...Cinema of France From Wikipedia, the free encyclopedia See also: French comedy films Cinema of France | Gaumont palace in Paris, c.1914 | Number ofscreens | 5,653 (2014)[1] | Main distributors | Twentieth Century Fox(14.6%) Warner Bros. (9.8%) UGC (6.9%)[1] | Produced feature films (2014)[1][2] | Total | 258 | Animated | 9 (3.49%) | Documentary | 37 (14.34%) | Number of admissions (2014)[1][2] | Total | 208.9768 million | National films | 91.26 million (44.4%) | Gross box office (2014)[1][2] | Total | €1.33 billion | National films | €563.01 million (43.1%) | Cinema of France refers to the film industry based in France. The French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad. France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself.[3] Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.[3] Apart from its strong and innovative film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina(Gaspar...
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...COMPETITION CONCERNS IN FILM INDUSTRY 2013 A RESEARCH PROJECT ON COMPETITION CONCERNS IN FILM INDUSTRY UNDER THE GUIDANCE OF DR. K.D. SINGH DEPUTY DIRECTOR (LAW) COMPETITION COMMISSION OF INDIA BY TULIKA SINGH, VTH YEAR STUDENT OF B.A. L.L.B. (HONS.) AT CHANAKYA NATIONAL LAW UNIVERSITY, PATNA COMPETITION COMMISSION OF INDIA Page 1 DISCLAIMER COMPETITION CONCERNS IN FILM INDUSTRY 2013 This project report has been prepared by the author as an intern under the Internship Programme of the Competition Commission of India for the period of one month from 7th January 2013 to 31st January 2013, for academic purposes only. The views expressed in the report are personal to the intern and do not reflect the views of the Commission or any of its staff or personnel and do not bind the Commission in any manner. This report is the intellectual property of the Competition Commission of India and the same or any part thereof may not be used in any manner whatsoever, without express permission of the Competition Commission of India in writing. COMPETITION COMMISSION OF INDIA Page 2 ACKNOWLEDGEMENT COMPETITION CONCERNS IN FILM INDUSTRY 2013 This research project is undertaken by me as a part of Internship programme of Competition Commission of India. Dr. K. D. Singh, Deputy Director (Law) at CCI guided me through this project. His invaluable inputs and suggestions are deeply acknowledged. Library Staff of CCI also helped me throughout the internship period...
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...Review on The Effectiveness of Brand/product Placement in Films and A Comparison between Brand Placements in Hollywood and Bollywood films Pulidindi Venugopal, Avinash Inuganti, P. Harsha Vardhan, Vedika Kashyap Abstract: The advertisements of products/brands in televisions are experiencing skipping of channel and the marketers finding it difficult to promote their brands or products, effectively. So the marketers are now finding new media to promote their products/brands. One of those media is films. This paper studies the effectiveness of brand placement in films in the minds of consumers, especially in Hollywood and Bollywood films. Key words: Brand placement, Hollywood films, Indian films, Product placement Introduction: India is the world’s biggest film industry and product placement in Indian films is relatively a new concept and films are now turning out to be a powerful media for promoting the brands (Pavan C Patil and P L Bisoyi, 2012). Product/brand placement is defined as “A paid product message aimed at influencing movie (or television) audiences via the planned and unobtrusive entry of a branded product into a movie or television program” (Balasubramanian, 1994). Majority of the product placements are of display and dialogue product placement. Most of the product placements are taken for instance, for which, they are not paid (Alex Walton, 2009). Generally, the duration, number of types of product placements and level of product placement, that is...
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...Demand and Supply The Indian film industry produces roughly twice the number of movies as the American film industry, and sells 2.5 times the number of box office tickets as the U.S market. However, the Indian film industry box office revenues have been under the scanner; in 2008 Indian films earned only USD 1.6 billion compared to Hollywood's USD 9.7 billion, though ticket prices in India are less expensive than those in the U.S. or Europe. Factors affecting the mismatch: This scene is attributed to screen penetration and consumer spending still being considerably less as compared to the global scene. India is still a very price-conscious market. Also, cinema business is a tertiary demand and is the last in the chain of decision-making from a consumer’s perspective. However, demand for luxury goods, cinema tickets are said to be extremely elastic – consumers like to cut down on expenses on these when the prices rise. Demand also largely depends on the current market situation of other necessary products as well as the share of disposable income of the common man. The industry also has a limitation that the supply cannot be stepped up within a very short period if the demand goes up. For any movie, even if...
