...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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...Truckenbrod, Baetcher 1 Tomislav Truckenbrod Felix Baetcher Independent Studies Fall 2010 Allison Anders 12/6/2010 German Copyright The Anglo-American Copyright is a set of exclusive rights granted by the law to the author or creator of an original work, including the right to copy, distribute and adapt the work, except that it does not protect ideas, only their expression or fixation. Copyright laws are partially standardized through international and regional agreements such as the Bern Convention, the World Intellectual Property Organization, and the European copyright directives such as the Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations. Although there are consistencies among nations' copyright laws the latter one emphasizes the recognitions of moral rights of creators, such as the right to be credited for the work. In 1902 a law in Germany adapted which said that the approval of each author is required for every public performance of the musical work. The Society for Musical Performing and Mechanical Reproduction Rights (GEMA) was established as a collecting society representing the rights of the copyright of those composers, lyricists and publishers of musical works that are organized as a member in it. The task given to the Gema contains protection of intellectual property rights of music creators and the representation of their interests to get properly remunerated for the use of Truckenbrod, Baetcher...
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... 1.1 – Introduction – p. 3 1.2 – Social and Political Climate pp. 3-11 1.3 – Production Code Resolutions pp.11-15 Part Two 2.1- Production Codes – I, II, III and IV pp.16 2.2 – Production Codes V, VI, VII and VIII pp.17-18 2.3 - Production Codes IX, X, XI and XII pp.18 Part Three 3.1- Hollywood and Film making – 1940-1949 pp.18-21 3.2- Movies – Awarded, Nominated, Not Nominated pp.21 Part Four 4.1- Hollywood and Film making – 1950-1959 pp.22-26 4.2- Movies – Awarded, Nominated, Not Nominated pp.26 Part Five 5.1- Synopsis of Film making in the 1960’s – New Era pp. 27-28 5.2- Conclusion pp.28-29 The Red Scare of 1917-1920, was the primary influence for the emergence of censorship through McCarthyism and Anti- Socialist sentiments in filmmaking during 1940-1960. McCarthyism and three international wars enhanced Anti – Communist resentments within the United States. A brief emergence of Socialist organizations in America heightened the fervor of conservative versus liberal views within cinematography. Motion Movie producers and Distributors, in Hollywood, California were heavily encouraged to influence film directors, screenwriters and actors by incorporating strict codes within their artistic expression. The Dies Committee, former State Senator Jack Tenny’s California Joint Fact Finding Committee on Un-American Activities from the late 1930’s and early 1940’s; as well as the House on Un-American Activities Committee and The Production...
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...candidates featured Kathleen Kennedy, she began her career in film making. Kathleen worked alongside Steven Spielberg creating movies such as Jurassic Park and E.T. In 2012 she became the president of Lucasfilm and started working on projects like the Star Wars series after Walt Disney purchased exclusive rights from George Lucas. Another featured leader is Angela Ahrendts, Senior Vice President of Apple Inc. Angela was former CEO of Burberry from 2006 to 2014, but partnered with Apple’s organization in 2015. She is in charge of Apple’s retail and online stores and oversees the overall operations of Apple’s inventory. Angela Ahrendts leadership is focused around having high energy which allows others to gravitate towards her positive vibes. As a child she has always been humble and stayed positive in stressful situations. She brought this type of mentality to Apple where she was able to join forces with them and bring her high energy to an innovative company. Throughout her work at Burberry, she was expected to have a major profit loss in 2008, where she was able to overcome and save the company millions of dollars. Angela used her energy to envision a brighter future for Burberry and kept employees morale high. On the other hand Kathleen Kennedy has a different approach when it comes to her leadership style. She began her career in film making and worked as a secretary for Steven Spielberg. She shortly thereafter became a producer and Spielberg’s right hand assistant. Being that she...
