative manifestations. Films and literature constitute the two main facets of such manifestations. There have been many attempts from the part of our mainstream film directors to represent visual impairment. Malayalam film industry is not an exception in this regard. Most of such films carry no relation to the true experience of the visually impaired. They represent them as glorified or nullified in far-fetched imaginative scales. This paper tries to examine some of the most common stereotypes in a few Malayalam films where the visually impaired are major focus of the directors and script writers.

Strength in numbers: Scale, scope, and performance in multipartner alliances

The general assumption is that multipartner alliances are increasingly favored by firms as means of creating larger pools of shared resources and capabilities. Yet, extant literature has hardly moved beyond anecdotal evidence to systematically address the mechanisms driving their configuration and performance. This study is a step toward clarifying important unknowns about multipartner alliances by proposing and testing a model of multipartner alliance performance that involves two key mediating mechanisms, i.e., alliance scale and scope, that may explain how higher performance is achieved in these increasingly popular forms of organizing interorganizational efforts. The empirical context of the study is the motion picture industry where multipartner alliances have become exceedingly popular in recent decades. Empirical results partially support our proposed theory by demonstrating that alliance scale but not alliance scope mediates the relationship between the number of partners and alliance performance. Our results hold important implications for the growing literature on multipartner alliances.

The changing dynamics of Indian nationalism in contemporary Hindi movies

ABSTRACT Nationalism, an ideological concept that people of shared national identity adopt, is one of the most explored genres of the Hindi film industry. The theme of nationalism which once demanded a sacred and elevated treatment from cinema-makers has faced a comparatively light-hearted, ordinary, and relatable approach in contemporary times. Rather than confining the notion of nationalism within the nation's territory, such new-age movies depict how exiles and immigrants redefine the notion of nationalism. Replacing the exaggerated, parochial, and exclusive depictions of hyper-nationalism in early Hindi war movies with what Benedict Anderson calls ‘long-distance nationalism’, contemporary movies have the potential to expand the idea of the nation beyond its borders. Two such movies that depict characters redefining the notion of nationalism through their acts of transnationalism are Meghna Gulzar's Raazi and Raja Krishna Menon’s Airlift. Both the films refrain from engaging in the classical discourse of nationalism to reveal how dispersed immigrants contribute to the spirit of Indian nationalism through their acts of political participation.

Film Industry at the Service of EU Identity Politics

Mass cinema can act as a powerful tool for influencing public opinion by appealing to shared values and collective historical memory, while simultaneously constructing and guiding these elements in alignment with policy objectives. This article explores the thesis that national cinema, as an element of a common cultural code, plays a significant role in the formation and reinforcement of collective (socio-cultural) identity. Specifically, it examines the significance of Brussels' efforts to cultivate a robust film industry as part of the European Union's strategy for constructing a collective identity.The authors test the hypothesis that cinema serves as a medium for fostering a sense of belonging and emotional connection among EU citizens. To this end, the study aims to uncover the specific mechanisms by which common historical and social narratives are conveyed through European Union cinema. The research methodology is grounded in a structuralist perspective on cinema (P. Wallen, C. Metz).The article analyzes how the EU has intensified its institutional support and promotion of European cinema, particularly in response to the «crisis of ideas» in Hollywood, which has left a void in the global film market. This analysis is contextualized within the broader sociopolitical landscape, including the rising popularity of mass cinema during the pandemic and the heightened urgency for strengthening EU collective identity amid the Ukrainian crisis and the initiation of a special military operation.The findings indicate that the EU is increasingly leveraging the film industry to disseminate narratives, ideas, and values critical for both situational objectives – such as consolidating public opinion on specific political issues (illustrated by the «militarization» of the film market in response to the 2022 military operation) – and long-term goals of fortifying the EU's collective identity. However, the long-term efficacy of cinema in shaping public opinion is constrained by its susceptibility to rapid trend shifts driven by audience preferences.

The Motherland and the Fight with Fascism: War Cult and War Film under Brezhnev (1965–82)

AbstractThis article, based on extensive archival documentation, newspapers, and periodicals, examines the impact upon the Soviet film industry of shifts in top‐level policy relating to representation of the war. It contends that Leonid Brezhnev’s May 8, 1965, speech on the eve of Victory Day propounded an inclusive vision of the war (later sections of the speech comprise an exhaustive inventory of different representatives of military and civilian society who had been responsible for victory). Yet, in lending encouragement to participants of all kinds to consider their experience valid, the speech opened up a discursive space in which validity might be contested. Further, the emphasis in the film industry upon innovation and the need to avoid predictability ran directly against the requirement that commemoration of the war should fit highly ritualized and easily recognizable patterns. The article traces the results of these overall contradictions in the arguments about overall policy on the war film between representatives of the High Command, film managers at Goskino, cinema’s central bureaucracy, and filmmakers themselves, and the controversies around individual films, including Iurii Ozerov’s Liberation (1968–72), Andrei Smirnov’s The Belorussian Station (1970), Aleksei German’s Operation “New Year” (1971, released as Checkpoint, 1985), and Larisa Shepit'ko’s Ascent (1977).