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...Limited and should be construed accordingly. to increase. (Source: FICCI- KPMG Indian Media and Entertainment Report 2012) 1. Largest Industry - The Indian film industry is one of the largest globally with a history of steady growth. With films being the most popular form of mass entertainment in India, the film industry has witnessed robust double-digit growth over the past decade. Industry Structure & Development 2. Demographic scenario supports long-term fundamentals: Due to favorable demographics (75% of the country’s population is below the age of 35) and economic conditions in India, coupled with consumers willing to spend more on a variety of leisure and entertainment services, the filmed entertainment business is set to grow in the years to come. 3. Under screened market: When compared to global benchmarks such as USA, UK, France, Spain, India is a significantly under screened. Mumbai and Bangalore have a higher number of screens per million at 23 and 21 respectively, while cities such as Hyderabad and Chennai have only about 8, indicating a huge opportunity. 4. Expansion to tier II/III cities: Having established a foothold in most metros, multiplex chains are now moving to tier II/III cities to create a better viewing experience and cash in on the increased disposable income...
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...TITLE PAGE TRENDS OF NEGATIVE THEMES IN NIGERIAN HOME MOVIES (A STUDY OF FOUR HOME MOVIES) BY OGBONNIA CHINAZA. C MC/2006/118 A PROJECT PRESENTED TO THE DEPARTMENT OF MASS COMMUNICATION, CARITAS UNIVERSITY, AMORJI-NIKE, ENUGU. IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF BACHELOR OF SCIENCE DEGREE IN MASS COMMUNICATION JULY, 201 DEDICATION I dedicate this work to God Almighty for his unfettered love. He is the only guide to my life and studies and he dispenses his grace freely. Also to my parents Mr. and Mrs. Joseph Ogbodo Ogbonnia and my brothers Arinze, Nnamaka, Chukwunonyerum, I remain grateful for their moral and financial support. ACKNOWLEDGEMENT I wish to acknowledge and appreciate all who fired the flame in one way or the other. First, I thank God, the almighty father who has given me life, knowledge, wisdom and strength to accomplish my work. My special gratitude goes to my head of Department, Damian. U. Agboeze who despite his crowded daily programme as the HOD would readily attend to his students and his fatherly advice. My immense gratitude also goes to my supervisor Justina Obi who devoted her time to supervise, correct and criticize this research work to make it a reality. I can never forget the service of my lecturer, Ferdinand Obasi, who made things...
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...Upgrading Technologies: Creates a Real-Life Movie Going Experience May 8, 2012 Abstract AMC Theatres began upgrades in their theatre technologies in 2009. Their project objective was to gain status as the number one movie exhibition industry in the world. The scope of the project would upgrade all of their facilities to incorporate 3D technologies, premium viewing, and state-of-the-art sound systems. This project would immerse the movie viewer into a real-life experience, thereby enticing the viewer to return satisfied, and become a steady patron of the company. Their estimated timeline for completion on technology upgrades for its remaining theatres is 2014. AMC Theatres, which stands for American Multi-Cinema was founded in 1920 when a father and his two sons purchased the Regent theatre in Kansas City, Missouri. AMC is second only to Regal Theatres, as a leading global movie theatre chain. The company gives credit to one particular son named Stanley Durwood. He believed that playing a multiple selection of movies in one movie house would in-turn lead to more guests, and more profits. This simple idea revolutionized the movie exhibition industry and became a blueprint for the industry. The concept for the movie theatre was born. It is this kind of inspiration that has encouraged the AMC Corporation to introduce more industry firsts. AMC was looking for a way to bring in new customers and refresh old patron relationships. Movie sales had begun to slump in the...
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...exist for an individual motion picture, including picture, picture show, and most commonly, movie. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies. Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Film-A true art-form:- Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Historical Background:- The history of film is an account of the historical development of the medium known variously as cinema, motion pictures, film, or the movies. The history of film spans over 100 years, from the latter part of the 19th century to the present day. Motion pictures developed gradually from a carnival...
