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Currently the “creative industries”, especially the British film industry, are receiving much popular attention. The aim of this paper is to present a description and evaluation of employment in the film industry, and through doing so to challenge dominant populist and academic analyses of employment in this sector, as exemplified by the Labour government and a number of British and American academic commentators. These analyses are both premised on the apparent occurrence of an epoch breaking change in society, the balance of economic activity in society and the organisation of work. However, trends in employment practice over recent years, it would appear from the survey evidence and from other sources presented here, have not improved in the manner they could be expected to if such fundamental epochal change had occurred. Rather the data presented here point to much continuity in the employment relationship between capital and labour.

The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

The purpose of this study is to contribute knowledge about learning linked to the film industry by investigating how film producers reason about learning for and in the profession.

This study is based on semi-structured interviews with 20 film producers, both university and workplace trained (UWT) and workplace trained (WT). The content analysis is based on the transcribed dialogues. The study is empirical, explorative and qualitative.

The interviewees consider networks to be of utmost importance for gaining entrance to and continuously finding work in the film industry. They also reason about required knowing and what learning practices are available. Although formal education is not advocated by all, it can hold intrinsic value for the individual. Traditions of learning are being scrutinized, and critical reflection is replacing naivety and emotionality.

Different aims regarding learning in the formal education system and film industry result in a gap which needs to be bridged to challenge conserving and reproducing patterns of learning. Collaboration is suggested as a solution benefiting both the individual learner and the film industry. The resulting knowledge from this study can thus be used by the formal education system and the film industry when developing forms for collaboration surrounding learners of film production.

The focus presented in this paper of learning in and for film production has been sparingly addressed in previous research.

The study aims to examine the impact of globalization of film business on the Malaysian film industry.

Interviews were conducted as the primary source of information from film industry players in Malaysia.

Globalization of film business gives an impact on the Malaysian film industry.

This paper focuses on the Malaysian film industry and concentrates only on globalization of film business impact.

The results provide insights to the Malaysian film sector and other organizations of similar structure of how they could manage business strategies for improved business performance.

This paper is perhaps one of the first to investigate the impact of globalization on the Malaysian film industry.

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

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.

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.

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.

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.

This paper aims to examine the strategic issues of risk for independent theatrical film distributors in the Hindi film industry in India.

The study adopted qualitative grounded theory approach to explore contextually relevant strategic issues of risk for independent theatrical film distributors. Semi-structured in-depth interviews with Hindi film distributors helped to gain explorative insights about the risk behaviour of film distributors operating in Mumbai “circuit”.

The findings suggest that risk faced by distributors is a function of product (film content) features, contractual terms, resources such as finance and strength of strategic alliances with the producers. The study develops a business risk model for the film distributors from a series of propositions.

The paper contributes to the literature on motion picture industry by highlighting the importance of distribution risk in the film value chain.

Acting entrepreneurially in nascent industries is a complex endeavor characterized by uncertainty and ambiguity. Nevertheless, entirely new industries do emerge, often as a direct result of entrepreneurial behavior. We extend and apply discovery and creation approaches to study entrepreneurial behavior during industry emergence by means of qualitative analysis of a film about the personal computer (PC) industry℉s formative years. We find that discovery and creation behavior are fundamentally interrelated and share a common element: bricolage. Moreover, ideological activism is a major component of entrepreneurial behavior in a new industry℉s formative years during both creation and discovery processes. Implications for research and practice are discussed.

The purpose of this paper is to show how an increasing number of film and tourism industry stakeholders are working together with the dual goals of attracting film production and then capitalizing on the subsequent exposure.

Recently published reports and articles related to the film industry and film tourism in particular are thoroughly reviewed.

Although most tourism organizations and film commissions have been slow to tap the potential benefits of film tourism, the examples highlighted show how partnerships between the two industries can be mutually beneficial.

If leveraged well, film tourism can have large economic gains for countries and regions. Destination marketing organizations should be working with film commissions and engaging in marketing activities at four distinct stages of a film's lifecycle; before production of a film, during production, during release of the film, and after release.

This is the first full film tourism paper to reflect on existing collaboration between the film and tourism industries.

The purpose of this research has been to compile an up to date survey of the management methods of the film and television industries used by local and regional government agencies in international production centres. It was intended that the results of the survey would clarify differences in mode of operation and governance and the factors that may contribute to their “attractiveness” from the point of view of the film production market.

The methodology used a combination of written questions and telephone interviews to elicit responses from selected agencies in English‐speaking countries. A typology of different management approaches has been prepared on the basis of the survey data.

The main findings are that the primary government role is connected with film production management, yet very limited evidence has been found for proactive spatial/economic planning support for the industry by local or regional government.

The limitations of the research relate to the smallness of the sample and the difficulty, in some cases, of eliciting meaningful responses. The implications of the findings are considered to be of considerable relevance to desirable modes of governance, the need for planning reform, and ways in which production management processes can be better streamlined. The potential role for local or regional government in adopting practices more in tune with market requirements has considerable implications for the creative and cultural economy, and the findings are of relevance to government decision makers and senior policy staff.

The social implications are indirect and theoretical as they relate to improvements in the cultural landscape of spatial industry clusters. They have not been examined in this paper.

This research program is considered to have originality in that it bridges distinct areas of inquiry usually dealt with by separate professions or skill‐sets (film production, governance and management). Its originality is supported by the limited data discovered in the literature on this combination of topics.

This study explores the making of box-office collection using the Indian film industry, Bollywood, as a case.

This study conducts in-depth interviews with cinematic experts in the Indian film industry and analyzes the interview transcripts using thematic analysis.

This study uncovers several noteworthy findings. First, films that drew both general (MASS audience) and niche (CLASS audience) viewers dominate the box office. Second, viewers prefer to see films that are based on true events, and their engagement will be deeper if the subject of the film resonates with them. Third, stakeholder share is variable and changes over time. Fourth, the marketing budget for a film is typically higher than its production budget, and it is determined by the producer's financial resources. Fifth, the dominance of big over small banner films motivates the latter to pursue online rather than cinematic releases. Finally, Internet access creates value and returns on investment through sales of satellite and musical rights, while strategic promotion and distribution reap maximum benefit for box-office collection.

Unlike past studies that rely on secondary data, this study uses primary qualitative data to explore the making of box-office collection. This study also focuses on an alternative film industry, Bollywood, as it is a vast context that remains underexplored.