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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="film industry"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 6458</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: film industry</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6458</span> Agile Manifesto Construct for the Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kiri%20Trier">Kiri Trier</a>, <a href="https://publications.waset.org/abstracts/search?q=Theresa%20Treffers"> Theresa Treffers</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the course of continuous volatility like production stops due to the COVID-19 pandemic, video-on-demand player monopolizing the film industry, filmmakers are stuck in traditional, linear content development processes. The industry has to become more agile in order to react quickly and easily to changes. Since content development in agile project management is scientifically–empirically not at all recorded, and a lack beyond the software development in terms of agile methods consists, we examined if the agile manifesto values and principles from the software development can be adapted to the film industry to enable agility and digitalization of content development in the industry. We conducted an online questionnaire with 184 German filmmakers (producers, authors, directors, actors, film financiers) for a first cross-sectional assessment for adaptability of the agile manifesto from the software development to the film industry, factor analysis was used to validate the construct. Our results show that it is crucial to digitalize traditional content development to agile content development end-to-end, with tools, lean processes, new collaboration structures, and holacracy to prepare for any volatility. Overall, we examined the first construct for an agile manifesto for the film industry with four values related to nine own principles. Our findings help to get a better understanding of the agile manifesto beyond the software development as a guideline for implementing agility in the film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=agile%20manifesto" title="agile manifesto">agile manifesto</a>, <a href="https://publications.waset.org/abstracts/search?q=agile%20project%20management" title=" agile project management"> agile project management</a>, <a href="https://publications.waset.org/abstracts/search?q=agility" title=" agility"> agility</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title=" film industry"> film industry</a> </p> <a href="https://publications.waset.org/abstracts/133569/agile-manifesto-construct-for-the-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133569.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">199</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6457</span> Philippine Film Industry and Cultural Policy: A Critical Analysis and Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20Kho%20Lim">Michael Kho Lim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines the status of the film industry as an industry in the Philippines—where or how it is classified in the Philippine industrial classification system and how this positioning gives the film industry an identity (or not) and affects (film) policy development and impacts the larger national economy. It is important to look at how the national government recognises Philippine cinema officially, as this will have a direct and indirect impact on the industry in terms of its representation, conduct of business, international relations, and most especially its implications on policy development and implementation. Therefore, it is imperative that the ‘identity’ of Philippine cinema be clearly established and defined in the overall industrial landscape. Having a clear understanding of Philippine cinema’s industry status provides a better view of the bigger picture and helps us determine cinema’s position in the national agenda in terms of priority setting, future direction and how the state perceives and thereby values the film industry as an industry. This will then serve as a frame of reference that will anchor the succeeding discussion. Once the Philippine film industry status is identified, the paper will then clarify how cultural policy is defined, understood, and applied in the Philippines in relation to Philippine cinema by reviewing and analyzing existing policy documents and pending bills in the Philippine Congress and Senate. Lastly, the paper delves into the roles that (national) cultural institutions and industry organisations play as primary drivers or support mechanisms and how they become platforms (or not) for the upliftment of the independent film sector and towards the sustainability of the film industry. The paper concludes by arguing that the role of the government and how government officials perceive and treats culture is far more important than cultural policy itself, as these policies emanate from them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20and%20creative%20industries" title="cultural and creative industries">cultural and creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title=" film industry"> film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=Philippine%20cinema" title=" Philippine cinema"> Philippine cinema</a> </p> <a href="https://publications.waset.org/abstracts/65386/philippine-film-industry-and-cultural-policy-a-critical-analysis-and-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65386.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">441</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6456</span> Emerging Film Makers in Tamil Cinema Liberated by Digital Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Valarmathi%20Subramaniam">Valarmathi Subramaniam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ever since the first Indian feature film was produced and released by Shri Dada Saheb Phalke in the year 1931, the Indian Film Industry has grown leaps and bounds. The Indian Film Industry stands as the largest film industry in the world, and it produces more than a thousand films every year with investments and revenues worth several billion rupees. As per the official report published by UNESCO in the year 2017 on their website, it states that in the year 2015, India has produced one thousand nine hundred and seven feature films using digital technology. Not only is the cinema adapted to digital technologies, but the digital technologies also opened up avenues for talents to enter the cinema industry. This paper explores such talents who have emerged in the film industry without any background, neither academic nor from their family background, but holding digital media as their weapon. The research involves two variants of filmmaking technology – Celluloid and Digital. The study used a selective sampling of films that were released from the year 2020-to 2022. The sample has been organized, resulting in popular and fresh talents in the editing phase of filmmaking. There were 48 editors, of which 12 editors were not popular and 6 of them were fresh into the film without any background. Interview methods were used to collect data on what helped them to get into the industry straight. The study found that the digital medium and the digital technology enabled them to get into the film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title="digital media">digital media</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20in%20cinema" title=" digital in cinema"> digital in cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20era%20talents" title=" digital era talents"> digital era talents</a>, <a href="https://publications.waset.org/abstracts/search?q=emerging%20new%20talents" title=" emerging new talents"> emerging new talents</a> </p> <a href="https://publications.waset.org/abstracts/149750/emerging-film-makers-in-tamil-cinema-liberated-by-digital-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149750.