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...Producer | 2009 | Nobody, Nobody But... Juan | Juan | RVQ Productions, Kaizz Ventures Inc. and Joe Aldeguer Productions | 2008 | Dobol Trobol: Lets Get Redi 2 Rambol! | Macario | APT Entertainment, RVQ Productions, M-Zet Productions | 2002 | Home Alone da Riber[14] | Upoy | RVQ Productions | 2000 | Markova: Comfort Gay | Walter Dempster Jr./Walterina Markova | | | Daddy O! Baby O! | Mario | Star Cinema Productions | 1990s Year | Title | Role | Producer | 1998 | Tataynic | Nicardo "Tatay Nic" De Carpio | RVQ Productions | 1997 | Home Along da Riles The Movie 2 | Kevin Kósme | Star Cinema | 1996 | Aringkingking | Maroy | Premiere Entertainment Productions | | Da Best in da West 2: Da Western Pulis Stori | Sgt. John Paul Quezada | Regal Films | 1995 | Father & Son | Johnny | RVQ Productions | | Home Sic Home | Berto | Star Cinema | 1994 | Wanted: Perfect Father | Roy | | | Hataw tatay hataw | Marlon | Regal Films | | Abrakadabra | Aladding/Ding | Moviestars Productions | 1993 | Home Along da Riles The Movie | Kevin Kósme | Star Cinema | 1992 | Buddy en Sol (Sine ito) | | | 1991 | John en Marsha ngayon '91 | John H. Purúntong | RVQ Productions | | Onyong Majikero (Onyong the Magician) | Grandfather Onyok | Regal Films | 1990 | Espadang Patpat (Stick Swords) | Pidol | AMS Productions (I), Airoh Media Services | | Og Must Be Crazy | Og | RVQ Productions | | Dino Dinero | Dino | Seiko Films | | Atorni Agaton: Abogadong de...
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...Case Study Movie Exhibition Industry - Research Papers - Kimsaline 10/9/12 2:01 AM Case Study Movie Exhibition Industry Strategic Analysis of Movie Exhibition Industry By: Kim Saline February 24, 2010 Objective: To provide an analysis and make recommendations to increase revenue in the movie exhibition industry. Overview: Ticket sales for movie theaters are at their lowest point since 1996. With the core demographic group expected to grow slower than the US population and with technological advances growing at speeds faster than the industry can keep up, ticket sales will continue to decline if the current business strategy continues to be followed. Concession sales and ticket sales are the two biggest sources of revenue for a movie theater. Both continue to increase in cost to the consumers and may have reached a price point that is starting to drive consumers away from going to see a movie. With the advancements in home entertainment systems consumers are investing thousands of dollars into their own home viewing systems. They have several options to stream video content into the comfort of their own homes. Theaters have implemented digital content and 3D but it’s not enough to keep up with the competition of technology. My analysis will give you information on the threat of competition from substitutes and the change in buyer behavior and demographics. I will use the five-forces model of competition and a SWOT analysis along with other sources of analysis. The information...
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...Dissertation : Impact of the Digital Cinema in the INDIAN CINE INDUSTRY. Aims of the Dissertation : To investigate the current trends of digital cinema in Indian Cine Industry. To demonstrate the latest standards used in the digital cinema globally. To compare and contrast the modern digital cinema with previous methods used in the cinema industy. Background of the Dissertation : Indian Cinema Industry is currently one of the largest producer of films in the world wide in terms of ticket sales and no. of films produced. In recent years , there has been tremendous increase in the establishment of digital cinema due to latest technology and commercial institutions of film making. Possibly promoted by recent global business trends , more and more large business cine companies are providing their own production services. If we take past 5 to 10 years back , it is very hard to bring the movies into cinema theatres due to insufficient availability of technology. It is the intention of this dissertation to examine impact on Indian cine industry approach to the implementation of digital cinema. Relationship to Previous Work : One of the multinational Company dealing with digital cinema was by Cineworld where internal management of all the movies was modifying into the new mode of digital phenomenon. Over the years , no. of movies have developed and release which shows the clear understanding of new digital cinema. It has now become professional , highly...
