Search results

Christine Bruce (2008, Preface) has written extensively about informed learning. Informed learning is “using information, creatively and reflectively, in order to learn.” Bruce writes about informed learning as it relates to information literacy. Librarians, working collaboratively with professors, often develop research guides to teach information literacy skills, and to organize and present program, course, assignment, or topic-specific resources. Research is essential to documentary filmmaking. This chapter is a case study that describes how the History of Non-fiction Film Research Guide that we created aligns with the three principles and seven faces of informed learning.

The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours.

Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach.

The findings reveal that visitors experience the “authentic” representation of the working studio’s industrial film production process as an opportunity and “invitation to join” a broader filmmaker community and to share their own amateur filmmaking experiences with fellow visitors and professionals – just to discover eventually that the perceived community is actually the real “simulacrum”.

Although using an autoethnographic approach means that the breadth of collected data is limited, the gain in depth of insights allows for a deeper understanding of the actual visitor experience.

The findings encourage film studio executives, managers and talent agents to reconsider current practices and motivations in delivering film studio tours and to explore avenues for harnessing their strategic potential.

Contrary to previous studies that have conceptualised film studio tours as simulacra that deny consumers a genuine access to the backstage, the findings of this study suggest that the real simulacrum is actually the film tourists’ “experienced feeling” of having joined and being part of a filmmaker community, which raises question regarding the study of virtual communities.

This paper aims to highlight the nature of strategic learning in Bollywood, India's Hindi Film Industry. Film making is an art that requires continuous learning as a prerequisite to creativity and innovation. Improved competitive performance goes beyond operational organisational learning into strategic learning. This research investigates the extent to which strategic learning, as opposed to operational learning, is taking place within film making organisations operating in the Bollywood setting.

The research was conducted through two descriptive case studies of production houses in Bollywood using semi‐structured observations and interviews with producers and directors in the case study sites. Data are analysed using techniques of interpretive “illuminative evaluation”.

The research suggests that the current frame of film making at Bollywood is stuck in a learning trap, in that organisational learning tends to be adaptive not generative and leads only to technical innovation. There has been no change in the paradigm of film making from one rooted in the past and the present, in terms of India's history, social and political context, to one looking to the future. For this paradigm shift to take place a future vision is proposed in the form of strategic learning and innovation, allowing Bollywood to go beyond the domestic Indian market and make a contribution to world cinema by breaking away from its current formulaic approach to film making. These findings also have implications for other management learning and practice contexts.

Although this research is limited to Bollywood, it has implications which potentially go beyond it in the form of a new frame as described above, and also for the organisational learning literature which has tended to focus on learning in general, rather than differentiating between operational learning and strategic learning; whereas operational learning can improve production processes, strategic learning depends upon creativity and innovation as the basis of improved competitive performance.

The paper concludes that the research site is trapped within its current frame of learning and, in order to break away from it, it must embrace strategic learning to move beyond the traditional loops of organisational learning. The practical implications of the paper lie in furthering the understanding of the nature of strategic learning in a creative industry, which may, in turn, shed new light on strategic learning within similar contexts.

The originality of the research stems from the focus on strategic learning and a new site for its exploration in the form of the Bollywood setting. Furthermore it extends understanding of the organisational factors affecting the status of strategic learning in organisations.

This paper aims to explore the role of line-item budgeting in film production in an effort to illustrate the positive effects that budgetary constraints can have on creativity.

Using Elster’s (2000) constraint theory as a basis for the research, this paper conducted a case study on the making of a Danish adventure film and analysed the role budgeting plays from the film director’s point of view.

This paper suggests that the constraints of the line-item budget imposed on the director had positive effects in terms of the pre-commitments entailed, which aided in protecting the director against the negative aspects of passion (e.g. distorted thought processes, myopia and weakness of will) in the creative process and in terms of the ability of the constraints to channel creativity in certain directions, thus preventing the availability of too many options from hampering the creative process.

The paper contributes to management control research in two ways. By addressing calls to provide more insight into the positive effects management control constraints might have on creativity, this study explores somewhat ignored aspects of line-item budgeting, adding greater insight into the interrelations between creativity and control. By exploring the ways in which line-item budgeting might take on the role of pre-commitment advice and devices in the creative process, this paper further exposes the links between accounting constraints and self-control.

