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A partir de los años 50, el gobierno español suscribió catorce nuevos convenios de intercambio de películas con distintos países para reducir el elevado coste que suponía la importación de cintas extranjeras y, además, obtener beneficios de la inversión hecha en la producción propia. Estos conciertos facilitaron la distribución del cine español en el mercado internacional. Al abrigo del Acuerdo de Cooperación Económica firmado con Portugal en 1949, y hasta 1974, se exportaron a este último país más de 154 películas de ficción. Como el resto de las películas importadas, fueron sometidas al riguroso dictamen de la censura lusa. En consonancia con el ideario salazarista, 127 de ellas sufrieron cortes de distinta consideración y naturaleza, desde la eliminación de algunos planos o la supresión de ciertas palabras, hasta la definitiva prohibición de proyectar cinco de las propuestas. Las comisiones censoras lusas tenían plenos poderes para rechazar los filmes o aligerar aquellas secuencias y frases que, a su juicio, pudieran socavar los principios morales y políticos del Estado Novo; la propia Constitución incidía en esta misión del Estado de tutelar a la sociedad para alejarla de cualquier influencia considerada nociva. Ya en 1970, durante la denominada «Primavera Marcelista», cuando se esperaba una mayor apertura, se dieron dos fenómenos divergentes que aumentaron el control sobre la producción española. Al tiempo que esta se iba adecuando a los cánones aperturistas occidentales, en Portugal crecía el miedo a las modas e ideas que pudieran cuestionar el régimen. El presente trabajo presenta un análisis de los tres elementos que constituyeron el envío de filmes españoles a Portugal: la estructura censora lusa y su actuación sobre las cintas; el sistema de intercambio de películas establecido entre ambos gobiernos y, por último, el resultado de la aplicación de las normas censoras portuguesas sobre las ya enmascaradas, metafóricas e inhibidas películas españolas, realiza, In the 1950s, the Spanish government signed fourteen new film exchange agreements with different countries to reduce the high cost of importing foreign films and, in addition, obtain benefits from the investment made in its own production. These agreements facilitated the distribution of Spanish cinema in the international market. Under the Economic Cooperation Agreement signed with Portugal in 1949, and until 1974, more than 154 fiction films were exported to that country. Like the rest of the imported films, they were submitted to the rigorous opinion of the Portuguese censorship. In keeping with the Salazarist ideology, 127 of them suffered cuts of different consideration and nature, from the elimination of some shots or the suppression of certain words, to the final ban for five films. The Portuguese Censor Commissions had full powers to reject the films or lighten those sequences and statements that, in their opinion, could undermine the moral and political principles of the New State; The Portuguese Constitution itself considered a mission of the State to protect society in order to keep it away from any considered harmful influence. Already in 1970, during the so-called «Primavera Marcelista», when a greater opening was expected, two divergent phenomena occurred that increased control over Spanish production. While the latter was adapting to the Western opening canons, the fear of fashions and ideas that could question the regime in Portugal increased. This paper presents an analysis of the three elements that made up the distribution of Spanish films to Portugal: the Portuguese censorship structure and its action on the films; the film exchange system established between both governments and, finally, the result of the application of the Portuguese censorship rules on the already masked, metaphorical and inhibited Spanish films, made by directors experienced in circumventing the censorship of their own country.

This article seeks to unpack variations in feminist film sector activists' articulations of collective grievances and demands for change since the mid-1970s and compare them to how gender equality is articulated as a problem in public policy. Based on an analysis of problem representations found in three instances of women's mobilization - from the second wave to #metoo - the article argues that there seems to be a consensus about the appropriate boundaries of what problems can be targeted by policy. Problem representations found in gender equality policies in the film sector do not verbalize structural inequalities. However, feminist activists interpreted them to support their ariculations of structural problems. Feminist activists problem represntations include testimonies of sexual harassment and violence, articulations of structural inequalities, and the promotion of women's separatism. The article also identifies a discursive dislocation produced by critics to gender equality reforms in conjunction to #metoo. The dislocation is produced by successfully opposing gender equality to artistic freedom and denying the existence of structural gender inequalities., Representing Women in Swedish Film