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6455</span> Marketing of Turkish Films by Crowdfunding</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nurdan%20Tumbek%20Tekeoglu">Nurdan Tumbek Tekeoglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With rising importance in all over the world, crowdfunding has become a new financing and marketing method for film industry. Crowdfunding is a new practice in film industry for funding a film project by raising monetary contributions from a large group of people. By crowdfunding an estimate fund of 20 billion USD has been raised in 2015. Through the crowdfunding platforms not only the film makers, but also the entrepreneurs and nongovernmental organizations finance and market their projects. Among the prominent crowdfunding platforms in Turkey, we can list Crowdfon, Fonlabeni, Kickstarter, Indiego, Bi Ayda, and Fongogo platforms. In 2014 the Turkish film industry celebrated its 100th anniversary and reached its peak producing around 150-200 films a year reminding the brilliant years of Yesilcam period. In general feature films apply for crowdfunding. Until April 2015 more than 190 films applied for crowdfunding platforms. Crowdfunding has a promising future in Turkey, since donation traditions has an important place in Turkish culture traditionally. This paper is exploring the marketing of the crowdfunding platforms established in Turkey in order for the films meet their target groups during the pre-production period. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crowdfunding" title="crowdfunding">crowdfunding</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20of%20films" title=" marketing of films"> marketing of films</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkey" title=" Turkey"> Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20film%20industry" title=" Turkish film industry"> Turkish film industry</a> </p> <a href="https://publications.waset.org/abstracts/32285/marketing-of-turkish-films-by-crowdfunding" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32285.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">352</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6454</span> Case Studies on the Impact of COVID-19 on Films and Digital Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hitender%20Sehrawat">Hitender Sehrawat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> COVID-19 has been a game-changer for many industries and businesses across the globe. In this article, the impact of COVID-19 is discussed, specifically on films, television, and digital media industry. Based on the review of the newspaper articles, three case studies are presented. One case study is on the impact of COVID-19 on Bollywood, the second case study is on the impact of COVID-19 on Hollywood, and third case study is on the impact of COVID-19 on television and digital media industry. It is argued that COVID-19 has had a negative impact on Bollywood and Hollywood, whereas it has impacted the television and digital media industry in a positive way. COVID-19 has brought about disruption in the lives and businesses of people, and the film and television industry is not an exception. Although there are negative impacts of COVID-19 on Bollywood and Hollywood, it has positive impacts on television and the digital media industry. Maybe the disruption of the traditional film industry by the digital media industry will be the normal for a long time to come. However, measures need to be thought about a revival of the Bollywood and Hollywood for the many livelihoods they cater to. Bollywood and Hollywood are not just film industries, but the core identities of India and the United States. What shape film industry will take in the future would be interesting to see. This article opens up avenues for more in-depth empirical research in this area in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=films" title="films">films</a>, <a href="https://publications.waset.org/abstracts/search?q=COVID-19" title=" COVID-19"> COVID-19</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20industry" title=" media industry"> media industry</a> </p> <a href="https://publications.waset.org/abstracts/128100/case-studies-on-the-impact-of-covid-19-on-films-and-digital-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128100.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6453</span> Commercialization of Film Festivals: An Autobiographical Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96nder%20M.%20%C3%96zdem">Önder M. Özdem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Producing and circulating films of professional standards have become technically easier with the development and widespread use of digital recording and distribution technologies. Additionally, film festivals on common platforms have rapidly increased in numbers and diversity. On the one hand, no-charge applications result in excessive submissions; thus, it complicates the evaluation and selection process. On the other hand, festival’s high submission fees may make the distribution of films with a limited budget very difficult. Inspired by the author’s engagement with the film industry as both a pre-jury member of an international film festival and an applicant to many festivals, this study discusses the causes and consequences of the increasing commercialization of film festivals. The author’s double identity, both as a jury and an applicant, provides a comparative perspective through which one can unfold the different dimensions and dynamics in the film production and distribution processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=commercialization" title="commercialization">commercialization</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution" title=" film distribution"> film distribution</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title=" film festivals"> film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20production" title=" film production"> film production</a> </p> <a href="https://publications.waset.org/abstracts/166277/commercialization-of-film-festivals-an-autobiographical-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166277.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6452</span> Analysis of Casting Call Process in Thai Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panprae%20Bunyapukkna">Panprae Bunyapukkna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to analyze the process that most of the Thai film industries commonly use in order to find the right cast to play the role. The result proved that most of the low-budget film productions find the cast by asking from the crew’s friends or friend of friend. Therefore, finding the cast in low-budget film productions normally has only few people shown up for the auditions and sometimes either none of them has acting knowledge or their appearances do not match the character. However, since most of the low-budget film productions do not have much ability to find members of the cast, thus some of them still will be selected. On the other hand, most of the high-budget film productions use modeling companies to find the cast for them. However, most of modeling agencies in Thailand seek and select their cast members from the cast’s appearances or talents rather than the knowledge of acting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=casting%20for%20film" title="casting for film">casting for film</a>, <a href="https://publications.waset.org/abstracts/search?q=modeling%20business" title=" modeling business"> modeling business</a>, <a href="https://publications.waset.org/abstracts/search?q=acting" title=" acting"> acting</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20business" title=" film business"> film business</a> </p> <a href="https://publications.waset.org/abstracts/12956/analysis-of-casting-call-process-in-thai-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6451</span> Strategic Risk Issues for Film Distributors of Hindi Film Industry in Mumbai: A Grounded Theory Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rashmi%20Dyondi">Rashmi Dyondi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shishir%20K.%20Jha"> Shishir K. Jha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty. Unlike extensive scholarly work on dynamics of Hollywood motion picture industry, Hindi film industry is an under-researched area till now. Especially how do film distributors perceive risk is an unexplored study for the Hindi film industry. Films are unique experience products and the film distributor acts as an entrepreneur assuming high risks given the uncertainty in the motion picture business. With the entry of mighty corporate studios and astronomical film budgets posing serious business threats to the independent distributors, there is a need for an in-depth qualitative enquiry (applying grounded theory technique) for unraveling the definition of risk for the independent distributors in Mumbai vis-à-vis the corporate studios. Need for good content was a common challenge to both the groups in the present state of the industry, however corporate studios with their distinct ideologies, focus on own productions and financial power faced different set of challenges than the independents (like achieving sustainability in business). Softer issues like market goodwill and relations with producers, honesty in business dealings and transparency came out to be clear markers for success of independents in long run. The findings from the qualitative analysis stress on different elements of risk and challenges as perceived by the two groups of distributors in the Hindi film industry and provide a future research agenda for empirical investigation of determinants of box-office success of Hindi films distributed in Mumbai. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entrepreneurial%20risk%20behavior" title="entrepreneurial risk behavior">entrepreneurial risk behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution%20strategy" title=" film distribution strategy"> film distribution strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20film%20industry" title=" Hindi film industry"> Hindi film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=risk" title=" risk "> risk </a> </p> <a href="https://publications.waset.org/abstracts/30088/strategic-risk-issues-for-film-distributors-of-hindi-film-industry-in-mumbai-a-grounded-theory-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30088.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">313</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6450</span> Crowdfunding in Funding Lithuanian Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Irena%20Alperyte">Irena Alperyte</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since the regaining of the Independence, the Lithuanian state has been confronting an increasingly dramatic challenge because of the lack of funding sources dedicated to the film industries. During the Soviet times, Lithuanian film was under a total supervision of the Soviet functioners. This means that the responsibility of the state to make movies was of a monopolist character. The filmmakers’ community of the newly independent state needed to learn how to develop their fundraising skills, co-production and marketing techniques. Currently, Lithuanian film is experiencing a new phase concerning its funding: it is exploring the possibilities of motivating the public to invest in entertainment via crowd funding and crowd sourcing techniques and making these activities an alternative way of funding films. The paper aims at the exploration of the existing film financing practices in Lithuania and abroad and provides recommendations on how to improve the alternative Lithuanian film financing strategy via employing new possibilities, such as crowd funding and other alternative marketing tools. Objectives: 1) To examine the theories on creative industries and possibilities for their application. 2) To analyze the current situation in the film industry Lithuania. 3) To analyze the statistical data on movie theater visitors in Lithuania. 4) To discuss alternative options for film financing system. 5) To look through the alternative funding strategies tailored for Lithuanian film industry. 6) To propose recommendations for alternative funding strategies in Lithuanian film fundraising. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title="creative industries">creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=funding" title=" funding"> funding</a>, <a href="https://publications.waset.org/abstracts/search?q=fun%20theory" title=" fun theory"> fun theory</a> </p> <a href="https://publications.waset.org/abstracts/55720/crowdfunding-in-funding-lithuanian-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55720.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">347</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6449</span> History of Film in the (West/South) Africa-the Emergence of the Film Production Economy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sibusiso%20Mnyanda">Sibusiso Mnyanda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Storytelling through motion pictures is a valuable economy. South Africa was one of the first countries in the world to see and hear sound motion pictures With Lingards Waxworks in Durban first showing them in August 1895. This article celebrates and takes a microscopic look into the developments of this industry and its economy, highlighting these fundamentals: Skill levels and talent sets that were displayed in this emergence, the quality of the products that were produced by filmmakers and actors, the level of Administration and quality assurance of production houses and the general infrastructure and resources available to the industry at the time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=Africa" title=" Africa"> Africa</a>, <a href="https://publications.waset.org/abstracts/search?q=production%20economy" title=" production economy"> production economy</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a> </p> <a href="https://publications.waset.org/abstracts/177547/history-of-film-in-the-westsouth-africa-the-emergence-of-the-film-production-economy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177547.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6448</span> Gender Disparity in Film Industries: A Conceptual Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniel%20Edem%20Adzovie">Daniel Edem Adzovie</a>, <a href="https://publications.waset.org/abstracts/search?q=Jakub%20Kudlac"> Jakub Kudlac</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The subtle institutionalization of male dominance in the film industry in the 1930s and its rippling effect of gender imbalance especially, regarding female active participation in film industries across the globe in terms of number and influence, is a worrying trend. The main purpose of the study is to explore the role of gender themes, especially patriarchal themes in films, in influencing the disparity experienced in film industries. Partially, we examine the motivations vis-à-vis the demotivating factors that attract and or refract females from enrolling in film schools against their male contemporaries. Employing a qualitative inquiry with a specific focus on document analysis as well as experts’ opinions in order to ascertain the antecedents and consequences of patriarchal themes in films on female participation in film industries, we drew extant literature from reputable databases such as EBSCO, Scopus, Web of Science, ERIH Plus, Google Scholar as well as notable books on gender and film. Secondly, we conceptualized a research model for a future qualitative research design that could take into consideration a study from at least three different film industries and analyze using thematic analysis. This could help validate the proposed conceptual model of the study. The literature review revealed that culture, to a large extent, influences the patriarchal themes conveyed in films, which inhibits active female participation in film industries. Research implications have been discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title="film industry">film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=female" title=" female"> female</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20dominance" title=" male dominance"> male dominance</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchal%20themes" title=" patriarchal themes"> patriarchal themes</a> </p> <a href="https://publications.waset.org/abstracts/130034/gender-disparity-in-film-industries-a-conceptual-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130034.