Studio Production Research Articles

The impact of major infectious disease events and government relief packages on the film industry: evidence from Taiwan

This study focuses on the impact of COVID-19 on the film industry and the effectiveness of government relief policies. Taiwan was a region with a low level of infection at the beginning of the COVID-19 pandemic (2020), and the film industry could be maintained under government policies; therefore, this case study was conducted. Multiple regression models were used to explore the explanatory factors for movie box offices based on running size, production studios and countries, vacations, and the COVID-19 pandemic. The analysis covered a period from September 30, 2019, to September 27, 2020, encompassing a 52-week sample of 5686 films. The results indicated that weekly box office receipts (number of tickets sold) experienced a steep decline of more than 50% despite the implementation of various relief measures. While the number of locally produced films screened diminished significantly, the number of theatres, films, and rerun films and their market share increased substantially. This suggests that although the quantity of films remained stable during the pandemic, their quality or novelty did not correspondingly improve. Key findings from the regression models included the following: (1) there is a size effect (number of theaters screening the film) on the box office; (2) box offices decrease with the number of weeks since the opening week, and films from well-known producers and major studios, as well as products from the US, Japan, and Taiwan, can have positive effects on the box office; (3) student vacations have had a positive effect; and (4) the COVID-19 pandemic has had a negative effect.

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

Microsofts Prospect in Gaming Industry: Strengths, Weaknesses, Opportunities and Threats in Acquisition of Activision Blizzard

In January 2022, Microsoft stunned the public by announcing that it would acquire Activision Blizzard for $68.7 billion, a move that would radically change the gaming market. Through SWOT analysis, this paper analyzes the advantages and disadvantages of Microsoft and Blizzard, as well as the opportunities and threats brought by the acquisition. The study found that while Microsoft has mastered core technologies in cloud computing, it is in a weak position to compete for the top spot in the global gaming market, with xbox selling far fewer games and exclusives than its rivals SONY and Nintendo. Activision Blizzard is a leading game manufacturer with a mature game production studio and a large player community, which maintains efficient and high-quality game output all year round. The combination of Activision Blizzard and Microsoft will bring more game choices to Xbox players. This acquisition is conducive to the integration of the metacomverse industry chain and brings Microsoft a huge profit opportunity, but at the same time it faces the liquidity risk caused by the failure to complete the acquisition.

Analysis of Consumer Psychology Phenomena in First-person Shooter Games Based on Literature Review and Case Study Method

The study is grounded in the evolving challenges of the FPS (First-Person Shooter) gaming industry, particularly focusing on marketing difficulties and the application of consumer psychology, as demonstrated in the Cyberpunk 2077 case. This study aims to assist first-person shooter (FPS) game production companies or studios in enhancing their marketing strategies to increase their games' appeal to consumers and prevent bankruptcies or break-ups. Through case analysis such as Cyberpunk 2077, The study explores consumer psychology's application in FPS games, including microtransaction systems, scarcity items, community competitions, and lottery mechanics within the games. The study reveals that game companies, in designing and implementing these elements, need to carefully consider consumers' psychological responses and needs to provide products and services that meet their needs. Moreover, game companies need to regularly interact with players to understand their needs, make timely adjustments and updates to the game, and offer professional customer service. By understanding and applying the principles of consumer psychology, game companies can better design and manage their games, meet the needs of players, and increase their satisfaction and loyalty.

Carol Ann Duffy's ‘Standing Female Nude’

Abstract The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society.