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...interested in closing a multi-million dollar deal with our fashion magazine, Zoelle, provided we changed the magazine's appearance to attract a broader European audience. As production manager, my job was to lead and supervise a staff of 30 to match Nancy's vision, working closely with the design team, photographers, production staff and marketing team. After three weeks of heavy brainstorming, we developed a fresh appearance for the magazine. I invited Nancy to a meeting with me and three of our executive producers. I shared with her the strategy we had created in order to solve our appearance problem, as well as estimated costs and complications. Nancy agreed that the direction our magazine was going fit well with her vision and audience, and that JPH would be happy to work with us within the next week. Although the team was excited to accept the offer, I was concerned that we were not prepared to complete the project so quickly. Though the executive producers did not understand, as our production team was to begin work on the next issue the following day, I explained that there may include deep financial consequences if we rush into the process. I wanted to ensure that JPH received a consistent layout from Zoelle magazine. Nancy agreed to wait until the upcoming issue was complete before beginning work on the new look. We began work the following Tuesday, after the latest issue was produced. I collaborated with an eight member marketing team to develop new branding...
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...interested in closing a multi-million dollar deal with our fashion magazine, Zoelle, provided we changed the magazine's appearance to attract a broader European audience. As production manager, my job was to lead and supervise a staff of 30 to match Nancy's vision, working closely with the design team, photographers, production staff and marketing team. After three weeks of heavy brainstorming, we developed a fresh appearance for the magazine. I invited Nancy to a meeting with me and three of our executive producers. I shared with her the strategy we had created in order to solve our appearance problem, as well as estimated costs and complications. Nancy agreed that the direction our magazine was going fit well with her vision and audience, and that JPH would be happy to work with us within the next week. Although the team was excited to accept the offer, I was concerned that we were not prepared to complete the project so quickly. Though the executive producers did not understand, as our production team was to begin work on the next issue the following day, I explained that there may include deep financial consequences if we rush into the process. I wanted to ensure that JPH received a consistent layout from Zoelle magazine. Nancy agreed to wait until the upcoming issue was complete before beginning work on the new look. We began work the following Tuesday, after the latest issue was produced. I collaborated with an eight member marketing team to develop new...
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...alternative filmsMainstream films can best be defined as commercial films that are made by major entertainment studios or companies that are owned by international media conglomerates. Because of better financing, these films can afford more expensive actors, wide releases, and are sold at popular retail stores. This has become known as the studio system. Films made by major studios or companies that are not owned by a media conglomerate but are distributed by a company owned by a media conglomerate (see Lucasfilm) are also considered to be mainstream and are often referred to as mainstream independent films. Companies that are completely independent, such as Lionsgate, also produce mainstream films, from a cultural standpoint, but independent of the studio system. The alternative to mainstream films are sub genre films that appeal to a certain audience, such as African American films. Low budget films, art films, and experimental films are often the starting point for entertainers who wish to enter into the mainstream circuit or a sub genre circuit. Mainstream films are targeted for all cultures and audiences, with the dominating culture and audience being the primary marketing focus, while sub genre films are marketed towards only one specific culture and audience. Mainstream films often recruit talent from all film genres and backgrounds. Alternative media are media (newspapers, radio, television, magazines, movies, Internet, etc.) which provide alternative information to the...
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...length. Your responses should include examples from the reading assignments. 1. How did the advent of home video technologies change the American film industry? In what ways did the studios—who in 1976 regarded home video as a competitor—exploit these technologies to their advantage? The way home video technologies changed the American film industry was by the invention of the home videocassette recorder in 1976, and Matsushita introduced its Video Home System (VHS) soon after. Sales took off in the early 1980s, and by 1988 most U.S. households, nearly 60 million, had a VCR. Studios established divisions to make and distribute cassettes. Sales to rental stores, particularly the growing national chains, proved very lucrative. 2. How did the policies of "synergy" and "high concept" transform American film industry structure in the 1980s and 1990s? What kinds of films resulted from these policies, and in what ways did distributors and exhibitors try to profit from such films? 3. What is "intensified continuity"? In what ways does this system of formal conventions depart from the classical continuity style of Hollywood filmmaking? Intensified continuity is a more rapid editing i.e. shorter average shot lengths, more close framings in dialogue scenes, and a free-ranging camera. Intensified continuity encouraged some film- makers to enhance the trend through...
