Search results for "Film industry"
showing 9 items of 9 documents
Phantom of the Paradise de Brian De Palma ou comment la captation sauve de la mort
2004
J’ai récemment lu sur un site web consacré à Brian De Palma, qu’il avait eu l’idée du film après qu’il ait entendu une version instrumentale d’une chanson des Beatles dans un ascenseur, ce que l’on appelait dans les années soixante-dix la muzak, une musique d’ambiance réalisée pour les lieux publics à base de tubes réarrangés.Mais Brian de Palma n’a pas seulement réalisé un film sur les relations du rock et du show-bizz et une parodie féroce des producteurs. Le film est également une réflexion très aboutie sur la façon dont les supports d’enregistrements (qu’il s’agisse de la pellicule ou du disque) ont profondément modifié les rapports entre les auteurs (au sens large), les éditeurs, les i…
Enjoying sameness and difference – competition and convergence of Latin American telenovelas and Swahili video films in Tanzania
2018
Since the early 2000s Latin American telenovelas have become a very popular and widely received genre in Tanzania. At the same time, a huge video film industry has developed with local films made i...
The influence of English film media on the Finnish language : The role of English in Finnish film magazine Episodi (2008)
2009
Nykyään median vaikutus on suuri ympäri maailmaa; kuuntelemme radiota, luemme lehtiä, katselemme televisiota ja elokuvia. Mediaa onkin tutkittu paljon viime aikoina. Tutkimuksissa on enimmäkseen tarkasteltu median hyvää tai huonoa vaikutusta sen yleisöön. Näistä tutkimuksista vain muutamassa on kuitenkaan analysoitu median käyttämää kieltä. Median keskeisen aseman lisäksi mediasta on myös tullut kielenoppimisen vaikutuksellisin väline, josta etenkin englannin kieltä opitaan. Tutkimusta kaivattaisiinkin lisää analysoimaan, miten eri mediat vaikuttavat kieliin. Tässä tutkielmassani olen pyrkinyt analysoimaan, miten englannin kielen vaikutusvaltainen elokuvateollisuus on vaikuttanut suomalaist…
Si j'aurai su, j'aurai pas venu" : éclairage stratégique sur le lancement simultané des deux " Guerre des Boutons "
2014
“If I knew, I will not come”: strategic insight on the simultaneous launch of the two Guerre des BoutonsThe purpose of this paper is to propose an insight on an unusual strategic situation in the movie industry: thesimultaneous launch on screens of two almost identical movies, La Guerre des Boutons. After recalling the stakesattached to the product launch in the film industry, a monograph devoted to this direct confrontation, supplementedby an analysis of the critics of spectators, is proposed. This analysis reveals determinants (the conflictand lack of control in the film industry) and consequences (sub-optimal strategy) of the temporal agglomeration.
Being lost: tourism, risk and vulnerability in the post-‘9/11’ entertainment industry
2012
This study explores the ways in which the post-‘9/11’ film industry employs tourism as a plot that re-creates mythical imageries of the ‘West’ in relation to a radical ‘other’. Reflecting on sociological and psychological concepts of ‘vulnerability’ and ‘risk’, the authors undertake a content analysis of four ‘horror’ or ‘terror’ films and reveal complex discourses linked to nationalist sentiment, political ideology, the power of expertise and public insecurity in the post-‘9/11’ USA. One interesting feature of the current horror-movie genre is the extent of violence and sadism exerted on Western tourists going abroad. Drawing on the image of the tourist as victim, the authors further discu…
Architetture dell'industria del cinema in Sicilia
2022
L'interesse del popolo siciliano per il cinema e l'arte cinematografica si manifesta alla fine del XIX secolo quando, nel capoluogo siciliano viene presentato il Kinetoscopio Edison. Una macchina che permetteva di vedere una figura in movimento accostando l'occhio sulla lente di un meccanismo all'interno del quale girava la pellicola. L'anno successivo, il primo spettacolo di Kinefotografo segna l'inizio delle proiezioni di immagini in movimento su uno schermo. L'evento è seguito dall'arrivo del Cinematografo Lumière che sostituisce le proiezioni itineranti allestite nelle piazze, dando impulso alla nascita di sale di proiezione e, successivamente, a impianti architettonici adeguati ad un p…
Prevision model and empirical test of box office results for sequels
2021
International audience; As studios release an increasing number of movie sequels, scholars have begun to examine this strategic choice. Prior studies use standard models of box office performance to evaluate sequels’ performance and have mainly compared the box office results of the original movie with those of its sequel. However, sequels hold a unique position in the motion picture market since they are strongly associated with the original movie. Using the accessibility-diagnosticity framework, this research investigates the drivers behind the success of sequels and examines specifically the original movie’s impact through the role of reviews. The results – from 232 movies (116 original …
Translating film titles
2014
In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative o…
El plagio cinematográfico de Letty Lynton (1932) y su impacto en la industria fílmica estadounidense: análisis del proceso judicial y de su cobertura…
2016
Este artículo presenta un exhaustivo análisis del proceso judicial relativo al film Letty Lynton (1932), que, pese a ser un emblema del periodo clásico de Hollywood, fue prohibido en 1936, tras la denuncia de dos dramaturgos que acusaron a Metro-Goldwyn-Mayer de haber plagiado una de sus obras. El pleito evidenció una complejidad en materia de infracción del copyright que la justicia estadounidense no había afrontado hasta el momento, entre otros motivos porque la cinta partía de unos hechos reales acontecidos durante el siglo XIX y la productora había adquirido los derechos de una novela que también los relataba. Los continuos recursos y resoluciones judiciales finalizaron, tras ochos años…