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The purpose of this paper is to investigate how to manage the pace of international expansion through acquisitions based on a case study of a Chinese conglomerate, Wanda Group.

The paper is a qualitative study based on the analyses of the series of international acquisitions made by Wanda Group in the global cinema and film studio markets from 2012 through the middle 2017. Comprehensive qualitative data have been collected from public sources, including company press releases, media reports and interviews, for each and every major acquisition made by Wanda during this period. The collected materials are then analyzed to reveal the patterns of Wanda’s serial acquisitions.

When expanding globally through acquisitions, firms need to carefully pace their different types of acquisitions; managing the speed of post-acquisition integration can be critical; and managing public relations and communications in host countries is also important.

The research is limited to one single case, so the generalizability of its findings needs further validation. The research contributes to cross-border acquisition studies by discussing the pacing of acquisitions and their affiliated activities.

The research offers an example of how firms pace their series of international acquisitions, whose lessons are potentially transferrable to other global acquirers.

The research takes a rarely used angle by studying serial acquisitions as a whole and focuses on the pacing of them. It is one of the very few in the acquisition literature to highlight the temporal patterns among serial acquisition moves.

While library acquisition models are moving steadily away from ownership to access only, film vendors are following suit, but some streaming video purchase models become so expensive over time that one questions the motivation behind this choice. The following study was done to explore the motivations behind this choice, through a survey of academic librarians. The results showed that academic librarians are purchasing or subscribing to something that they perceive to be the preferred format for faculty and students. At the same time, respondents acknowledge the problems with streaming video purchase models, but this choice is being made despite attitudes that streaming video purchasing models are unsustainable.

Aslib's annual report, which was considered at the Annual General Meeting in London on 7th June, made interesting reading and showed the association's steady progress. Membership is now 2,500, comprised chiefly of 922 industrial concerns, 221 Government departments and organisations, 295 public and national libraries and 301 universities and colleges. A point of interest is that there are only 403 individual members and this figure seems to be static having risen by only 5 in the last two years. Subscription income rose by £1,864 and Aslib's reserves are now £7,500. Some concern is expressed in the report about the finance of the Annual Conference, which showed a loss of £272. Many members are of the opinion that the conference fee is already too high, but the report suggests that rising costs may result in an even higher fee in the future.

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.

The film approach to history in this paper I want to consider the film as source material for history in the sense that palimpsest and parchment, hieroglyph and rune, clay tablet and manorial roll are source materials—fragments, sometimes fragments of fragments, often defaced by time, and applied to purposes of historical reconstruction rarely contemplated by the original authors. For the most part I shall not be particularly concerned with the various philosophies of history—whether it is the job of the historian to lay material dispassionately before the student so that he can make up his own mind about what happened in the past, or to digest source material in order to arrive at the truth—that is, what the historian may hope is the whole incontrovertible real truth, or to digest source material, as Macaulay and Carlyle digested it, in order to justify something in contemporary life or thought. All that need be said here for the moment is that films can be used, as other historical source material can be used, for various and different historical purposes.

This paper was written to aid academic libraries that may be considering adding collections of popular culture items to their collections. The Multimedia Center at the University of Rochester's River Campus Libraries partnered with students to establish a popular DVD collection in 2001. Changes in acquisitions, cataloging, processing, shelving, and access were required. A review of the current literature helps make a compelling story for why these items add value to the libraries' collections and how they contribute to the educational mission of the university.

Changes that were made to provide improved access to a high circulation collection are discussed. Current literature on popular culture collections in academic libraries, media literacy, and the unique creation of knowledge by the current generation of college students is used to provide a basis for supporting these incongruous collections.

The generation of students who have grown up with the internet use media for the creation of knowledge. The distinction between scholarly material and popular material may be a library construct and inhibit the creation of new texts.

Academic libraries that are attempting to establish collections of popular culture items such as DVDs can examine the solutions that the Multimedia Center staff used to overcome barriers to access and circulation, including the philosophical barrier imposed by an institutional bias against popular culture items.

This paper is unique in that it not only examines the technical details needed to successfully integrate a high‐circulation, easily browsed DVD collection into an academic library setting, it also examines the reasons why these collections are essential to the educational mission of the modern university.

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.

“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.

A regular feature giving news and comment on events and new productions in the field of visual aids for technical and scientific teaching and training