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...This email is to inform you that your profile has successfully qualified in the initial selection among fitting candidates for a recently announced position of an Associate Producer on Careerbuilder.com. We offer a remote position, which would allow you to make a career as well as get valuable management experience while working from home. Job Duties: - Supporting the projects by the assigned customers; - Pointing out client needs and/or issues and assisting with their resolution; - Managing team members to provide the scheduled delivery of customer projects; - Submitting weekly status reports to supervising managers. NO PREVIOUS EXPERIENCE REQUIRED, WE OFFER COMPREHENSIVE TRAINING AND GUIDANCE. We promote 100% from within our company, therefore, most positions start as entry level ones. No sales, advertising or cold calling of any kind are included into everyday tasks either. Basic Qualifications: - Age 21+; - Basic PC skills: MS Office, emailing, web browsing; - Good interpersonal skills: oral and written; - Excellent attention to details and timely follow-up; - Ability to work independently and manage a remote team of specialists; - Must be physically located and authorized to work in the US. Pay and Benefits: - Base pay of $3,150 per month; - Incentive bonuses up to 100% of the base pay, overtime pay; - Reimbursement of major expenses: cell phone, Internet, travel, etc.; - Paid sick/personal and vacation days; - Positive...
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...of pushing the boundaries of acceptability occurred back in the 70's with a sitcom called, "All in The Family". This show depicted a working class man, named Archie Bunker, and the ups and downs of his average blue-collar family. While very controversial at the time, the show was later seen as one of the first shows to realistically address racial integration and racial tension and the foolishness of bigotry. Once the show is funded then writers are hired to begin working on scripts for the show. Writers work with the executive producer to develop a story line. The executive producer is another gatekeeper. She or he has the broad authority, usually as the show's creator, to decide how their vision is developed and portrayed to the public. Once pre-production work is completed, the sitcom moves in to the production phase. Production of a sitcom involves building a set, hiring actors, and assembling a production team. At this stage, the executive producer still has authority to change aspects...
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...that occupation. I will also discuss the transferable skills that are gained from this and how they can be used in other fields within the creative industries. Lastly, I will include the potential impact this has on technological, health and safety, legal issues and business support. Film is the chosen occupational area within the Creative Industries that will be discussed. The main goal of a film can be anything from to entertainment, to create shock and awe, to inform and also tempt people into going to the cinema to watch their work thus making a profit. The construction a film it can broke down into 5 parts: Development, Pre-production, Production, Post-production and Distribution. The development stage of a film is when the idea is written and the story and characters are finalised. The development stage includes Executive Producers, Producers and Scriptwriters. The Executive Producers key role is to look over the producers on behalf of the studio. They will also ensure the film is produced on time and remains within the set budget. An Executive Producer will have to have a vast and intimate knowledge of all facets of film production, marketing, financing and the distribution of films. They will be great negotiators, as they have to discuss technical standards and negotiate a budget.[1] The skill within this job role such as keeping to a deadline can easily be transferrable to another job role within the Creative Industries. For example, an Advertising Account Executive...
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...consumers are co-producers. ANSWER Production refers the processes and methods used to transform tangible inputs (raw materials, semi-finished goods, subassemblies etc.) and intangible inputs (ideas, information, knowledge etc.) into goods or services. Co-production thus reflects a conscious strategic decision by consumers to become involved in production-like activities. In other words, it refers to the involvement of consumers in the various value creating activities through which products or services are made. The following accounts for some of the reasons why consumers are considered as co-producers. In the first place, consumers are considered as co-producers because they undertake the consumer feedback activity. Direct contact between consumers and producers is one important effective way of achieving high quality and improved features in a product. Traditionally, when direct contact with producers is impossible, consumers channel their grievances as well as suggestions for products’ improvement through retailers/wholesalers who have a relationship with producers. The 21st century consumer no longer needs to go through the traditional process to pass on information to the producer. All they need to do is to visit the company’s website and make their views on product features known to the producer. For instance, a consumer who purchased an app from the android market can go right back there and write a review on the product. Such reviews usually help the producer to improve...
