Latin American cinema Rodriguez, Paul A. Schroeder
2016., 20160308, 2016, 2016-03-08
eBook
This book charts a comparative history of Latin America's national cinemas through ten chapters that cover every major cinematic period in the region: silent cinema, studio cinema, neorealism and art ...cinema, the New Latin American Cinema, and contemporary cinema. Schroeder Rodríguez weaves close readings of approximately fifty paradigmatic films into a lucid narrative history that is rigorous in its scholarship and framed by a compelling theorization of the multiple discourses of modernity. The result is an essential guide that promises to transform our understanding of the region's cultural history in the last hundred years by highlighting how key players such as the church and the state have affected cinema's unique ability to help shape public discourse and construct modern identities in a region marked by ongoing struggles for social justice and liberation.
This paper discusses the impact of film industry on CO
2
emission of the USA by using four different single-equation cointegration methods, namely, fully modified least squares (FMOLS), dynamic least ...squares (DOLS), canonical cointegrating regression (CCR), and autoregressive distributed lag (ARDL) to check the robustness of the results. The data has chosen in line with the environment Kuznets curves (EKC) and pollution haven hypothesis, and the models use communication equipment in millions of dollars and capital in entertainment, literacy, and artistic originals as determinants of motion picture and sound recording industries with other control variables such as income per capita and energy use to examine their nexus. Moreover, we also employ the Granger causality test to determine whether one variable is a predictor of another. The results approve the validity of EKC hypotheses for the USA. As expected, increase in energy use and capital assets results in rise in CO
2
emission, while communication equipment improves the environmental quality.
This article addresses the question of how gender inequalities are produced in the film industry. In the absence of industry or organizational interventions, these inequalities seem unmanageable. We ...present an exploration of the gendered working lives of below-the-line film workers in New Zealand, in the context of the western film industry. Repeatedly, women activists have pointed out that a perception of gender equity contradicts the statistics, which demonstrate traditional as well as ‘new’ forms of sexism. In this post-feminist context inequality is typically invisible and unspoken, and there is a thriving narrative of meritocracy based on talent and determination, where ‘you're only as good as your last job’. Below-the-line ‘crew’ are distinguished from creatives in a hierarchy of creativity. In the New Zealand film industry, they are not unionized, and there are no policies addressing gender. From their perspective, their powerlessness in terms of employment rights is taken as a given, a price they pay for doing their dream job. In spite of beliefs about merit, talent and the ‘good idea’, women's ‘good ideas’ and their work capabilities across a range of roles are less likely to be recognized and rewarded than those of men.
Co-production was developed by several European countries to revive their film industries and has become increasingly popular, spreading across the region and beyond. However, this scheme should be ...carefully examined as to whether it is truly beneficial to the film industry. In response, this paper proposes two new concepts, "corporation-led" and "state-led" co-productions by distinguishing them from the prevailing notion of "(international) co-production." Corporation-led coproduction is to achieve the best outcome through the optimal utilization of production (or creative) factors and business activities. By contrast, state-led co-production has been used to enhance the national image and has been supported by financial incentives. As such, this type of co-production becomes a hindrance for the optimal utilization of production factors. All of these aspects can be found throughout the history of Europe's co-production efforts. In the future, such an instrument should be redesigned in order to promote the film industry more effectively.
Brand extension value is the part of brand value that derives from a brand owner's right to introduce new products related to the brand. The authors draw on a theoretical conceptualization of brand ...extension success and present an approach to measure the monetary value of brand extension rights in the context of motion pictures (i.e., movie sequel rights) and to calculate the effect of variations of key extension product attributes, such as the continued participation of stars, on this value. Their measure incorporates both the forward spillover effect and the reciprocal spillover effect and accounts for differences between brand extensions and new original products in revenues and risk, thereby offering marketing scholars a novel approach for evaluating the riskiness of investment alternatives. With respect to the forward spillover effect of a parent brand on the extension product, the authors apply regression analysis to data from all 101 initial movie sequels released in North American theaters between 1998 and 2006 and to a matched subsample of original movies and calculate the risk-adjusted monetary brand extension value by comparing success predictions for both sequels and matched original movies. Regarding the reciprocal spillover effect by which the extension product affects the success of the parent brand, the authors use longitudinal data of parent-brand DVD sales to monetize the risk-adjusted impact of the brand extension on the parent. The usefulness of their approach is illustrated by calculating the monetary brand extension value for an actual movie title.
This study examines the optimization of interrelease timing decisions, focusing on box office and DVD sales in the U.S. motion picture industry. It aims to improve managerial decision making by ...jointly modeling the revenue in these two channels through a copula modeling approach. As in previous studies, the authors find that the time lag from box office release to DVD release should be increased to optimize total movie performance, but they conclude that previous studies have systematically underestimated the optimal time lag. This study is the first to challenge the assumption of a negative decay in DVD performance as a function of time; its results suggest that a delayed DVD release is still optimal for maximizing revenue in the DVD channel. This study's model suggests that, on average, individual movies are approximately eight weeks away from their optimal lag and that the net impact of optimizing would be improvements in total and DVD revenue by 2.5% and 5.6%, respectively. Therefore, this model is expected to enhance managerial decision making by offering the ability to predict the optimal time lag for individual movies.
The article reviews the documentary film diptych
by film-maker Mila Turajlić. Based on her archival work at the Filmske Novosti production company, Turajlić discovers the legacy of hitherto unknown ...cinematographer Stevan Labudović. Both films are hybrid documentaries that combine archive footage with interview-style documentary, and both focus on two intertwined thematic cycles – Labudović’s coverage of the Algerian war of independence (1959–1961) and the first summit of the Non-Aligned Movement (1960–1961). Conceptually, Turajlić’s films engage thought-provoking matrixes, among them Pierre Nora’s
and, more especially, Walter Benjamin’s reflections on historical progress. This review finds that the implementation of the latter blurs the boundary between the critique of the idea of progress and historical relativism, which leads to the confusing presence of mutually exclusive voices in Turajlić’s film, one calling for the reappropriation of the past, and another calling that same past into question.
Más de tres décadas después desde que se diera por cancelado el cine quinqui, el interés de cineastas, escritores e investigadores académicos ha propiciado la revitalización de este fenómeno ...sociológico, tanto por el abordaje de nuevas representaciones fílmicas como por ser objeto de análisis teórico. El propósito de este artículo es analizar la influencia que tuvieron los medios de comunicación en la creación de aquellos mitos protagonistas de los filmes de los años 70 y 80, así como las huellas que podemos encontrar en algunas obras contemporáneas como Criando ratas, (C. Salado, 2014), Hasta el cielo, (D. Calparsoro, 2020) o Las leyes de la frontera, (D. Monzón, 2021). La revisión actual de estas temáticas y personajes cuestiona, desde la crítica cultural, el retrato amable de la Transición política española, mientras que algunos filmes visibilizan en el entorno digital la falta de futuro de los nuevos quinquis.
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
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.
