Media Industry

Is the clustering of audio-visual companies in London’s Soho really the same as the clustering of Berlin’s new media industry? The media cluster approach has gained a lot of attention not only in academia, but also in political discourse. But, as appealing as the media cluster concept is, one of the most fundamental issues is the comparability of the phenomenon. This article tackles this issue and an analysis of 43 case studies has been conducted. The case studies have been grouped to find a new typology for media clusters. The research revealed six different types: The Creative Region, the Giant Anchor, the Specialized Area, the Attracting Enabler, the Real Estate and the Pooling Initiative. The typologies showed that they distinguish especially in their geographical scale and specialization in media activities, while at the same time cluster types can be found in the same area. They are driven by four rationales: agglomeration, urbanization, localization economies and artificial formation.

The objective of this study is to understand how the integration of digital technology (DT) in the Bangladesh Film industry has been responded to by its production, distribution and exhibition related organisations. Since no research on digital integration has been considered in a developing country context, and specifically within the area of concentrating on the industry rather than the films themselves, this research therefore addresses the gaps within the knowledge field. The Bangladesh Film Industry (BFI) used to be a centre for film production, distribution and exhibition, but this traditional industry has been in decline for decades. In response to the decline, the government started an integration process of DT in 2003, yet eight years after the launch only a fraction of the project has been completed. Apart from its partial adoption in the film production sector, distribution and exhibition have appeared to resist the adoption of new technology. This thesis therefore sets out to explore the causes of partial integration of DT in the film industry in Bangladesh through a study of the workforce, business owners, practitioners, scholars, government officials and executives functioning in and outside the industry. With the mixed method approach and emphasis on qualitative engagement (two case studies and 38 interviews), this thesis explores current attitudes and beliefs and identifies potential barriers to effective integration. In particular this dissertation examines five areas: technology integration, training for workforce development, production, distribution and exhibition capabilities, and argues that the political factor was the most important driver in integrating DT, while knowledge integration, training, and development of digital production, distribution and exhibition compatibility at individual and organisational levels were ignored. Moreover, the greatest concern of losing a job or business within the industry community due to inadequate knowledge, skills and finance is impeding the possibility of full completion of the integration process within the industry.
Overall, two important contributions of this research include 1) an exploration of factors that impeded progress of the film industry in responding to the DT and 2) a formulation of some suitable recommendations to overcome the challenges in order to completely realise the integration of DT within the Bangladesh Film Industry. However, further research is recommended to investigate whether completion of the integration process will save the
industry from decline or not.

This article focuses on three dimensions of the political economy of the Hindi film industry. First, it outlines the Indian state's attitudes toward cinema and its historically ambivalent relationship with the Hindi film industry, which is important for understanding the broader context of film production. Then, it describes the production, distribution, and exhibition structures of the Hindi film industry, highlighting the changes that have been occurring since the mid- 2000's. Finally, it discusses the growing presence of Hollywood in India and its relationship to the Hindi film industry. Some broad lessons can be learned from this discussion: there is not a straightforward correspondence between state policy and the success or commercial viability of a film industry; the commercial nature of a film industry does not render its structure or organization transparent; and nation-bounded analyses of film industries may not account for the complexity of contemporary filmmaking.

Theory is the foundation of knowledge production. Drawing on literature from the fields of media studies, communication, sociology, and management, this course aims to equip PhD students with skills to learn, use, and build media theories. The course has three major components: 1. We start with the foundational theorists and theories, broadly in social science and specifically in media and communication studies. We will examine whether and how these theorists and theories remain relevant in the digital age. We will discuss how digital media have challenged conventional modes of theorizing. 2. In the second part, we will draw on milestone studies to showcase how theories are applied, criticized, appropriated, revised, and reclaimed, crossing disciplinary and national boundaries. 3. In the third part, students are encouraged to engage with media theories through review and research. This course is one of the two RTF 395 courses on key theories of communication and media studies. This fall semester seminar focuses on foundational scholars and theories on communication contexts, processes, and audiences. The readings reflect the diverse theoretical streams and approaches in communication and media studies: historical, critical, and political economy approaches in social science, including the Chicago School, the Frankfurt School, the Columbia School, and the Toronto School. Students will be guided step-by-step to achieve the following goals: A1. Demonstrate a solid understanding of: a. Major theoretical approaches and their confluence in media studies, especially as applicable to recent advancements in digital media studies b. Modes and processes of theorizing media and society A2. Develop skills to apply major media theories to specific research topics A3. Recognize various opportunities, challenges, and implications of doing and communicating media theories in a rapidly changing digital media landscape