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6447</span> Using Two-Mode Network to Access the Connections of Film Festivals </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiankun%20Zhong">Qiankun Zhong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a global cultural context, film festival awards become authorities to define the aesthetic value of films. To study which genres and producing countries are valued by different film festivals and how those evaluations interact with each other, this research explored the interactions between the film festivals through their selection of movies and the factors that lead to the tendency of film festivals to nominate the same movies. To do this, the author employed a two-mode network on the movies that won the highest awards at five international film festivals with the highest attendance in the past ten years (the Venice Film Festival, the Cannes Film Festival, the Toronto International Film Festival, Sundance Film Festival, and the Berlin International Film Festival) and the film festivals that nominated those movies. The title, genre, producing country and language of 50 movies, and the range (regional, national or international) and organizing country or area of 129 film festivals were collected. These created networks connected by nominating the same films and awarding the same movies. The author then assessed the density and centrality of these networks to answer the question: What are the film festivals that tend to have more shared values with other festivals? Based on the Eigenvector centrality of the two-mode network, Palm Springs, Robert Festival, Toronto, Chicago, and San Sebastian are the festivals that tend to nominate commonly appreciated movies. In contrast, Black Movie Film Festival has the unique value of generally not sharing nominations with other film festivals. A homophily test was applied to access the clustering effects of film and film festivals. The result showed that movie genres (E-I index=0.55) and geographic location (E-I index=0.35) are possible indicators of film festival clustering. A blockmodel was also created to examine the structural roles of the film festivals and their meaning in real-world context. By analyzing the same blocks with film festival attributes, it was identified that film festivals either organized in the same area, with the same history, or with the same attitude on independent films would occupy the same structural roles in the network. Through the interpretation of the blocks, language was identified as an indicator that contributes to the role position of a film festival. Comparing the result of blockmodeling in the different periods, it is seen that international film festivals contrast with the Hollywood industry’s dominant value. The structural role dynamics provide evidence for a multi-value film festival network. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title="film festivals">film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20industry%20studies" title=" media industry studies"> media industry studies</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a> </p> <a href="https://publications.waset.org/abstracts/81556/using-two-mode-network-to-access-the-connections-of-film-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81556.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6446</span> Vfx-Creativity or Cost Cutting Study of the Use of Vfx in Hindi Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nidhi%20Patel">Nidhi Patel</a>, <a href="https://publications.waset.org/abstracts/search?q=Amol%20Shinde"> Amol Shinde</a>, <a href="https://publications.waset.org/abstracts/search?q=Amrin%20Moger"> Amrin Moger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mainstream Hindi cinema also known as Bollywood, is the largest film producing industry in India. The Indian film industry underwent a sea change since last few years. The industry adapted to the latest technologies and creative manpower to improve visual and cinematic effects. The changes helped the industry to improve its creative looks and ease on production budget. The research focuses on this very change, i.e. the use of VFX. There has been growing use of VFX in feature films. The primary focus is on how VFX can make a difference in the experience of watching a movie. The research examines the use of CGI/VFX in the narrative, which delivers a visually fulfilling film. It also focuses on the use of CGI/ VFX as a cost cutting tool. The research was exploratory in nature. It studies the industry’s evolvement, increment in its use by filmmakers and their intention to use it in their films. The researcher used qualitative method for data collection as an in-depth interview of 10 artists from VFX studios in Mumbai was conducted. The finding reveals the way VFX is used in Hindi cinema by the directors. The researcher learnt that VFX is majorly used as a tool to enhance creativity and provide the audience with creative viewing experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=VFX" title=" VFX"> VFX</a>, <a href="https://publications.waset.org/abstracts/search?q=CGI" title=" CGI"> CGI</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=cost%20cutting" title=" cost cutting"> cost cutting</a> </p> <a href="https://publications.waset.org/abstracts/40206/vfx-creativity-or-cost-cutting-study-of-the-use-of-vfx-in-hindi-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40206.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6445</span> The Development of Chinese Film Market as Factor of Change in Global Hollywood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marcin%20Adamczak">Marcin Adamczak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The growth of Chinese film market and its dynamic incomparable to any other historical phenomenon has already made China the second world market and potential future leader in 2-3 years period. The growing power of Chines box-office and its future prospects is then the crucial and potentially disturbing factor for persistence of global Hollywood reality. The paper is based on market statistical data. The main findings of the analysis are defining of essential obstacles for the development of Chinese market and its foreign expansion. However, the new strategies employed by the industry (acquisitions of cinema chains abroad, blockbuster made with the involvement of figures from Hollywood star system, coproduction ties within Pacific basin) could be a successful remedy for current shortcomings. The main factor for development will be wider economical framework and maintenance of growth pace. The future state of Chinese film market will be one of the main factors shaping global film culture and film market in following decades of XXI century. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=production%20studies" title="production studies">production studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20market" title=" film market"> film market</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20film%20market" title=" Chinese film market"> Chinese film market</a>, <a href="https://publications.waset.org/abstracts/search?q=distribution" title=" distribution"> distribution</a> </p> <a href="https://publications.waset.org/abstracts/88504/the-development-of-chinese-film-market-as-factor-of-change-in-global-hollywood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88504.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">215</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6444</span> Biopics in Hindi Film Industry and the Youth Perception </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Divyani%20Redhu">Divyani Redhu</a>, <a href="https://publications.waset.org/abstracts/search?q=Sachin%20Bharti"> Sachin Bharti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> India, as a nation, has always been known for its concept of ‘Unity in Diversity’, and the same ideology can very well be witnessed in the kind of cinema that is produced in India. From mythological films in the beginning to historical films and from comedy to the all-entertaining commercial ‘masala’ films, the Indian film industry has time and again catered its viewers with varied flavors on screen. Needless to say that for a film industry which stood at a total value of 183.2 billion in the year 2019 as per the Statista Portal 2020, there is no dearth of viewers and at the same time, to cater to the needs of a humongous viewer base, variety in content needs to be offered. Particularly looking at the filmography of the Hindi film industry of the last decade, undoubtedly, the genre that has risen like a shining star is that of Biopics. Hindi cinema’s never-ending fascination with the biopic has grown stronger and become more evident in recent times. The success of biographical films like Jodha Akbar, The Dirty Picture, Mary Kom, Bajirao Mastani, Neerja, Aligarh, Azhar, etc. seems to have truly reinforced the industry’s faith and put Bollywood on a biopic spree. From films on the lives of sportspersons to those of the actors, gangsters, social workers, historical figures, and extraordinary citizens, the industry has left no stone unturned till now. Also, many more biopics are in the pipeline slated to be released soon. Also, when the film viewers are concerned, India is known as the youngest nation in the world where youth constituted about 34% of the country’s population in 2019, making India the country with maximum young people. Thus, the attempt of the researchers is to understand the perception of youth (15-24 years of age as per the UN) towards the biopic films. The above-mentioned study would be quantitative in nature. For the same, a survey would be conducted in the capital city of India, i.e., Delhi. The tool of the survey would be a questionnaire, and the number of respondents would be 200. The results derived from the study would focus on the film viewing preferences of youth in Delhi, the popularity of biopic films among the youth, reasons for watching biopic films and their overall perception about the same, etc. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biopics" title="biopics">biopics</a>, <a href="https://publications.waset.org/abstracts/search?q=Delhi" title=" Delhi"> Delhi</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=youth" title=" youth"> youth</a> </p> <a href="https://publications.waset.org/abstracts/127037/biopics-in-hindi-film-industry-and-the-youth-perception" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127037.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">115</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6443</span> Boosting Economic Value in Ghana’s Film Industry: Rethinking Media Policy, Regulation and Copyright Law</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sela%20Adjei">Sela Adjei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to rationalize the need for media policy implementation and copyright enforcement to address various challenges faced within Ghana’s film industry. After Ghana transitioned to democratic rule in 1992, critics and media professionals advocated a national media policy. This advocacy subsequently resulted in agitation for media deregulation and loosening of grip on state-owned media organizations. The reinstatement of constitutional rule in 1992 paved the way for the state to lax its monopoly of the media within the democratic context of a free market economy. The National Media Commission proposed a media policy and broadcast bill which was presented to parliament but has still not been passed into law. This legislative lapse partly contributed to the influx of unregulated foreign content. Accessible foreign media content subsequently promoted a system of unfair competition that radically undermined locally produced content, putting a generation of thriving film producers out of work. Drawing on reflections from a series of structured interviews, focus group discussions and creative workshops, the findings of this study maintain that the various challenges confronting Ghanaian filmmakers is centred around inadequate funding opportunities, copyright violation and policy implementation issues. Using the film industry structure and value chain analysis, the various challenges faced by the selected film producers were discussed and critically analyzed. A significant aspect of this study is the solution-driven approach adopted in outlining the practical recommendations that will boost the aesthetic, cultural and economic value of Ghanaian film productions. Based on the discussions and conclusions drawn with the various stakeholders within Ghana’s creative industries, the paper makes a strong case for firm state regulation, copyright enforcement and policy implementation to grow Ghana’s film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=value" title=" value"> value</a>, <a href="https://publications.waset.org/abstracts/search?q=copyright" title=" copyright"> copyright</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a>, <a href="https://publications.waset.org/abstracts/search?q=policy" title=" policy"> policy</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=regulation" title=" regulation"> regulation</a>, <a href="https://publications.waset.org/abstracts/search?q=economy" title=" economy"> economy</a> </p> <a href="https://publications.waset.org/abstracts/177238/boosting-economic-value-in-ghanas-film-industry-rethinking-media-policy-regulation-and-copyright-law" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177238.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6442</span> Destination Nollywood: A Newspaper Analysis of the Connections between Film and Tourism in Nigeria, 2012-2022</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=E.%20S.%20Martens">E. S. Martens</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20E.%20Onwuliri"> E. E. Onwuliri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past three decades, Nigeria’s film industry has become a global powerhouse, releasing hundreds of films annually and even monthly. Nollywood, a portmanteau of Nigeria and Hollywood as well as Bollywood that was coined by New York Times journalist Norimitsu Onishi in 2002, came to mark the plenitude of filmmaking happening in Lagos from the early 1990s onwards. Following the success of the 1992 straight-to-VHS film Living in Bondage, the Nigerian film industry experienced a popular home video boom that gained a huge following in Nigeria, across Africa, and among the global African diaspora. In fact, with an estimated worth of $6.4 billion as of 2021, Nollywood is nowadays considered the world’s second-largest film industry and even the largest in terms of output and popularity. Producing about 2,500 films annually and reaching an estimated audience of over 200 million people worldwide, Nollywood has not only seemingly surpassed Hollywood but also Bollywood with regard to production and consumption size. Due to its commercial success and cultural impact from the early 2010s, Nollywood has often been heralded as a potential driver of Africa’s tourism industry. In its 2012 Global Trends Report, the World Travel Market forecasted an increase in GDP in Africa due to tourism in Nollywood filming locations. Additionally, it was expected that the rising popularity of Nollywood would significantly contribute to growth in the leisure sector, drawing both film enthusiasts and business travelers intrigued by the expanding significance of the Nigerian film industry. Still, despite much talk about the potential impact of Nollywood on Nigerian tourism in the past 10 years or so, relatively little is known about Nollywood’s association with film tourism and the existing connections between Nigeria’s film and tourism industries more generally. Already well over a decade ago, it was observed that there is still a lack of research examining the extent to which film tourism related to Nollywood in Africa has been generated – and to date, this is still largely the case. This paper, then, seeks to discuss the reported connections between Nollywood and tourism and to review the efforts and opportunities related to Nollywood film tourism as suggested in Nigeria’s public domain. Based on a content analysis of over 50 newspaper articles and other online available materials, such as websites, blogs and forums, this paper explores the practices and discourses surrounding Nollywood connections with tourism in Nigeria and across Africa over the past ten years. The analysis shows that, despite these high expectations, film tourism related to Nollywood has remained limited. Despite growing government attention and support to Nollywood and its potential for tourism, most state initiatives in this direction have not (yet) materialize – and it very much remains to be seen to what extent ‘Destination Nollywood’ is really able to come to fruition as long as the structural issues underlying the development of Nigerian film (and) tourism are not sufficiently addressed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20tourism" title="film tourism">film tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20cinema" title=" Nigerian cinema"> Nigerian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Nollywood" title=" Nollywood"> Nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20destination" title=" tourist destination"> tourist destination</a> </p> <a href="https://publications.waset.org/abstracts/186134/destination-nollywood-a-newspaper-analysis-of-the-connections-between-film-and-tourism-in-nigeria-2012-2022" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186134.