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...HW#1 1. The service blueprinting for a cinema. Line of Internal Interaction BACKSTAGE CONTACT PERSON Line of Visibility ONSTAGE CONTACT PERSON Line of Interaction SUPPORT PROCESSES F Guide and Lead Tickets Check Snacks Sales Great and Sell Tickets F Ticket Booking System Inventory System F Clean Project and Show Movies Projection Equipment F 2. (i) The cinema, Paradise Cinema, is located in the Newport Mall in Jersey City. The origin of its name is a famous France and Italian film, Nuovo Cinema Paradiso. Similar with the key of Nuovo Cinema Paradiso, the central principle of our cinema is to provide warmth and happiness for audience. Paradise Cinema now covers an area of about 2000 square yard and owns 4 screening rooms including 1 3D screen and almost 800 seats. All the screening rooms are equipped with wide screens and advanced audio and projection system. Paradise Cinema will provide you with comfortable and exciting viewing experience. (ii) The blueprint shows the process how the cinema functions and how the service is provided. The “physical evidences” are what consumers will see and experience and each of them corresponds to a step of the “customer actions”. The “customer actions” show the flow of customers’ performance and choices, from entering the cinema, seeing the films to leaving the cinema. The “onstage contact persons” are staff who provide consumers with service directly and face-to-face, such as salespeople in the...
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...communicators of Films 1. Overview of Indian Film Industry and Market 2. 4Ps concept applied on the movie industry as a whole 3. Overview of the film making business 4. Classification of movies from a producer’s or distributor’s point of view 5. Classification of movies as products 6. Publicity of movies 7. How different media is used for publicity of movies? 8. Alterative marketing methods 9. Music as a promotion tool 10. Hollywood marketing strategies in India 11. Messages and styles used for promotion of films 12. Bibliography Objective: To find out the Media, messages and styles used by Indian marketing communicators of Films. Methodology The project is based on secondary data information, as a source of secondary data various websites, movie magazines and marketing journals are used. Abstract: Bollywood, which contributes 27% of entertainment revenues, is changing from a fragmented industry to a few stalwart organisations who occupy all parts of the value chain starting from production to distribution. The article explores the new emerging trends in innovative movie promotions in the industry. The changing paradigm of its viewer ship and the increased role of NRI clusters is leading to a structural change in the way business is done in ‘Bollywood’. Overview of Indian Film Industry and Market India is the world's largest producer of films by volume - producing almost a thousand...
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...Digital transformation [pic] Summer 2008: Dramatic developments in digital technologies and the diffusion of the Internet protocol as an open and efficient communication standard are wiping out the specialized symbiotic link between content and technology. That’s how Gianvito Lanzolla and Jamie Anderson see the digital world, and here they reveal three trends that companies need to prepare for. Comments In the past, media and technology industries operated through specialized value chains with clearly defined boundaries. Mobile phones were used to make simple voice calls, Walkmans were used to play cassette tapes, and computers existed mainly to crunch data. But new technologies have made it possible to convert different kinds of content – a radio programme, a book, a magazine, a song, a phone call – into digital data; in digital terms, there is little difference between them. At the same time, the Internet and other communication networks based on Internet protocol have made it possible to distribute this digitized content in costeffective and ubiquitous ways. The extent and nature of these changes and their consequent strategic implications remain substantially misunderstood. While some studies have been made, they have mainly had an industry-specific focus, with the consequent limitation of overlooking the systemic effect of ongoing transformations. In order to address this limitation, we researched current transformations in media, telecommunications and technology...
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...most socially-conscious and intelligent director on the scene today. His work actually incorporates sub-texts, goes beyond the notional concept of Bollywood entertainment and stays with you long after you’ve seen them Yet if there’s a filmmaker who has a residue of social responsibility and seeks to mirror today’s conditions, it’s this actor-turned-director. Thanks very much to the superior-quality films from the six he has directed so far, he inspires that key forgiveness factor from the viewer – the way you’d ignore a raving beauty’s bad hair day. In fact, his more well-conceptualised, scripted and directed films will find a permanent place in Indian cinema, Inevitably, Lagaan (2001) is the ace in Ashu’s six pack. Forget the Best Foreign Film Oscar nomination, and all the hoopla, here was a genuinely solid piece of cinema. It was compassionately written and directed and projected ensemble performances of the extraordinary kind. Plus, it was underscored by an inspired AR...
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