Art special effects, as a kind of new media art form, bring different visual impacts to viewers in film and television animation. This study discusses the application of digital media art film and ...television special effects’ technology through virtual and realistic algorithms. The wide application of digital media art film and television special effects’ technology has achieved the purpose of saving production time and cost for the creation of film and television dramas. Through the comprehensive analysis and research on art creation, image impact, film viewing perception, and natural interactive emotion under different technological environments, and the analysis of the comparison results, it can be seen that digital media art film and television special effects’ technology has a far-reaching impact on film and television animation, can better carry out the sustainable development of film and television field, also promote the sustainable development of science and technology to a certain extent, promote the modern development of digital media art design, support society's continuous development and progress, and better promote the all-round integration of digital media art and film and television creation.
How does the Indian movie industry recoup, rebuild and rejuvenate post-COVID-19? Are there new pathways opening up? Is digitization one of them? These are the hot topics that are being discussed by ...practitioners in the Indian movie industry, since the global pandemic, COVID-19, reduced India as a nation from a thriving movie industry to a struggling movie industry. They are illustrative of entrepreneurial failure in the Indian movie industry, exposed by COVID-19. There is an urgent need to develop alternate pathways for revenue generation to protect the Indian movie industry from further decline. With close to 2000 movies being released each year, the movie industry was one of the largest employment-generating industries in India, bringing both income and joy to people's lives in a nation beset by vast differences in wealth. However, it has been based on theatrical exhibition rather than digitization, with a lukewarm response to digital providers, to its detriment. During the pandemic, lack of digital innovation flipped from 'might do' to 'must do' in order to ensure the many family businesses in the Indian movie industry survive and monetize developed content. Though India's poor lost out on their share of entertainment due to screen closures, digitization ensured that the growing middle class could be catered to. However, the business model is rapidly changing and the role of the producer as an entrepreneur is diminishing because artists and technicians are directly striking deals and developing content with funding from digital providers.
Despite mixed results, state government use of targeted economic development programs has escalated. This study evaluates the impact of motion picture incentive programs, an array of tax incentives ...employed by over 40 states to entice film and television productions out of California and New York, on labor and economic conditions from 1998 through 2013. Results suggest that sales and lodging tax waivers had no effect on any of four different economic indicators. Transferable tax credits had a small, sustained effect on motion picture employment levels but no effect on wages. Refundable tax credits had no employment effect and only a temporary wage effect. Neither credit affected gross state product or motion picture industry concentration. Incentive spending also had no influence. These findings demonstrate the heterogeneous impacts of different incentives offered under a single program and should inform future economic development policy design.
Focusing on Sweden, this article departs from the proposition that film production and the film industry are governed by institutional arrangements that produce and reproduce gender and gender ...relations. The article is based on interviews with directors and producers and analyses how Swedish directors and producers describe their roles and relationship, relating this to how these roles are shaped by the law, film policy, and financial arrangements. The article argues that the Swedish film industry rests on a gendered division of labor, that the professions of director and producer are constructed in relation to masculinity, and that the gender equality measures undertaken are not sufficient to come to grips with the gender inequalities in the industry.
The first comprehensive book on Bollywood dance culture, Is It All About Hips? traces Bollywood dances as they are interpreted, created, and produced in three locations: Mumbai (India), Kathmandu ...(Nepal), and Los Angeles (USA).
 rebours du soupçon qui tâche devider les figures et les silhouettes, Mathieu Larnaudie s'attache dans Notre desir est sans remede a remplir ce vide de l'icône, a lui donner substance, tourment et ...complexité.3 Au lieu de la saisir comme un espace hospitalier a la projection, il consacre son récit a l'actrice Frances Farmer, pour suivre les aventures d'un corps et d'une personnalité, mais surtout pour dire les frottements et les confrontations de cette individualité avec le regne des images. Il délaisse ici les incarnations du pouvoir: non seulement parce qu'il s'attache å décrire le parcours d'une actrice indocile et pour une part broyée par Hollywood et la bonne société quelle dérangeait, mais surtout parce qu'au lieu de penser le pouvoir sur un mode centralisé, attaché å une caste, il en saisit les circulations plurielles, les imprégnations diffuses, les conditionnements secrets, les diffractions souterraines. Le récit inverse en somme le dispositif foucaldien ou plutôt le complexifie: au lieu de faire de la machine judiciaire un instrument de visibilité, elle devient ici un outil d'anonymisation, avant qu'une émission télévisée ne rende visage et voix a l'actrice. Car la légende dorée n'a pas son envers sombre-on ne sait quelle légende noire qui en serait le récit alternatif ou antagonique, une autre histoire plus ou moins secrete, et forcément plus réelle parce que souterraine, honteuse, exsudant le scandale, les blessures et les vices, tout ce qu'il est soi-disant préférable de taire et qui passe donc pour le fond véritable des choses mais qui fait couler bien plus d'encre encore, excite la chronique, éperonne notre désir, attise sans jamais suffire å l'assouvir notre soif de spectacle avec plus de violence que les versions officielles, enchantées.
Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order ...of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets - namely, the United States, Japan, and Germany - and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected. PUBLICATION ABSTRACT
This article explores the most significant historic industrial dispute in Ireland's film industry, during the making of the UK film Of Human Bondage in the early 1960s. The conflict produced a ...prolonged standoff between Irish film trade unions and their much larger British counterparts, impacting on the viability of Ardmore Studios, established in 1957. Drawing on previously unexplored archival sources, this account reveals the delicate interplay between unions, employers and the Irish state in resolving the dispute. The timing of these events in the early 1960s demonstrates the international film industry's early adoption of a globalised production model, some decades before the 1980s-era developments more commonly associated with the globalisation framework. The events illuminate a crucial period in Irish film production history, underlining the importance of 'labour flexibility' in establishing Ireland as a viable production hub for mobile international film production.
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