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">49</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6441</span> 'Detective Chinatown' Series: Writing and Rewriting of Orientalism through the Lens of Culture Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cai%20Yiting">Cai Yiting</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As China's globalization has accelerated, Chinese films have begun to explore and express foreign cultures with greater frequency while simultaneously disseminating Chinese culture. Films shot abroad, including Finding Mr. Right (2013), Somewhere Only We Know (2015), and Wolf Warrior 2 (2017), and others, can be viewed as a reflection of how Chinese cinema conceptualizes and represents foreign countries in the context of globalization. Furthermore, they facilitate the exchange of Chinese and foreign cultures in the context of China's ‘going out’ policy and the Belt and Road Initiative. Nevertheless, it is apparent that these films are primarily motivated by commercial considerations with regard to their initial release. The consistent placement of the Chinatown Detective' film series in the Chinese New Year slot is indicative of the significant influence of the cultural industry on the series' creation. Moreover, the series represents Chen Sicheng's inaugural venture into filming in a multitude of international locations. This paper examines the film series Detective Chinatown through the lens of the cultural industry, analyzing how its production and presentation cater to the demands of the cultural industry by presenting Orientalism and contributing new connotations to it. The series, a product of standardized mass production, commodification and global appeal, reflects Orientalist representations through the exoticization of Chinese culture and the stereotypical and commercial-oriented imagination of Bangkok, New York and Tokyo. This study provides an understanding of the film series' role in contributing to contemporary Orientalism in the context of the culture industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=orientalism" title="orientalism">orientalism</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20industry" title=" culture industry"> culture industry</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20globalisation" title=" Chinese globalisation"> Chinese globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=Detective%20Chinatown" title=" Detective Chinatown"> Detective Chinatown</a> </p> <a href="https://publications.waset.org/abstracts/192531/detective-chinatown-series-writing-and-rewriting-of-orientalism-through-the-lens-of-culture-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192531.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">18</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6440</span> Soap Film Enneper Minimal Surface Model</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yee%20Hooi%20Min">Yee Hooi Min</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohdnasir%20Abdul%20Hadi"> Mohdnasir Abdul Hadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tensioned membrane structure in the form of Enneper minimal surface can be considered as a sustainable development for the green environment and technology, it also can be used to support the effectiveness used of energy and the structure. Soap film in the form of Enneper minimal surface model has been studied. The combination of shape and internal forces for the purpose of stiffness and strength is an important feature of membrane surface. For this purpose, form-finding using soap film model has been carried out for Enneper minimal surface models with variables u=v=0.6 and u=v=1.0. Enneper soap film models with variables u=v=0.6 and u=v=1.0 provides an alternative choice for structural engineers to consider the tensioned membrane structure in the form of Enneper minimal surface applied in the building industry. It is expected to become an alternative building material to be considered by the designer. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Enneper" title="Enneper">Enneper</a>, <a href="https://publications.waset.org/abstracts/search?q=minimal%20surface" title=" minimal surface"> minimal surface</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20film" title=" soap film"> soap film</a>, <a href="https://publications.waset.org/abstracts/search?q=tensioned%20membrane%20structure" title=" tensioned membrane structure"> tensioned membrane structure</a> </p> <a href="https://publications.waset.org/abstracts/20780/soap-film-enneper-minimal-surface-model" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20780.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">554</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6439</span> Effects of the Tomato Pomace Oil Extract on Physical and Antioxidant Properties of Gelatin Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=N.%20Jirukkakul">N. Jirukkakul</a>, <a href="https://publications.waset.org/abstracts/search?q=J.%20Sodtipinta"> J. Sodtipinta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tomatoes are widely consumed as fresh and processed products through the manufacturing industry. Therefore, tomato pomace is generated as a by-product accounting for about 5-13% of the whole tomato. Antioxidants still remain in tomato pomace and extraction of tomato oil may useful in edible film production. The edible film solution was prepared by mixing gelatin (2, 4 and 6%) with the distilled water and heating at 40oC for 30 min. Effect of tomato pomace oil was evaluated at 0, 0.5 and 1%. Film solution was poured in plate and dried overnight at 40oC before determining the physical properties, which are tensile strength, moisture content, color, solubility, and swelling power. The results showed that an increase gelatin concentration caused increasing of tensile strength, moisture content, solubility and swelling power. The edible film with tomato pomace oil extract appeared as the rough film with oil droplet dispersion. The addition of tomato pomace oil extract caused an increase in lightness, redness and yellowness, while tensile strength, moisture content, and solubility were decreased. Film with tomato pomace oil extract at 0.5 and 1% exhibited antioxidant properties but those properties were not significantly different (p<0.05) between film incorporated with tomato pomace oil extract 0.5 and 1%. The suitable condition for film production in this study, 4% of gelatin and 0.5% of tomato pomace oil extract, was selected for protecting oxidation of palm oil. At 15 days of the storage period, the palm oil which covered by gelatin film with tomato pomace oil extract had 22.45 milliequivalents/kg of peroxide value (PV), while, the palm oil which covered by polypropylene film and control had 24.79 and 26.67 milliequivalents/kg, respectively. Therefore, incorporation of tomato pomace oil extract in gelatin film was able to protect the oxidation of food products with high fat content. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antioxidant" title="antioxidant">antioxidant</a>, <a href="https://publications.waset.org/abstracts/search?q=gelatin%20films" title=" gelatin films"> gelatin films</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20properties" title=" physical properties"> physical properties</a>, <a href="https://publications.waset.org/abstracts/search?q=tomato%20oil%20extract" title=" tomato oil extract"> tomato oil extract</a> </p> <a href="https://publications.waset.org/abstracts/54916/effects-of-the-tomato-pomace-oil-extract-on-physical-and-antioxidant-properties-of-gelatin-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54916.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">280</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6438</span> The Application of Film-Induced Tourism in the Promotion of Nigeria: An Analysis of the Movie Up North</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samuel%20Onyije%20Igbedion">Samuel Onyije Igbedion</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Nigerian film industry, commonly known as Nollywood, has grown to become the second largest in the world in terms of the volumes of films produced. Many scholars have argued that the themes in most Nollywood films do not let themselves to the issue of film-induced tourism, which can be used to improve tourism in Nigeria and the economy at large. This study, therefore, seeks to examine the validity of this statement in the context of one film that attempts to address the issue. This paper examines the features of tourism-induced films to determine if tourism-inducing themes were used in the film and how they were used in order to confirm or refute the thesis statement. The agenda-setting theory of the media underpinned the study. A qualitative research approach was adopted and content analysis was used to review literature from relevant secondary sources that determined the content criteria, which was then used to analyze the film. The findings reveal that the filmmakers of Up North (2018) did feature themes and scenes that promoted tourism through the use and filming of exotic scenery. It also revealed that the film introduced these tourism-inducing features of the north through the setting, the storyline, the choice of locations and chosen shot types. The study concludes that the prominent and intentional featuring all of these beautiful scenery, history, culture, adventure activities and personalities point to a deliberate attempt at convincing the audiences of the tourist potential of Nigeria. Thus, the validity of the statement does not apply to the film Up North (2018). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film-tourism" title="film-tourism">film-tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=nollywood" title=" nollywood"> nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=agenda-setting%20theory" title=" agenda-setting theory"> agenda-setting theory</a>, <a href="https://publications.waset.org/abstracts/search?q=filmmaking" title=" filmmaking"> filmmaking</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a> </p> <a href="https://publications.waset.org/abstracts/164575/the-application-of-film-induced-tourism-in-the-promotion-of-nigeria-an-analysis-of-the-movie-up-north" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164575.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6437</span> Temperature Coefficients of the Refractive Index for Ge Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lingmao%20Xu">Lingmao Xu</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui%20Zhou"> Hui Zhou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ge film is widely used in infrared optical systems. Because of the special requirements of space application, it is usually used in low temperature. The refractive index of Ge film is always changed with the temperature which has a great effect on the manufacture of high precision infrared optical film. Specimens of Ge single film were deposited at ZnSe substrates by EB-PVD method. During temperature range 80K ~ 300K, the transmittance of Ge single film within 2 ~ 15 μm were measured every 20K by PerkinElmer FTIR cryogenic testing system. By the full spectrum inversion method fitting, the relationship between refractive index and wavelength within 2 ~ 12μm at different temperatures was received. It can be seen the relationship consistent with the formula Cauchy, which can be fitted. Then the relationship between refractive index of the Ge film and temperature/wavelength was obtained by fitting method based on formula Cauchy. Finally, the designed value obtained by the formula and the measured spectrum were compared to verify the accuracy of the formula. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=infrared%20optical%20film" title="infrared optical film">infrared optical film</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20temperature" title=" low temperature"> low temperature</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20refractive%20coefficient" title=" thermal refractive coefficient"> thermal refractive coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=Ge%20film" title=" Ge film"> Ge film</a> </p> <a href="https://publications.waset.org/abstracts/71052/temperature-coefficients-of-the-refractive-index-for-ge-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71052.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6436</span> “Self” and “The Other” in Dunkirk (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebtesam%20Dessouki">Ebtesam Dessouki</a>, <a href="https://publications.waset.org/abstracts/search?q=Yasaman%20Mousavi"> Yasaman Mousavi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Christopher Nolan’s Dunkirk (2017) is not a conventional war film. He invites the audience to see the war from within, from the characters’ experiences, through suspense and fear, with the help of talented sound designers and musicians such as Hans Zimmer for an extra dimension creating those feelings. This experience of being among the surviving soldiers makes room for an interpretation of this film using the concept of the Self and the Other. The Self is the soldiers and the audience who try to make sense of their reality given limited information about the enemy and their situation, and the Other is the faceless enemy. However, this film can be taken under an even more detailed analysis theorizing that the Other also exists on different occasions in the film. Overall, Nolan leaves a lot of cues for the audience to track the Other and sometimes breaks the rules for the Other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=Dunkirk" title=" Dunkirk"> Dunkirk</a>, <a href="https://publications.waset.org/abstracts/search?q=other" title=" other"> other</a>, <a href="https://publications.waset.org/abstracts/search?q=self" title=" self"> self</a> </p> <a href="https://publications.waset.org/abstracts/166703/self-and-the-other-in-dunkirk-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166703.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">72</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6435</span> Synthesis and Characterization of Non-Aqueous Electrodeposited ZnSe Thin Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20R.%20Kumar">S. R. Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Shashikant%20Rajpal"> Shashikant Rajpal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A nanocrystalline thin film of ZnSe was successfully electrodeposited on copper substrate using a non-aqueous solution and subsequently annealed in air at 400°C. XRD analysis indicates the polycrystalline deposit of (111) plane in both the cases. The sharpness of the peak increases due to annealing of the film and average grain size increases to 20 nm to 27nm. SEM photograph indicate that grains are uniform and densely distributed over the surface. Due to annealing the average grain size increased by 20%. The EDS spectroscopy shows the ratio of Zn & Se is 1.1 in case of annealed film. AFM analysis indicates the average roughness of the film reduces from 181nm to 165nm due to annealing of the film. The bandgap also decreases from 2.71eV to 2.62eV. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electrodeposition" title="electrodeposition">electrodeposition</a>, <a href="https://publications.waset.org/abstracts/search?q=non-aqueous%20medium" title=" non-aqueous medium"> non-aqueous medium</a>, <a href="https://publications.waset.org/abstracts/search?q=SEM" title=" SEM"> SEM</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a> </p> <a href="https://publications.waset.org/abstracts/22975/synthesis-and-characterization-of-non-aqueous-electrodeposited-znse-thin-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22975.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">486</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6434</span> Film Studies: Definition, Current Status, and Future Perspectives for Cuba</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlos%20Guillermo%20Lloga%20Sanz">Carlos Guillermo Lloga Sanz</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20del%20Carmen%20Tamayo%20Asef"> Maria del Carmen Tamayo Asef</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title="film studies">film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20criticism" title=" film criticism"> film criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20cinema" title=" Cuban cinema"> Cuban cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20film%20studies" title=" Cuban film studies"> Cuban film studies</a> </p> <a href="https://publications.waset.org/abstracts/152140/film-studies-definition-current-status-and-future-perspectives-for-cuba" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">102</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6433</span> ‘Undressed Star’, Sexual Scenes and Discourses in Mass Media: Exploring 1980s Taiwan Female Film Stars’ Onscreen Erotic Acting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinchen%20Zhu">Xinchen Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the history of Chinese-language film, female stars’ acting is connected with issues of national ideology, consumerism, and sexual politics. In the 1980s, Taiwan entered a period of ‘soft authoritarianism’ in which the economy prospered politics became more democratic, and mass culture became more diverse. Film censorship was more flexible and sexual scenes were increasingly shown on screen. Female stars’ bodies were eroticized and commercialized through sexual and nude scenes and, by challenging conservative film censorship and social taboos, became the focus of mass media. This article will explore how discourses in mass media constructed the erotic images of female stars and, conversely, impacted film censorship, filmmakers and film actresses in 1980s’ Taiwan. This article will regard the eroticized female film stars’ acting