This article seeks to unpack variations in feminist film sector activists' articulations of collective grievances and demands for change since the mid-1970s and compare them to how gender equality is articulated as a problem in public policy. Based on an analysis of problem representations found in three instances of women's mobilization - from the second wave to #metoo - the article argues that there seems to be a consensus about the appropriate boundaries of what problems can be targeted by policy. Problem representations found in gender equality policies in the film sector do not verbalize structural inequalities. However, feminist activists interpreted them to support their ariculations of structural problems. Feminist activists problem represntations include testimonies of sexual harassment and violence, articulations of structural inequalities, and the promotion of women's separatism. The article also identifies a discursive dislocation produced by critics to gender equality reforms in conjunction to #metoo. The dislocation is produced by successfully opposing gender equality to artistic freedom and denying the existence of structural gender inequalities., Representing Women in Swedish Film

This article seeks to unpack variations in feminist film sector activists' articulations of collective grievances and demands for change since the mid-1970s and compare them to how gender equality is articulated as a problem in public policy. Based on an analysis of problem representations found in three instances of women's mobilization - from the second wave to #metoo - the article argues that there seems to be a consensus about the appropriate boundaries of what problems can be targeted by policy. Problem representations found in gender equality policies in the film sector do not verbalize structural inequalities. However, feminist activists interpreted them to support their ariculations of structural problems. Feminist activists problem represntations include testimonies of sexual harassment and violence, articulations of structural inequalities, and the promotion of women's separatism. The article also identifies a discursive dislocation produced by critics to gender equality reforms in conjunction to #metoo. The dislocation is produced by successfully opposing gender equality to artistic freedom and denying the existence of structural gender inequalities., Representing Women in Swedish Film

This article seeks to unpack variations in feminist film sector activists' articulations of collective grievances and demands for change since the mid-1970s and compare them to how gender equality is articulated as a problem in public policy. Based on an analysis of problem representations found in three instances of women's mobilization - from the second wave to #metoo - the article argues that there seems to be a consensus about the appropriate boundaries of what problems can be targeted by policy. Problem representations found in gender equality policies in the film sector do not verbalize structural inequalities. However, feminist activists interpreted them to support their ariculations of structural problems. Feminist activists problem represntations include testimonies of sexual harassment and violence, articulations of structural inequalities, and the promotion of women's separatism. The article also identifies a discursive dislocation produced by critics to gender equality reforms in conjunction to #metoo. The dislocation is produced by successfully opposing gender equality to artistic freedom and denying the existence of structural gender inequalities., Representing Women in Swedish Film

This article seeks to unpack variations in feminist film sector activists' articulations of collective grievances and demands for change since the mid-1970s and compare them to how gender equality is articulated as a problem in public policy. Based on an analysis of problem representations found in three instances of women's mobilization - from the second wave to #metoo - the article argues that there seems to be a consensus about the appropriate boundaries of what problems can be targeted by policy. Problem representations found in gender equality policies in the film sector do not verbalize structural inequalities. However, feminist activists interpreted them to support their ariculations of structural problems. Feminist activists problem represntations include testimonies of sexual harassment and violence, articulations of structural inequalities, and the promotion of women's separatism. The article also identifies a discursive dislocation produced by critics to gender equality reforms in conjunction to #metoo. The dislocation is produced by successfully opposing gender equality to artistic freedom and denying the existence of structural gender inequalities., Representing Women in Swedish Film