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...A relieving day dream passes through her unconscious thoughts that tend to stay in the back of most of our brains when we find ourselves involved in mundane or routine tasks. Our arms put on our jackets and our feet find their ways into our shoes, dishes and trash appears without any effort concentrated to land scattered about, following us around wherever we have been. Without telling our legs to carry us over close enough for our arms to bring our hands to tidy up. We all do it. We are taught that we should do it and when life becomes more complicated, our bodies help us along, taking up the slack of our minds. I was guiding my car down the highway, mezmorizing at the yellow center lines against the swirling grey. My auto-pilot knows how important it is to keep the wheels of my car between those white lines on either side of the road. Its amazing how to mind works and what it is capable for doing byits own decision to so so. A well trained brain is a nice comfort to have to get throught those hectic days safely and without crashing things into things. My brain made an image develop behind my eyes. How smart to not block my vision. My mind had me lay down and rest in a clean hospital bed. There was the security of the bed rails and a call light near. A tv hung on the wall, mind didn’t want me to get anxious and bored. Just to rest and sleep would be a welcome activity, but no way would they allow me to stop. I would get into hot water if I missed the appointments, the court dates...
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...impact so that they can be said to connote to-be-looked-at-ness,” (205). What kind of looks, gazes, or points of identification structure (or destabilize) The Passion of Joan of Arc (Carl Th. Dreyer, 1928)? Your response should engage Mulvey’s claims. The Passion of Joan of Arc is a silent film directed by Carl Th. Dreyer made in France in 1928. In Laura Mulvey's essay, “Visual Pleasure and Narrative Cinema,” she argues that the female stars receive the look, while male stars take control of film space. She also points out that the women’s role in the Classical Hollywood cinema is to satisfy the viewer and to be a passive character, i.e. being pleasant to look at. This essay will argue Mulvey's analysis such as: active/man and passive/female, a woman/actress being looked at as an attractive object and the female role in the cinema industry depicted by The Passion of Joan of Arc film. I will try to prove that Mulvey's claims cannot be related to this film. First of all, because the film is concentrated on the form, Dryer's goal is not to show Joan as a sexual object, but to demonstrate the power of the close-up and facial expressions. Secondly, La Passion de Jeanne d'Arc is an independent film made in France, outside Hollywood environment, and that...
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...cinema, many of its key architects were in fact European emigrants – Lubitsch, Dieterle, Lang, Hitchcock, Sirk, to name but a few. More recently, many of Hollywood’s finest contemporary directors – Scorsese, Altman, Coppola and others – have often turned to Europe, to the French New Wave, Italian neo-realism and the New German Cinemas for a source of inspiration and influence. In the Bioscope of 8 January 1925, Joseph Schenck, then president of United Artist, commented brutally on British film productions: “You have no personalities to put on the screen. Your stage actors and actresses are no good on the screen. Your effects are no good, and you do not spend nearly so much money.” Similar remarks can be found about almost any European cinema in almost any decade. It is possible to question the aesthetic standards by which such complaints are made. It can be argued that slow rhythms, deliberate staginess, and lack of star presence or of visible production values are positive qualities which European film-makers have exploited in creative ways and which the Hollywood cinema is the poorer for not possessing. How Schenk would have hated La Regle du jeu, Ladri di Biciclette, The Bitter Tears of Petra von Kant or The Long Day Closes! And how wrong he would have been. But at the level of mass perception Schenk was right. European cinema has for too long been hung up on notions of quality – wrapped for preference in a national flag, like “Belgian” chocolates. Hollywood, partly...
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