This study provides valuable data comprising analysis of existing practices in the sampled media departments of the leading private and public sector universities of Karachi in the context of Wheeler’s conceptual model. The research looked into the aims and objectives, the curriculum, the faculty, and industry linkages of the media programs under study. For this purpose, four universities of Karachi where media programs were being offered were taken for the study. The data were collected through the analyses of the available documents open to the public and interviews of relevant heads of departments besides review of the relevant literature. The data were triangulated and themes were extracted that pointed toward the many areas in media education in Pakistan which require improvements.

Despite the rich range of scholarship on the film musical, in-depth scholarly attention to the relationship between Hollywood and Broadway as symbolic centers of the U.S. culture industries has been surprisingly sparse. This article makes an intervention into this largely neglected history through an examination of David O. Selznick's failed efforts in the early 1940s to stage Gone With the Wind as a Broadway musical. Fresh off back-to-back Academy Awards for Best Picture, Selznick made the innovative move to try adapting Gone With the Wind during his four-year hiatus from film production. Using Show Boat as an inspiration and Oklahoma! as a catalyst to accelerate his efforts, Selznick's attempts ultimately failed during his lifetime, but represent an earlier inroad into cross-industrial franchising. Furthermore, few know that Selznick set up a summer stock theater in Santa Barbara in 1941 not only to hone his contracted talent, but also to prevent them from leaving southern California for the New York stage in the summer. Consequently, this article emphasizes the value of studying industrial failure for scholars of the culture industries as well as the need for greater study of the alternately generative and competitive relationship between Broadway and Hollywood—a relationship put into renewed relief recently as Broadway shows now espouse a high concept aesthetic to tell stories often with roots in film properties and fueled in part by Hollywood money.

Today, more and more physical communities of practice, a concept that describes a group of people that share a passion and interact regularly at events to exchange knowledge, utilize social media, such as Twitter. Brotaru, for instance, is such a physical community of practice for media professionals in Brussels. It is a monthly meet-up of videogame developers in various locations in Brussels. Furthermore, Twitter becomes widely acknowledged as important instrument for learning and community formation in the virtual world. But, do these communities of practice use Twitter only to promote their physical activities of learning? Or, are the activities of the physical communities further extended into the virtual world meaning that virtual communities of practice emerge from them? This article suggests a novel mixed-methods approach based on qualitative and quantitative data to measure the role of Twitter for physical communities of practice. The method applies different statistical measures and analysis on harvested Twitter data and additionally brings two of the most used methods in Twitter analysis together, social network analysis and text data analysis (a.k.a., content analysis). Four different communities of practice in Brussels' media industry and their activities and followers on Twitter have been analysed. The findings showed that the activities of the communities of practice extend into the Twitter sphere as the online communities are characterised by (1) a shared domain, (2) a lively community and (3) shared practices. The analysis further revealed that Twitter offers three main opportunities for the activities of communities of practice: it offers geographical extension; it gives temporal autonomy; and, it can be used to diversify the practices.

Fazit der Studie ist: Frauen sind im deutschen Kinofilm deutlich unterrepräsentiert, da nur jeder fünfte Film von einer Regisseurin inszeniert wurde, sie erhalten außerdem weniger Filmförderung und haben ein geringes Budget. Die Filme jedoch, die von Frauen inszeniert werden, werden von Kritik und Jurys geschätzt. Sie erhalten häufiger Filmpreise und nehmen häufiger an Festivals teil.
Der Bericht „Wer dreht deutsche Kinofilme? Gender-Report 2009–2013“ analysiert inwieweit sich Filme, die von Frauen inszeniert wurden von Filmen unterscheiden, bei denen Männer Regie geführt haben. Untersucht wurden Unterschiede bzgl. Höhe der Förderung, des Budget, aber auch bezüglich der Einspielergebnisse und Festivalerfolge.
Untersucht wurden alle deutschen Spielfilme die in den Jahren 2009–2013 uraufgeführt wurde. Datengrundlage waren die FFA berichte. Zusätzlich haben wir Förderung, Besucherzahlen, Umsatz und Festivalauswertung miterhoben.