For some time now, the film industry has been generating new processes in the value chain thanks to the emergence of new technologies such as blockchain. Blockchain technology comes from the IT field and is analysed in this article with the aim of identifying and reflecting on the new business models that this technology entails. In this sense, it analyses how NFTs (Non-Fungible Tokens), unique digital media regulated precisely through blockchain technology, are breaking into artistic and cinematographic creation formats, thereby reaching new audiences. This raises controversies regarding intellectual property and its subsequent management. As a result of the research carried out, with a positive assessment and an openness to new forms of production, it was discovered that the emergence of new processes requires some time for assimilation, while transparency in management, the degree of knowledge and handling of technology and mistrust are aspects observed among users., La industria cinematográfica ha comenzado a generar desde hace x tiempo nuevos procesos en la cadena de valor gracias a la irrupción de nuevas tecnologías como el blockchain. La tecnología blockchain procede del ámbito informático y es analizada en este artículo con el objetivo de identificar y reflexionar sobre los nuevos modelos de negocio que conlleva dicha tecnología.En este sentido, se analiza cómo los NFTs (Non Fungible Tokens), soportes únicos digitales regulados precisamente a través de la tecnología blockchain, irrumpen en formatos de creación artística y cinematográfica, logrando así alcanzar nuevos públicos. Esto supone controversias respecto a la propiedad intelectual y su consiguiente gestión. Como resultado de la investigación realizada, con una valoración positiva y una apertura a las nuevas formas de producción, se descubre que la irrupción de nuevos procesos requiere de ciertos tiempos de asimilación, en tanto la transparencia en las gestiones, el grado de conocimiento y manejo de la tecnología y la desconfianza se presentan como aspectos observados entre los usuarios., A indústria cinematográfica começa a gerar novos processos na cadeia de valor graças ao surgimento de novas tecnologias como o blockchain. O blockchain vem da área de informática e é analisado nesta pesquisa com o objetivo de identificar novas oportunidades, da mesma forma que são estudados os novos modelos de negócios que esta tecnologia acarreta. Nesse sentido, analisa-se como os NFTs (Non-Fungible Tokens), suportes digitais únicos regulados justamente pela tecnologia blockchain, se rompem em formatos de criação artística e cinematográfica, conseguindo assim atingir novos públicos, além da obra. Isto envolve controvérsias relativas à propriedade intelectual e sua posterior gestão. Como resultado desta pesquisa, mostra-se que o surgimento de novos processos exige certos tempos de assimilação, enquanto a transparência na gestão, o grau de conhecimento e gestão da tecnologia e a desconfiança são aspectos observados entre os usuários. Da mesma forma, a miríade de oportunidades que o uso desta tecnologia acarreta também é considerada uma avaliação positiva.

"This book studies the rise of cinema in colonial Egypt as a supplemental secular public sphere that is not anti-religion. To this end, it investigates the reception of film by three centres of powers: the colonial authorities, the Muslim clergy and the Cairene bourgeoisie. It inquires about the representations of modernity in films produced during the time and the place filmmakers assigned to Islam in these representations. The result is a story of survival and coexistence told through the lens of cinema as modern art and popular culture negotiating its overt and covert censorship in the public sphere, despite colonisation and war.", 1. Introduction: Basic Concepts -- 2. Regulating the Amour-propre of the Colonized -- 3. Protecting the Amour-propre of Islam -- 4. Caricaturing Dominant Modernity (Tafarnug) -- 5. Lampooning Residual Modernity (Ta’ssul) -- 6. Celebrating Emergent Modernity (Asala), "This book studies the rise of cinema in colonial Egypt as a supplemental secular public sphere that is not anti-religion. To this end, it investigates the reception of film by three centres of powers: the colonial authorities, the Muslim clergy and the Cairene bourgeoisie. It inquires about the representations of modernity in films produced during the time and the place filmmakers assigned to Islam in these representations. The result is a story of survival and coexistence told through the lens of cinema as modern art and popular culture negotiating its overt and covert censorship in the public sphere, despite colonisation and war."

The European film landscape is characterized by a strong presence of Hollywood productions. In 2019, American productions held approximately 70% of the market within the European Union while European productions had 25%. As a response, the EU has introduced differing types of financial support schemes with the aim of offsetting the imbalance between the American and the European film industries.This article describes and analyses tax incentives offered to the film industry from two main lines of inquiry: (1) a comparative and empirical tax study of twelve jurisdictions (Canada, China, France, Germany, India, Italy, Japan, the Netherlands, Norway, Spain, the United Kingdom, and the United States) in which the design of such tax incentives is investigated, and (2) a conceptual tax policy discussion on how states may design and implement such tax incentives.