This article explores recent changes in Hong Kong’s independent documentary filmmaking during a decade of escalating protests in the territory, focusing in particular on cinema's role in Hong Kong's “movement field.”

The article focuses on Ying E Chi, an important distributor and promoter of Hong Kong independent films; the annual Hong Kong Independent Film Festival it organizes; three recent documentaries it distributes that are relevant to the 2019–2020 protests. The findings in this article are based on interviews, the textual analysis of relevant films and participant observation at film screenings.

This study argues that independent documentaries function in Hong Kong's “movement field” in three main ways: by contributing to and providing a space for civic discourse, by facilitating international advocacy and by engaging in memory work. Its contributions to civic culture, it asserts, are reflected in the films' observational aesthetic, which invites reflection and discussion. Public screenings and lengthy post-screening discussions are important ways in which these functions are realized.

This article builds on existing literature to propose a new way of thinking about cinema's role in Hong Kong social movements. It also analyses three important recent films that have not yet been covered much in existing academic literature.

This chapter examines the utilisation of drones for creative expression, focussing on applications which span the use of drones as artistic inquiry and exploration, to their uses as political activism. It begins by discussing the common ground between art and science, proceeding to then analyse critical artistic interventions using drones. Such works function as forms of critical design and investigate the creative potential of drones, as performers and props. In sum, it characterises the emergence of drone art as a distinct new media art form, which locates collaboration at its heart and which exemplifies the value of bridging the art, science and technology divide.

Two western Europeans produced a film It Stays With You: Use of Force by UN Peacekeepers in Haiti (50 minutes, 2018) about the uses and results of violence by United Nations peacekeeping troops in Haiti. Here, they offer an opportunity to reflect on and learn from an array of themes that include wealth disparity, resource inequality, language barriers, distant communication, and physical and mental health. Such contrasts of access to resources test the possibilities that participatory practices can offer, and this chapter attempts to draw out what was achieved, and what was not, in such a collaboration, by reflecting on what challenges were faced, how these were addressed, and what lessons were learned.

Principles of Management, in particular, the topics of planning, organizing, leading, controlling, human resource management, and operations management.

The case will be helpful to undergraduate and graduate business school students for learning the subject, Principles of Management.

Vikas Jha, the newly appointed executive producer and CEO of Magic Films, is a troubled man today. At 29, he is also an unusually tired man to lead this social enterprise presently focussing on producing and distributing short films that carry a strong social message. A whole set of problems is plaguing this start up leaving Vikas totally clueless about the future course of action! The case dwells on the challenges of a film production start-up and provides an opportunity for readers to explore creative solutions to management problems.

Critical thinking, creative thinking, communication skills and leadership ability are some of the liberal arts outcomes that the case study attempts to deliver. In addition, it enables students to apply their knowledge and understanding of key principles of management in solving the case problems. Thus, the case also provides transfer ability as an important learning outcome.

Teaching notes. Additional material with respect to film production can be helpful to the students in appreciating the finer aspects of this case, which deals with filmmaking. In this direction, helpful links to useful resources are mentioned in the case study.

Crowdfunding has become a significant way of funding independent film. However, undertaking a campaign can be time consuming and risky. The purpose of this paper is to understand the predictors likely to produce a film campaign that meets its funding goal.

This study analyses 100 creative crowdfunding campaigns within the film and video category on crowdfunding website Kickstarter. Campaigns were analysed in relation to a number of variables, followed by a discriminant analysis to highlight the main predictors of crowdfunding success.

This study finds key predictors of crowdfunding success and investigates differences between successful and failed crowdfunding campaigns. The attributes of these predictors lead us to question the long-term ability of crowdfunding to aid companies poorer in terms of time, financial and personnel resources, and therefore arguably in the greatest need of crowdfunding platforms.

The findings provide insight to practitioners considering the crowdfunding approach and offers knowledge and recommendations so as to avoid what can be naïve and costly mistakes. The findings highlight that crowdfunding should not be considered lightly and can be a considerable investment of resources to be successful.

The analysis of crowdfunding campaigns provides details on the significant predictors of crowdfunding success particularly relevant to creative campaigns. The findings provide a critique of previous claims about the benefit of crowdfunding for creative SMEs.

The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community.

At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings.

In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved.

By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.