In the last decade, the development of small, remotely operated multicopters with cameras, so-called drones, has made aerial photography easily available. Consumers and institutions now use drones in a variety of ways, both for personal entertainment and professionally. The application of drones in media production and journalism is of particular interest, as it provides insight into the complex interplay between technology, the economic and legal constraints of the media market, professional cultures and audience preferences. The thematic issue Journalism from Above: Drones, the Media, and the Transformation of Journalistic Practice presents new research concerning the role of drones in journalism and media production. The issue brings together scholars representing a variety of approaches and perspectives. A broad selection of empirical cases from Finland, Spain, Sweden, the UK and the US form the basis of an exploration of the changing relations between the media, technology and ...

This study examines communication faculty students' perceptions and expectations towards the media labour market in Turkey. It can be said that these perceptions and expectations are shaped around the structure of the education-employment relationship and the conditions of the media labour market. In this context, this study primarily deals with transforming structure of the education-employment relationship. Media labour market situation in Turkey is examined in the second part of the study. In the third part, the scope and method of the research are displayed, and the findings of the field research are discussed in the last part of the article. The study is based on a field study, conducted with 240 students by using face-to-face questionnaire, in Ankara. The findings of the study were examined in the axis of "demographic and social profile of the students", "the hope and ways of finding a job", "working conditions and environment", "meaning and social benefit of the profession" and "the education process and education-employment relationship in the sector". It can be stated that the perceptions and expectations of the communication faculty students towards the media labor market contain not only the opinions of the young generation about their own professional practices and future but also the clues about the country and the current social structure in general.
Öz
Bu çalışma iletişim fakültesi öğrencilerinin medya emek piyasasına dönük algı ve beklentilerini incelemektedir. Söz konusu algı ve beklentilerin, eğitim-istihdam ilişkisinin yapısı ve medya emek piyasasının koşulları ekseninde şekillendiği söylenebilir. Bu kapsamda çalışmada ilk olarak eğitim-istihdam ilişkisinin dönüşen yapısı ele alınmakta, ikinci bölümde Türkiye’de medya emek piyasasının durumu irdelenmektedir. Üçüncü bölümde araştırmanın kapsamı ve yöntemi serimlenmekte ve son bölümde saha araştırmasının bulguları tartışılmaktadır. Çalışma, Ankara örneğinde 240 öğrenci ile yüz yüze anket yoluyla yapılan saha araştırmasına dayanmaktadır. Araştırmanın bulguları “öğrencilerin demografik ve sosyal profili”, “iş bulma umudu ve kanalları”, “çalışma koşulları ve ortamı”, “mesleğin anlamı ve toplumsal yararı”, “eğitim süreci ve eğitim-istihdam ilişkisi” temaları ekseninde incelenmiştir. İletişim fakültesi öğrencilerinin medya emek piyasasına dönük algı ve beklentilerinin, genç neslin yalnızca kendi meslek pratiklerine ve geleceklerine dönük değerlendirmelerini değil, aynı zamanda ülkenin ve mevcut toplumsal yapının geneline ilişkin ipuçlarını da barındırdığı belirtilebilir.

Production studies has developed into an interdisciplinary field of inquiry of film and television "production cultures," going beyond traditional examinations of authorship and industry structure. Studying production as culture involves gathering empirical data about the lived realities of people involved in media production - about collaboration and conflicts, routines and rituals, lay theories and performative actions. This volume broadens the scope of production studies by analyzing geographic and historical alternatives to contemporary Hollywood. At the same time, it invites disciplines such as ethnography, aesthetics, or sociology of art to reconsider established concepts of film and media studies like creative agency, genesis of a film work, or transnational production.