Barriers to playing digital games: Why do some people choose not to play digital games?

While the global gaming industry has become a significant economic force, surpassing the film and music industries in market size, it has not achieved the same level of universality as its entertainment counterparts. Previous literature has mainly focused on gaming motivation, addiction, and regulation, ignoring non-game players and their barriers. Therefore, this study explores why people are hesitant to play digital games and investigates the factors that contribute to this resistance. The current study incorporates Crawford and Godbey’s (1987) leisure barriers into Innovation Resistance Theory. Of the seven barriers identified, this study categorizes four as intrapersonal, two as interpersonal, and one as a structural barrier. Further, it explores the differences between non-game players by categorizing them into those without any digital gaming experience (NG-N) and those with previous digital gaming experience (NG-F). The findings of this study suggest that perceived incompetence and negative social perception are the main barriers to playing digital games. As for the group analysis, there is a statistically significant difference between NG-N and NG-F players. These results provide valuable insights for both gaming industry, and regulatory bodies to create a better environment for the gaming ecosystem and expand its potential user base.

Digital Platforms and Globalization: Transforming Gender and Social Narratives in the Hindi Film Industry through Case Studies of Select Films and Web-Series

Digital Platforms and Globalization: Transforming Gender and Social Narratives in the Hindi Film Industry through Case Studies of Select Films and Web-Series

Between scandal and suture: the 1975 corruption scandal in the Ministry of Culture and Public Information's Film Division

ABSTRACT Focusing on the mid-1970s, often considered the height of repression during Park Chung Hee's rule, this article examines the dynamic interplay between the South Korean film industry and state administration of film censorship. Specifically, I examine the 1975 corruption scandal that took place in the Ministry of Culture and Public Information's Film Division, in which several filmmakers had offered cash bribes to public officials in exchange for leniency in various aspects of film regulation. More than a case of misconduct limited to the film industry, the incident was quickly sensationalized as evidence of widespread societal corruption and illegal practices that threatened to harm the public. In turn, the state capitalized on the case's notoriety to justify the various measures it took in the name of ‘purifying’ society. Using ‘scandal’ as a pretext, the state commenced the structural reorganization of the film industry and film policies to more closely align with its goals. Ultimately, I argue that this corruption scandal allows us to understand censorship practices as the result of complex, multi-layered relations between film administrative policies and the film industry.

The art of AI: Perspectives on Artificial Intelligence in Photography

The application of artificial intelligence (AI) into photography has given rise to a controversial discussion over image perception, originality, and authenticity. Though AI presents artists with new tools and opportunities, worries over the degradation of artistic integrity and emotional depth continue. This paper investigates the complex ramifications of artificial intelligence (AI)-generated art, looking at how it affects the artistic process, public opinion, and the changing field of visual expression. Drawing on insights from recent controversies in the film industry and diverse perspectives from artists, the present essay delves into the complexities of AI-generated art.

Periodismo, género y televisión: la imagen de las mujeres periodistas en las series estadounidenses (1988-2022)

Over the decades, the film industry has perpetuated certain narrative paradigms and stereotypes about female journalists. Some of these have been transferred to television fiction, where such portrayals have been updated with new archetypes. The aim of this research is to determine the way female journalists are portrayed in US fictional series. To this end, an analysis has been carried out regarding eight series broadcast between 1988 and 2022, which focus on journalism, featuring women as the protagonists who work in the profession. A diachronic perspective has been taken, which allows us to see the evolution of these stereotypes over more than three decades. In this way, it is possible to observe changes in archetypes as well those that persist, and to show evidence of social progress related to the diverse portrayals of women journalists.

Actors, Actresses, and The Power of Astrology: A scholarly examination of celestial patterns shaping communicative influence and success in the film and media industry

Actors, Actresses, and The Power of Astrology: A scholarly examination of celestial patterns shaping communicative influence and success in the film and media industry

The making of ‘the Hollywood of China’: A preliminary social network analysis of the early Hong Kong film industry (1914–1941)

This study conducts a digital social network analysis (SNA) of the early Hong Kong film industry from 1914 to 1941, focusing on the connections between directors and actors in different periods. Using Gephi and the online ‘Hong Kong Film Search System’ launched by the Hong Kong Film Archive, it attempts to identify, visualize, and analyze the different structural features of the industry, including nodes, connections, and communities. This structural analysis also helps reflect on the existing historical writing about the early Hong Kong film industry, especially the notable discourse on the Shanghai–Hong Kong connection.

