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Article
Publication date: 5 September 2017

Chan Ka Ming

Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes…

Abstract

Purpose

Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA.

Design/methodology/approach

Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected.

Findings

Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model.

Originality/value

This is the author’s research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.

Details

Social Transformations in Chinese Societies, vol. 13 no. 2
Type: Research Article
ISSN: 1871-2673

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Article
Publication date: 6 March 2017

Thanaseelen Rajasakran, Santhidran Sinnappan, Thinavan Periyayya and Sridevi Balakrishnan

The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory.

Abstract

Purpose

The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory.

Design/methodology/approach

This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory.

Findings

The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences.

Research limitations/implications

This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area.

Practical implications

The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies.

Social implications

This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market.

Originality/value

This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.

Details

Journal of Islamic Marketing, vol. 8 no. 1
Type: Research Article
ISSN: 1759-0833

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Article
Publication date: 4 May 2012

Evi Werkers and Peggy Valcke

Audiovisual works – especially cinematographic works – are at the heart of the changes resulting from the development of the information society. Media convergence

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1867

Abstract

Purpose

Audiovisual works – especially cinematographic works – are at the heart of the changes resulting from the development of the information society. Media convergence radically changed the way traditional audiovisual content is produced, distributed, consumed and eventually archived. Film producers slowly started to experiment with new ways of digital production such as the shortening of release windows to favor new on demand services. How does this translate to European film policy? Due to the unique double nature of cinematographic works which are both economic and cultural goods at the same time, the European film policy is at the crossing point of media, culture, competition and heritage. This paper seeks to address these issues.

Design/methodology/approach

In this research paper the authors assessed to what extent the adoption of digital technologies is stimulated throughout the value chain of film making and more precisely to what degree the distribution of a European culturally diverse catalogue of films is encouraged.

Findings

For the first time in history, European producers have the tools at their disposal to collaborate, promote and distribute internationally, at lower transaction costs and at a higher speed, and to look beyond their national market. The fast‐evolving technological developments provided the European legislator with the opportunity to strengthen and support the promotion of the European cultural identity in all its diversity. But is this also reflected in the current legislative framework? It is clear that different hurdles still need to be tackled.

Originality/value

In this research paper an overview is given of the regulatory steps that have been taken so far in the field of European film policy to stimulate the digital production and distribution of European film productions. In the context of new unfolding alliances between stakeholders and experiments with premium video‐on‐demand or shorter cinema release windows, the relevance of digital production and distribution schemes can no longer be neglected. The emergence of web‐based services including cloud computing is likely to accelerate this trend.

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Article
Publication date: 1 March 2004

Lori Riley

This research outlines the Hong Kong film industry with examination of key actors, directors, films, and production companies within the martial arts genre of Hong Kong…

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2138

Abstract

This research outlines the Hong Kong film industry with examination of key actors, directors, films, and production companies within the martial arts genre of Hong Kong Action Cinema. Hong Kong Film Award winners and nominees, core films within genres, and core reference works both general and theoretical from experts in the field of Hong Kong martial arts film research have been highlighted. Web sites are suggested that provide reviews of Hong Kong martial arts films, biographical information on a variety of actors and actresses as well as comprehensive bibliographic information on select films. Also included are commercial Web sites that provide Hong Kong martial arts films.

Details

Collection Building, vol. 23 no. 1
Type: Research Article
ISSN: 0160-4953

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Article
Publication date: 27 July 2020

Yeon W. Lee, Hwy-Chang Moon and Wenyan Yin

The main purpose of this research is to construct a generalized set of innovation processes that occur at the ecosystem level based on the academic research. The study…

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1067

Abstract

Purpose

The main purpose of this research is to construct a generalized set of innovation processes that occur at the ecosystem level based on the academic research. The study analyzes the cultural and creativity-driven over-the-top (OTT) platform that encompasses diverse network of ecosystem members by utilizing the four cooperation practices.

Design/methodology/approach

This study begins with the literature review that discusses various topics related to ecosystem (e.g. service innovation, innovative ecosystem). Then, this study introduces a new conceptual framework that describes how cooperations occur in the ecosystem. Finally, a qualitative and explorative case study of the OTT platforms in the global context is conducted.

Findings

The application of the framework reveals how co-innovative business ecosystems demonstrate co-evolution through different structures and directions. An ecosystem can evolve by incorporating other industries (i.e. horizontal growth or broadening strategy) to deepen and broaden the industry integration.

Originality/value

As an explorative approach that opens the discussion on how co-innovation and co-evolution occur at the ecosystem level, particularly in the culture and creativity-driven industry, the value of this research extends to other similar industries where diverse actors such as technology firms, Internet firms, direct consumers, government and even the society impact the type of product and service and shape the evolution of the entire ecosystem.

Details

Business Process Management Journal, vol. 26 no. 4
Type: Research Article
ISSN: 1463-7154

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Article
Publication date: 5 September 2017

Siu Keung Cheung and Wing Sang Law

The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To…

Abstract

Purpose

The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.

Design/methodology/approach

The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.

Findings

The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.

Originality/value

This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

Details

Social Transformations in Chinese Societies, vol. 13 no. 2
Type: Research Article
ISSN: 1871-2673

Keywords

Content available
Book part
Publication date: 4 April 2019

Indrek Ibrus and Ulrike Rohn

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small…

Abstract

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.