Videographic, Musical, and Linguistic Partnerships for Decolonization: Engaging with Place-Based Articulations of Indigenous Identity and Wâhkôhtowin

N’we Jinan, a group of young Indigenous artists who run a mobile production studio and an integrative arts studio, travel to different Indigenous communities, where they support youth in writing and recording music that involves the local community. N’we Jinan employs social media to articulate and protect Indigeneity through the sharing of Indigenous music videos, empowering youth to resist continued colonization. These videos serve to create a sense of connection in Indigenous communities in Turtle Island (Canada) as well as offer a means by which non-Indigenous listeners can learn about contemporary Indigenous cultures. Viewed in conjunction with Nunavut’s Inuit Qaujimajatuqangit and the Northwest Territories’ Dene Kede and Inuuqatigiit, which provide a framework of traditional knowledge, values, and skills specific to Indigenous communities in the Canadian Arctic, the texts implicitly invite non-Indigenous listeners’ engagement in social justice activism as settler allies. The texts invite listening to and viewing the empowering songwriting and recording practices through the lens of social justice and wâhkôhtowin or kinship relations, which involves walking together (Indigenous and settler) in a good way and engaging with Bourdieu’s influential framework of cultural capital. The themes explored in the songs include cultural identity, language, and self-acceptance. The empowering songs of N’we Jinan are place-based articulations of identity that resist coloniality and serve as calls to action, creating embodied videographic, musical, and linguistic partnerships that serve as important articulations of Indigenous identity and which promote the decolonization of reading and listening practices and, by extension, education.

Content Production and the Contemporary Film and Television Industry: A Study of the LED Screen Virtual Production Studio

<p>自2019 年《曼達洛人》（The Mandalorian ）影集採用LED 幕取代藍、綠幕的製作方式，已為影視產業帶來新的變革。因此，本研究試圖探討LED幕虛擬製作室對當代影視產業、影視內容產製與視覺美學之影響。研究方法採用文獻分析法與深度訪談法，研究結果首先得出採用LED 幕虛擬製作室時，後期製作必須在前期階段就展開，且要在拍攝前完成虛實景物預覽等工作，此「後期前製化」改變了產製流程。其次，LED 幕虛擬製作室目前以製作廣告、MV 類型為多，建議未來可以開發電影或影集來擴展製作內容與國際競爭力。最後在視覺美學方面，多種數位科技的深度混合可讓演員進入虛擬空間演出時，感知到周遭環境的真實性，進而創造擬真性的虛實影像，以引發觀者沈浸在感知真實性之美學體驗。</p> <p> </p><p>The use of LED screens instead of blue and green screens for production in The Mandalorian television series since 2019 has brought about a revolution in the film and television industry. This study aims to explore the impact of LED screen virtual production studios on the contemporary film and television industry, content production, and visual aesthetics. The study employed literature analysis and in-depth interviews as research methodologies. Findings indicate that, firstly, the adoption of LED screen virtual production studios requires the post-production process to be initiated during the pre-production stage, and the preview of virtual and real scenery must be completed before shooting, resulting in a change in the production process. Secondly, LED screen virtual production studios are currently primarily used for producing advertisements and music videos. The study suggests that, in the future, the studio can be employed for creating films or television series in order to expand the range of content production and increase international competitiveness. Finally, the deep integration of various digital technologies in visual aesthetics allows performers to perceive the realism of their surroundings while performing in the virtual space, thereby creating a realistic virtual image to immerse viewers in an aesthetically pleasing experience of perceptual realism.</p> <p> </p>

Basic design course through art-based research in interior architecture education

This article presents the basic design course applications based on the design education of first-year interior architecture students. This study aims to emphasize the importance of education in the design-oriented thinking process with practice through the content of the basic design course. Within the scope of the study, art-based research in interior architecture education was carried out and the intersections of its results are described. In the studio, basic design elements and principles were conveyed with the techniques commonly taught in schools and architectural movements were given to students as term papers for research. The study directs the student to create 2D and 3D compositions by combining the studies he/she has done during the term and the research assignment. The findings show that students can reflect on their research on architectural movements to new three-dimensional abstract spaces by combining them with basic design education. While grounding this reflection, design process of the students is based on form and elements without color. The results also show a significant correlation between students’ practices and Gestalt Principles. This article emphasizes the importance of applying basic elements and principles of design and being integrated with field-specific studies to achieve better results in design education. This study is an experimental and original studio product. With the basic design education given only in the first semester, the students were given examples to determine and understand forms and approaches without color knowledge, especially through basic principles, using architectural movements instead of abstract expression.

Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases

Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases

Black Vibrations: Techno as Queer Insurrectionist Sonics

This conversation is excerpted from a panel which followed Black Vibrations, a performance by DeForrest Brown Jr. and madison moore at the Institute for Contemporary Art at VCU (ICA at VCU, Richmond, Virginia) on 25 March 2022. Black Vibrations was the first of the ICA’s Test Pattern series, inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Black Vibrations considered the history of Detroit techno, and the potential of ‘vibrational technologies’ as an instrument and a weapon. madison moore presented a DJ set as a performative lecture, while Deforrest Brown Jr. performed live using tablets and other haptic technology, building upon his work as a cultural theorist and his musical output under the moniker Speaker Music. The performance transformed the ICA’s auditorium into a club environment, complete with subwoofers, dancefloor, hazers, and flashing lights. Video projections pulled from the archives of the Detroit Historical Society – b-roll of assembly lines, auto trades shows, and early ‘80s computer classes – as well as late-night footage from WGPR Detroit, America’s first Black-owned TV station, which helped to launch techno with the popular programs The Scene and The New Dance Show. Following the performance, DeForrest and madison were joined by scholar Alexander Ghedi Weheliye for a discussion about techno: its Black and working class origins, its connection to Queer dance music innovators, and the connection between protest and the dancefloor.

Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984

The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?

How an Animation Production Studio Survived the Pandemic: The Case of Graphinica, Inc.

How an Animation Production Studio Survived the Pandemic: The Case of Graphinica, Inc.

Tree with Moons

The sculpture began with wanting to process grief. One of my brothers passed away in his sleep (unrelated to Covid) in 2020 after pandemic travel restrictions made it impossible to gather for a funeral. Over the course of my making, which is process-based – an intuitive approach to materials and methods – the form evolved into a tree with three moons. The tree is a cross-cultural symbol of loss and renewal. Each month we can observe, too, the moon appearing and disappearing from view, a metaphor for the ephemeral nature of existence.The mind struggles to accept the notion of death as inevitable, coming to all. The Vietnamese Zen monk, Thich Nhat Hanh, has written that when we are alive, we are part of the sky, the earth, the clouds. When we pass, we continue to be part of everything. I look up into the trees and the sky and know the spirit of my mother, my father, and my brother continue. Poetry has always been an informing influence in my studio production. In the process of welding Tree with Moons, installed in Maker Park, Staten Island on October, 2021 (through April 2022), I communed with the poetry of Joy Harjo, Emily Dickinson, and Anne Waldman among others. Maker Park is an abandoned lot at the corner of Front and Thompson Streets that has been transformed from an abandoned lot strewn with burnt-out cars into a sculpture and community park that hosts poetry readings, yoga, raku workshops, Maker Park Radio, Shakespeare theater and a small apiary of beehives in addition to a yearly sculpture exhibition supported in part by the NYC Department of Cultural Affairs.

TEKSTİL TASARIM STÜDYOSUNDA TEMA BASKI TEKNİĞİYLE AFRİKA BASKI KUMAŞLARININ SİMÜLASYONU.

African print is the textile term used to describe machine printed wax print designs on fabrics. These fabrics are commonly referred to as Ankara fabrics. They are valuable items in the African textile market because they have high economic value. This study focused on the simulation of African print fabrics in the textile studio using screen printing technique. The study adopted practice-led research design in the textile studio. Five (5) African print fabric designs were created using CorelDraw graphic design suite. CorelDraw graphic suite was used because of its flexibility for colour separation. The materials used are screen printing mesh, textile ink, fabrics, squeegee and exposure unit among others. The study established the possibility of producing novel African print fabrics without the need for heavy machines. It was therefore recommended that textile designers should engage in studio production of African print fabrics. This will enhance the production of original and novel African print fabric designs that are readily available to the end users.

