Search results
21 – 30 of 113Just as the films that we see are conceived in specific economic, political and cultural contexts, so scholarship is produced within determined situations. This chapter notes some…
Abstract
Just as the films that we see are conceived in specific economic, political and cultural contexts, so scholarship is produced within determined situations. This chapter notes some of the driving forces which have led to the emergence of law and film as an area of extensive and very diverse scholarship in the past decade. Whilst these factors have shaped the nature and extent of this work it should be noted that changes in both legal professional interests, academic criteria and within the culture industry mean that we can expect shifts in the nature and patterns of scholarship in the future. These may not, however, be the ones called for by other commentators (Moran, Sandon, Loizidou, & Christie, 2004; Sarat, Douglas, & Umphrey, 2005).
“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published…
Abstract
“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published in 1941. The 1970's has produced more than enough — too much — food to satisfy that appetite. In the past five years the number of reference books, in this context defined as encyclopedias, handbooks, directories, dictionaries, indexes and bibliographies, and the astounding number of volumes on individual directors, complete histories, genre history and analysis, published screenplays, critics' anthologies, biographies of actors and actresses, film theory, film technique and production and nostalgia, that have been published is overwhelming. The problem in film scholarship is not too little material but the senseless duplication of materials that already exist and the embarrassing output of items that are poorly or haphazardly researched, or perhaps should not have been written at all.
The role of culture in international marketing strategies for awidely traded cultural service, television programming, is examined. Thefocus is on how non‐US television programme…
Abstract
The role of culture in international marketing strategies for a widely traded cultural service, television programming, is examined. The focus is on how non‐US television programme producers can exploit opportunities in the foreign marketplace by adopting a marketing approach that analyses the needs of foreign buyers and audiences in terms of the options available for segmenting the market. One approach is to identify a cross‐national segment where the producer possesses a competitive advantage. Another is to offer customised attributes desired by viewers in a major foreign market. An international coalition helps assure this. Paradoxically we find that this strategy may not always be inconsistent with standardisation.
Details
Keywords
The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese…
Abstract
Purpose
The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China.
Design/methodology/approach
This paper consults relevant documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui.
Findings
This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014.
Research limitations/implications
Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers.
Practical implications
This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power.
Originality/value
This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.
Details
Keywords
Malgorzata Cwikla and Beata Jalocha
The purpose of this paper is to show the potential of cultural projects which could become a source of inspiration in terms of refreshing and adjusting traditional project…
Abstract
Purpose
The purpose of this paper is to show the potential of cultural projects which could become a source of inspiration in terms of refreshing and adjusting traditional project management to modern times and making it more flexible. However, as research indicates, this potential is limited by cultural policies forcing artists and cultural managers to implement project-related techniques which have been already identified as inefficient and faulty in the progressive discourses on project management, mainly in the for-profit area.
Design/methodology/approach
The analysis is based on three case studies of Polish and Polish-German theatrical co-productions. The research was conducted in Poland and Germany in 2012-2014. It involved 21 individual in-depth interviews with artists, managers and administrative staff working on projects as well as an analysis of project documentation.
Findings
It has been found that project management could draw a lot of inspiration from cultural projects in terms of, e.g. the processual nature of activities, motivating project teams and inclusive leadership. Based on the research, the authors also argue that it is worth considering spectators/other stakeholders as part of project teams, which will help build a non-oppressive social mechanism of control.
Originality/value
Advantages of replacing the just-in-time approach to project management with the work-in-progress approach; increased motivation and commitment of project teams to their work; building a unique team spirit; inclusive leadership based on passion.
Details
Keywords
The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the…
Abstract
The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the Barbarian (1982), a raft of imitators followed. On the one hand, there were films like Krull (1983) and He-Man and the Masters of the Universe (1983) with their big budgets and excellent casts. On the other were their ‘spaghetti’ variations, such as Conquest (1983), Hercules (1983) and the Ator (1982–1990) series, where poor production values, doleful acting, and even more atrocious dubbing remained more frightening than any monsters the hero encountered.
For the most part, the sword and sorcery genre predominantly focused on the male in the canon. However, using Yvonne Tasker's (1993) work on spectacular and hard bodies in action cinema, this chapter will provide an analysis of how female characters in the sword and sorcery genre are portrayed, using Barbarian Queen (1985) as a case study.
Details