as a ‘field’ of internal interaction and continuous reproduction, where the ideology of male dominance and voices of female film stars conflict with each other. Based on textual analysis of female stars’ sexual acting and the debate in mass media, the argument is that the eroticized female bodies were gazed upon on and off the screen. In the discourses of mass media, the artistry of actresses’ erotic acting was not only ignored, devalued and delegitimized, these stars were also labelled as ‘undressed star’ or ‘nude star’ and construed as victims of the film industry. However, the female stars were able to speak through mass media platforms, emphasizing their efforts in erotic acting and highlighting modern female subjectivity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sexual%20scenes" title="sexual scenes">sexual scenes</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan%20female%20stars" title=" Taiwan female stars"> Taiwan female stars</a>, <a href="https://publications.waset.org/abstracts/search?q=erotic%20acting" title=" erotic acting"> erotic acting</a>, <a href="https://publications.waset.org/abstracts/search?q=discourses%20in%20mass%20media" title=" discourses in mass media"> discourses in mass media</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20subjectivity" title=" female subjectivity"> female subjectivity</a> </p> <a href="https://publications.waset.org/abstracts/108431/undressed-star-sexual-scenes-and-discourses-in-mass-media-exploring-1980s-taiwan-female-film-stars-onscreen-erotic-acting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108431.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">202</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6432</span> Nazi Propaganda and the 1930 Berlin Film Premiere of “All Quiet on the Western Front”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Edward%20C.%20Smith">Edward C. Smith</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Historical narration in literature and film is an act that necessarily develops and deforms history, whether consciously or unconsciously. Such “translation” suffers or thrives depending on its historical context and on the ability of the artist/artists to make choices that enhance or diminish social and political reality. This “translation” and its challenges is examined from within the historical and political context of the 1930 Berlin film premiere of “All Quiet on the Western Front,” a film based on Erich Maria Remarque’s 1928 best-selling novel. Both the film and the novel appeared during a period in which the “aestheticization” of reality predominated. This was an era in early 20th-century European society in which life was conceived of as innately artistic and structured like an art form. The emergence of this modern consciousness, one in which memory and history surrendered their former authority, enabled conservative propaganda of the period to denounce all art that did not adhere conceptually to its political tenets, with “All Quiet” becoming yet another of its “victims.” <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20and%20propaganda%20film" title="documentary and propaganda film">documentary and propaganda film</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20and%20TV%20audiences" title=" film and TV audiences"> film and TV audiences</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20literature%20in%20film%20studies" title=" international literature in film studies"> international literature in film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture%20and%20film" title=" popular culture and film"> popular culture and film</a> </p> <a href="https://publications.waset.org/abstracts/20189/nazi-propaganda-and-the-1930-berlin-film-premiere-of-all-quiet-on-the-western-front" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20189.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">406</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6431</span> Synthesis of Crosslinked Konjac Glucomannan and Kappa Carrageenan Film with Glutaraldehyde</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sperisa%20Distantina">Sperisa Distantina</a>, <a href="https://publications.waset.org/abstracts/search?q=Fadilah"> Fadilah</a>, <a href="https://publications.waset.org/abstracts/search?q=Mujtahid%20Kaavessina"> Mujtahid Kaavessina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Crosslinked konjac glucomannan and kappa carrageenan film were prepared by chemical crosslinking using glutaraldehyde (GA) as the crosslinking agent. The effect crosslinking on the swelling degree was investigated. Konjac glucomanan and its mixture with kappa carragenan film was immersed in GA solution and then thermally cured. The obtained crosslinked film was washed and soaked in the ethanol to remove the unreacted GA. The obtained film was air dried at room temperature to a constant weight. The infrared spectra and the value of swelling degree of obtained crosslinked film showed that glucomannan and kappa carrageenan was able to be crosslinked using glutaraldehyde by film immersion and curing method without catalyst. The crosslinked films were found to be pH sensitive, indicating a potential to be used in drug delivery polymer system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crosslinking" title="crosslinking">crosslinking</a>, <a href="https://publications.waset.org/abstracts/search?q=glucomannan" title=" glucomannan"> glucomannan</a>, <a href="https://publications.waset.org/abstracts/search?q=carrageenan" title=" carrageenan"> carrageenan</a>, <a href="https://publications.waset.org/abstracts/search?q=swelling" title=" swelling"> swelling</a> </p> <a href="https://publications.waset.org/abstracts/28493/synthesis-of-crosslinked-konjac-glucomannan-and-kappa-carrageenan-film-with-glutaraldehyde" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28493.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">279</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6430</span> Thai’s Film after Political Crisis in October 14, 1973 and Political Crisis between 2005-2014</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pison%20Suwanpakdee">Pison Suwanpakdee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of presenting this article is to analyze between Thai’s film and Thai society in political crisis, to study the development and trend of the film which reflects society in Thailand from political crisis of 14 October 1973 and the present day political crisis using a comparative study of the two era, both the similarities and differences in the film reflects the society in an era of change. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=political" title=" political"> political</a>, <a href="https://publications.waset.org/abstracts/search?q=neorealism" title=" neorealism"> neorealism</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand "> Thailand </a> </p> <a href="https://publications.waset.org/abstracts/10747/thais-film-after-political-crisis-in-october-14-1973-and-political-crisis-between-2005-2014" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10747.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6429</span> Neo-Realism in Thai’s Film after Political Crisis in October 14, 1973 and Political Crisis between 2005-2014 </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Pison">S. Pison</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of presenting this article is to analyze between Thai’s film and Thai society in political crisis, to study the development and trend of the film which reflects society in Thailand from political crisis of 14 October 1973 and the present day political crisis using a comparative study of the two era, both the similarities and differences in the film reflects the society in an era of change. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=political" title=" political"> political</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-realism" title=" neo-realism"> neo-realism</a>, <a href="https://publications.waset.org/abstracts/search?q=social" title=" social"> social</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/8596/neo-realism-in-thais-film-after-political-crisis-in-october-14-1973-and-political-crisis-between-2005-2014" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/8596.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">333</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20industry&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=film%20industry&page=3">3</a></li> <li class="page-item"><a class="page-link" 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