Production studies has developed into an interdisciplinary field of inquiry of film and television "production cultures," going beyond traditional examinations of authorship and industry structure. Studying production as culture involves gathering empirical data about the lived realities of people involved in media production - about collaboration and conflicts, routines and rituals, lay theories and performative actions. This volume broadens the scope of production studies by analyzing geographic and historical alternatives to contemporary Hollywood. At the same time, it invites disciplines such as ethnography, aesthetics, or sociology of art to reconsider established concepts of film and media studies like creative agency, genesis of a film work, or transnational production.

Abstract The objective of this study is to understand how the integration of digital technology (DT) in the Bangladesh Film industry has been responded to by its production, distribution and exhibition related organisations. Since no research on digital integration has been considered in a developing country context, and specifically within the area of concentrating on the industry rather than the films themselves, this research therefore addresses the gaps within the knowledge field. The Bangladesh Film Industry (BFI)used to be a centre for film production, distribution and exhibition, but this traditional industry has been in decline for decades. In response to the decline, the government started an integration process of DT in 2003, yet eight years after the launch only a fraction of the project has been completed. Apart from its partial adoption in the film production sector, distribution and exhibition have appeared to resist the adoption of new technology. This thesis therefor...

In Subtitling for Deaf and Hard of Hearing, not only does one have to be aware of all the rules of the conventional subtitling, but also of both the limits and strengths of an audience who, in some cases, relies exclusively on what they can read to be fully aware of what is happening on screen.
Out of the need to compensate for their deficit, these recipients tend to possess exceptional observation skills, as well as a great familiarity with subtitles, especially in case of deaf people (Romero Fresco, 2010). These two qualities make them a very aware and fearsome addressee, likely to notice any imperfection on a first glance.
The proposed trailer’s fast paced dialogues, frequent shot cuts and abundance of action represented a big challenge to the subtitler on a linguistc/technical level, whilst the extra linguistic issues’ complexity mainly derived from the copious choices to be made on the way of indicating the various elements analyzed.

Approaches to the critique of the political economy of communication in society belong to the "forgotten theories" in media and communication studies. But in view of the unmistakable structural change of a media industry "unleashed" by deregulation, privatisation, digitalisation, concentration, globalisation, etc., it seems from an academic perspective necessary to analyse the development of the media industry in close connection with the equally unmistakable general development of an "unleashed" capitalism. This article therefore shows that the analysis of the development processes of capitalism as the undoubtedly globally dominant economic and social system from a political economy perspective makes it possible to analyse, explain, and partly forecast the economisation or commercialisation process in the media industry in an academically appropriate way with regard to its causes, forms, consequences, and further development. Theoretical explanations are offered by the further developments of the analysis and critique of contemporary capitalism based on Marx's critique of the political economy as a historical-materialist analysis of society. In doing so, the permanent fundamental characteristics, modes of functioning and "regularities" of the capitalist mode of production and the capitalist formation of society are analysed in connection with the particularities of the current capitalisation process in the media industry.

This article focuses on three dimensions of the political economy of the Hindi film industry.  First, it outlines the Indian state’s attitudes toward cinema and its historically ambivalent relationship with the Hindi film industry, which is important for understanding the broader context of film production.  Then, it describes the production, distribution, and exhibition structures of the Hindi film industry, highlighting the changes that have been occurring since the mid-2000’s.  Finally, it discusses the growing presence of Hollywood in India and its relationship to the Hindi film industry. Some broad lessons can be learned from this discussion: there is not a straightforward correspondence between state policy and the success or commercial viability of a film industry; the commercial nature of a film industry does not render its structure or organization transparent; and nation-bounded analyses of film industries may not account for the complexity of contemporary filmmaking.

Bottom line of the study “Who Produces German Films? Gender Report: 2009–2013” is: women are markedly underrepresented in German film production as only every fifth film was directed by a woman, they receive less film funding and work with smaller budgets. However, women-directed films are appreciated by critics and jurors. They receive more film awards and screen at more festivals. Analyzed were all German feature films which premiered in the years 2009–2013. As data basis served the annual reports of the German Federal Film Board (FFA). In addition, the team collected data on funding, audience attendance, box office and festival run.