The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)

Journalism is a historic profession. A target of criticism and the result of technological adaptations, it is used by the film industry to create characters who use journalistic skills, verify sources or create exclusives, to therefore promote a democratic society with truth and independence, as part of their plots. To do this, a quantitative and qualitative content analysis is carried out on six representative American comedies in the last half century - Network (Sidney Lumet, 1976), Broadcast News (James L. Brooks, 1987), The Paper (Ron Howard, 1994), Chicago (Rob Marshall, 2002), Morning Glory (Roger Michell, 2010), and Don't Look Up (Adam McKay, 2021)- based on humor theories and agenda setting theory. By using humorous resources and journalistic praxis, an overview is made of how journalism is portrayed on the big screen through satire, which results in an image rooted in frivolous stereotypes, jokes and sharp responses denouncing sensationalism and infotainment. It is a debate that makes viewers aware of the importance of journalism and that, though laughter, a critical vision fluctuates by satirizing their skills under the deconstructive capacity of humor that reflects American society.

Correspondence of Dinosaur Figure in Sculpture

Animal figures have been a subject of art for ages. However, dinosaurs, which are extinct animals, were included in art history relatively recently. The first fossils were discovered in the early 1800s in England, sparking increased interest in these creatures. Dinosaurs were introduced to art history through sculpture, with sculptures installed in public parks to depict their appearance. As a result, the image of dinosaurs was created through the art of sculpture and painting. This intersection of science and art has once again emphasized the importance of sculpture. The concept of dinosaurs permeates various aspects of our lives, from playgrounds to the film industry. This study endeavors to elucidate a topic that often eludes attention yet persists within the realm of sculpture art. Through this endeavor, the aim is to augment the scholarly discourse within the field.

Towards inclusivity: Dalit women’s representation in contemporary Telugu cinescapes

Cinema acts as a cultural product, a medium of expression and a source of popular entertainment; usually it appears to conscientiously genuflect to upper-caste dictums. Since its inception, Telugu cinema, or Tollywood, the third-largest film industry in India, has produced various caste-based films like Gudavalli Ramabrahmam’s Malapilla (1938), Kasinadhuni Vishwanath’s Kalam Marindhi (1972) and K. Balachander’s Rudraveena (1988), amongst others. In the discourse surrounding caste, the ‘Dalit woman question’ and its representation is either consciously ignored or erased, and thus, it stands enfolded in upper-caste reformist politics. This article analyses the representation of Dalit women in select Telugu films produced at significant sociopolitical junctures of contemporary times. These films mark a significant departure from the stereotypical representation of Dalit women as submissive and portray them as women with voices. Within the larger framework of feminist activism and human rights discourse, we see Dalit women protagonists in these films with an agentic space of their own. In the Indian context, where equality and no discrimination are constitutional rights, the films under discussion, Srikanth Addala’s Narappa (2021) and Sekhar Kammula’s Love Story (2021), are an appropriate intervention to showcase the inclusivity of Dalit women in the larger scheme of Indian feminism. This study employs critical textual and frame analysis to read selected Telugu films as cultural texts with Dalit feminist consciousness embedded within them.

Alex Rock, The Metropolitan Police and the British Film Industry, 1919–1956: Public Relations, Collaboration and Control

Alex Rock, <i>The Metropolitan Police and the British Film Industry, 1919–1956: Public Relations, Collaboration and Control</i>

An Exploratory Study on the Application and Impact of Artificial Intelligence Technology in China’s Film and Television Industry: Centered on the Innovation and Development Strategy of AI in Film Production

Purpose - This paper discusses the historical traceability of artificial intelligence technology and its development lineage in the film and television industry. It analyzes the close connection between AI technology and the film and television industry. The text summarizes the challenges and impacts of AI technology on the film and television industry, along with suggestions for future development. Design/Methodology/Approach - In order to explore the impact of artificial intelligence on the film and television culture industry, this paper analyzes the impact of artificial intelligence on the film and television culture industry from the perspective of macro-industry and the perspective of application technology, starting from the overall technological impetus of artificial intelligence to the film and television culture industry and the application of artificial intelligence in film and television image processing. The case was analyzed in detail. Based on a summary of previous research, this study identifies key issues and proposes solutions. Findings - Through the research of this paper, the problems of artificial intelligence in film and television creation are summarized, and the potential problems are easily generated technical dependence, legal risks in creation, and reduced professional value of practitioners, etc. Countermeasure suggestions are put forward to break the technical dependence, provide a legal basis for the creation of artificial intelligence, and adjust the use of the positioning to realize the synergy between man and machine. Research Implications - This paper aims to enhance the application of AI in the film and television culture industry, thereby increasing the industry vitality of the film and television sector.