Details

Emergence of Cross-innovation Systems
Type: Book
ISBN: 978-1-78769-980-9

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Article
Publication date: 16 April 2020

Hwy-Chang Moon and Wenyan Yin

This conceptual paper aims to explore under what conditions multinational companies (MNCs) are more likely to internationalize through externalization modes.

Abstract

Purpose

This conceptual paper aims to explore under what conditions multinational companies (MNCs) are more likely to internationalize through externalization modes.

Design/methodology/approach

This paper complements previous studies by proposing three industry-specific factors that affect MNCs’ decision for externalization. It then applies this framework to the case of Korean MNCs’ strategic choice when entering the Chinese film market which is highly regulated by the government, to illustrate how such a framework works in practice.

Findings

This paper suggests that MNCs are more likely to choose externalization entry modes under the three industry conditions: when the business grows fast, when there are best practices of industry standard and when the business requires multi-competence. It also shows that the three conditions explain well the growing Korea–China co-productions in the Chinese film market.

Practical implications

This paper provides useful implications for the government’s regulatory effectiveness. The protectionist policies of the host government are valid only in an industry where the three conditions are met, as they increase the possibility of domestic firms’ participation by encouraging foreign MNCs to shift their entry mode from sole venture toward alliances with domestic firms.

Originality/value

This paper enriches the entry-mode research by indicating that MNCs’ externalization decisions need to consider these industry-specific factors. In addition, it also contributes to the understanding on why some countries maintain their high attractiveness for foreign MNCs, whereas other countries do not, given the similar level of restrictive government regulations.

Details

Journal of Business & Industrial Marketing, vol. 35 no. 11
Type: Research Article
ISSN: 0885-8624

Keywords

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Article
Publication date: 18 September 2009

Tabitha Ramsey White, Anne‐Marie Hede and Ruth Rentschler

The purpose of this paper is to consider whether art experiences can inform service‐dominant logic (SDL) discourse through an exploration of the co‐production and…

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1915

Abstract

Purpose

The purpose of this paper is to consider whether art experiences can inform service‐dominant logic (SDL) discourse through an exploration of the co‐production and co‐creation processes of art experiences.

Design/methodology/approach

Empirical knowledge gained about art experiences is analysed to identify emergent themes about co‐production and co‐creation. Four modes of qualitative data collection are employed: research participant diaries, photo elicitation, in depth interviews and focus groups.

Findings

Key findings are there are three stakeholders involved in the co‐creation of art experiences, which all have critical and different roles; co‐creation and co‐production are both temporally based and evolving and there are points where they interact and intersect; and high levels of engagement in co‐production enhance individuals' contribution to the co‐creation of positive value and make their participation in future co‐production opportunities more likely.

Research limitations/implications

The paper is exploratory and not a general population study. The methodology and sample of participants employed do not allow for the generalisation of the findings to the broader population.

Practical implications

Organisations may benefit from devising strategies to encourage greater dialogue and connection between all stakeholders involved in co‐production and co‐creation. The higher the level of individuals' co‐production of art experiences the greater likelihood of positive value being co‐created. Furthermore, the greater the possibility of individuals engaging in other co‐production experiences in the future. While individuals are attracted to co‐production possibilities, there are factors that are external to an experience that can act as either barriers to or facilitators of co‐production, and that consequently impact on co‐creation.

Originality/value

There is little extant research that explores the applicability of art experiences to SDL. This paper is significant in that it employs empirical research methods to develop knowledge on the topic. Furthermore, this paper is innovative in that it seeks to see whether the art experiences can inform generic marketing models, rather than whether generic marketing models can inform arts marketing.

Details

Marketing Intelligence & Planning, vol. 27 no. 6
Type: Research Article
ISSN: 0263-4503

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Article
Publication date: 25 September 2019

Eleonora Gheduzzi, Cristina Masella and Federica Segato

The purpose of this paper is to study four cases of the adoption of co-production and compare them according to the type of user involvement, contextual factors and the…

Abstract

Purpose

The purpose of this paper is to study four cases of the adoption of co-production and compare them according to the type of user involvement, contextual factors and the organizational structure.

Design/methodology/approach

In total, 30 interviews were conducted in four mental health organizations which are implementing co-production in the North of Italy. Interviews were conducted with clinicians, nurses, patients and family members. The data collected was triangulated with further sources and official documents of organizations. The results have been compared by means of a validated international framework (IAP2) regarding the contextual factors and the level of co-production adopted.

Findings

The adoption of co-production in the four cases differs by the activities implemented and how organizations involve informal actors. It seems to be influenced by the contextual factors specific to each organization: power, professionals’ opinions and leadership. Organizations whose practitioners and leaders are willing to distribute their power and value informal actors’ opinions seem to facilitate the systematic involvement of users. Overall, the results highlight the importance of considering contextual factors when evaluating and describing co-production activities.

Originality/value

This paper contributes to describing how mental health organizations are implementing co-production. It examines the influence of contextual factors on the type of co-production adopted.

Details

The Journal of Mental Health Training, Education and Practice, vol. 14 no. 6
Type: Research Article
ISSN: 1755-6228

Keywords

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