Consent Communication (Portrayals of Sexuality in Pornography)

Consent Communication (Portrayals of Sexuality in Pornography)

The Varying Returns to Diversification Along the Value Chain

This study examines whether the benefits of diversification vary across different value chain activities. The returns to diversification in product development and distribution activities are analyzed using a framework grounded in the intraindustry diversification literature and the resource-based view (RBV) of the firm. The study uses data from cocreation arrangements in the motion picture industry in which value chain activities are nearly decomposable—that is, split across producers and distributors—as a natural field study. Results based on 779 movies linked to 57 different production studios and distributed via 30 unaffiliated distributors or vertically integrated distribution branches show that greater focus in film production has a positive effect on profitability, whereas the level of focus/diversification in distribution is unrelated to profitability. This result holds regardless of whether the two functions are carried out within an integrated organization or across independent firms. Moreover, there is significant heterogeneity in the extent to which production studios benefit from increased focus which is tied to the composition of their product portfolios. Supplemental Material: The online appendix is available at https://doi.org/10.1287/stsc.2022.0171 .

Risk sensitive scheduling strategies of production studios on the US movie market: An agent-based simulation

The movie industry is a highly differentiated context where production studios compete in non-price product attributes, which influences the box office results of a motion picture. Because of the short life cycle and the constant entrance of new competitive products, temporal decisions play a crucial role. Time series of the number of movies on release and the sum of the box office results of the ten top motion pictures (ranked by box office result for that week) present a counterphased seasonality in the US movie market. We suggest that a possible reason is a risk sensitivity adaptation in the behaviour of the movie’s distributors. This paper provides a model supporting this hypothesis. We developed an agent-based model of a movie market, and we simulated it for 15 years. A comparable global behaviour exists when producers schedule the movies according to given risk-sensitive strategies. This research improves the knowledge of the US motion picture market, analyzing a real-world scenario and providing insight into the behaviour of existing firms in a complex environment.

Changes and continuities of Makjang drama in the Korean broadcasting industry

ABSTRACT This paper examines the changes and continuities of makjang drama series within the structural changes that abound in the Korean broadcasting industry. Based on analysis of publications by terrestrial broadcasters and statistics of television ratings, the findings indicate that terrestrial television networks, which have been the major production and distribution outlets of Korean television dramas, recognize makjang drama to be important in securing their position following the entry of new players into the market, namely mobile and social media platforms, streaming services, and new broadcasters. While leading screenwriters and production studios strive to evolve and move away from the genre by reflecting the changing tastes of audiences, terrestrial broadcasters continue programming makjang drama despite criticisms against the genre as they record high television ratings with strong support from older audiences. In spite of criticisms and controversies over their improbable plots and violent and sensational clichés, the findings of this study explain that much of broadcasters’ persistence in producing makjang drama should be understood within the context of industrial changes.

Impact of Message Characteristics on Viral Video Advertising

Viral video advertising is one of the active tools used by organizations to optimise social media presence. Marketers aim to generate video that motivate viewers to engage with it, in form of share, comment, like, which ultimately increases content consumption, brand awareness and engagement. This study focuses on different aspects of message characteristics and their impact on video virality. Creative professionals from advertising agencies and production studios were interviewed using semi-structured interviews to explore the role of message factors, which influences large set of viewers to engage with videos. The study provides insights on how high video virality is influenced by a specific aspect(s) of message factors and helps professionals in viral video creation.

TV drama production studios of Istanbul: From empty sound stages to standing sets

This study explores the transformation of production spaces from empty sound stages to standing sets, drawing on the findings from fieldwork involving 14 key players; studio owners and managers, screenwriters and art directors. The sets containing standing decors of hospital rooms, police stations, jails and courtrooms, transformed from abandoned factories, warehouses and administrative buildings in Istanbul, mostly lack proper infrastructure and appropriate security measures. Examining their transformation shows that the demanded and repeated storylines of the Turkish TV series also shape these locations and create a cheap and fast studio system based on supply and demand, putting creativity and security of the crews into question. The research also aims to contribute to the critical debate about the production studies focusing solely on the means of production and excluding the text and the audience, with showing the need for a more comprehensive approach. In order to apprehend the intertwined relationship between production, representation and consumption, this study examines the links between the formation of the production spaces, the content of the TV series and the ratings.