Esta investigación tiene como objeto de estudio la producción cinematográfica andaluza participada por Canal Sur Televisión, la televisión pública autonómica de Andalucía. El objetivo principal es cuantificar y valorar la evolución y la posible dependencia del sector de la producción de cine andaluz respecto al operador público. Como objetivo secundario, se investiga la distribución de una muestra de títulos producidos en 2020 y 2021 en salas de cine y plataformas de cine. Se propone la hipótesis de que Canal Sur se ha convertido en sus 35 años de historia en el principal motor de la producción de cine andaluz. Se aplica una metodología cuantitativa y descriptiva. No se ha tenido acceso a los datos de inversión del operador público en producción de cine. Los resultados muestran un importante crecimiento de la producción de cine andaluz con el cambio de siglo y un mayor relieve en el conjunto del cine español. Canal Sur Televisión también incrementó su participación en número de títulos, aunque en unos niveles inferiores. Con el cambio de Gobierno en la Junta de Andalucía en 2019 se reduce el número de títulos producidos por la televisión pública. Esta investigación concluye que Canal Sur Televisión fue un agente fundamental en la producción de cine en Andalucía en los años 90, aunque no lo es actualmente. El sector cinematográfico en Andalucía no es, por lo tanto, un sector subsidiario de la televisión pública autonómica., This paper studies the Andalusian film production undertaken by Canal Sur Television, the regional public television of Andalusia; it seeks to quantify and evaluate the evolution and potential dependence of the Andalusian film production sector on the regional public television operator. As a secondary objective, the distribution of a sample of titles produced in 2020 and 2021 in cinemas and Video On Demand platforms is studied. The hypothesis is that, over its 35 years of history, Canal Sur has become the main engine of Andalusian film production. A quantitative and descriptive methodology is applied, without access to the investment data of the public channel in film production. The results show a significant growth in Andalusian film production with the new century and a greater prominence in Spanish cinema as a whole. Canal Sur Television also increased its participation in the number of titles, although at lower levels. With the change of government in the Junta de Andalucía in 2019, the number of titles produced by public television was reduced. This investigation concludes that Canal Sur Television was a fundamental agent in film production in Andalusia in the 90s, although this does not hold true today. The cinematographic sector in Andalusia is not, therefore, a subsidiary sector of the regional public television.

El cine de no ficción se encuentra en una situación delicada con relación a la industria cinematográfica. Su carácter actual, marcado por la hibridación en el panorama mediático y su mirada histórica hacia la periferia, lo sitúan generalmente en los márgenes de la producción cinematográfica. Esta investigación pretende ofrecer una cartografía del panorama de producción de cine de no ficción, tomando como ámbito de estudio la industria cinematográfica andaluza. A través de operaciones metodológicas cualitativas y cuantitativas se revisan y analizan las características y aspectos de la producción cinematográfica de no ficción en Andalucía, durante el periodo de 2018-2022. La finalidad de este estudio es caracterizar la producción de cine de no ficción desde una perspectiva industrial, y mostrar sus implicaciones en la industria cinematográfica andaluza extrayendo tendencias y nodos de producción. Con ello se busca aportar un estudio relevante y original a la escasa literatura científica sobre el cine de no ficción en Andalucía que pueda servir de base para el desarrollo de futuras investigaciones sobre el cine documental hecho en Andalucía, a partir de su consideración como motor de desarrollo económico y social contemporáneo., Non-fiction cinema occupies a tenuous position in relation to the film industry. Its current character, marked by hybridisation in the media landscape and its historical look towards the periphery, generally places it on the margins of film production. This research aims to offer a cartography of the non-fiction film production landscape, taking the Andalusian film industry as a field of study. Through qualitative and quantitative methodological techniques, the characteristics and aspects of non-fiction film production in Andalusia over the period 2018-2022 are reviewed and analysed. The study seeks to characterise non-fiction film production from an industrial perspective, and to show its implications for the Andalusian film industry by identifying trends and production nodes. The aim is to contribute a relevant and original study to the scarce scientific literature on non-fiction film in Andalusia that can serve as a basis for the development of future research on documentary film made in Andalusia, as an engine of contemporary economic and social development.

This article explores the ways in which policymakers, national institutions, and film funding bodies try to navigate the current challenges for Swedish cinema, and if/how distinctions such as “commercial value”, “circulation potential” and “quality” remains important criteria for them. This is done by analyzing reports and interviewing people from both the industry and funding bodies.

Obsahem bakalářské práce Kulturní a historický kontext československého snímku Atentát (1964) je pohled na dobové vydávání filmů. Hlavním příkladem, který nás provází celou prací je snímek Atentát (1964). Součástí práce je jeho podrobná analýza. Teoretická část je zaměřena na popis skutečné události. Další kapitoly se věnují rozebírání snímku, který je natočen na základě dané skutečné události a jeho zařazení do historického a kulturního kontextu., The content of this Bachelor thesis called Cultural and Historical Context of the Czechoslovak Film Atentát (1964) focuses on the different regimes of historicity in the context of a film industry. The main example which will provide us through all the work is the movieAtentát (1964). Part of the work is its detailed analysis. Theoretical part focuses on the description of the real event, on which the film is based on. The other chapters discuss the different time frames (the time of the real event, the time of movie making and the time of its release)., Fakulta filozofická, Studentka představila téma práce, cíle, zvolenou metodu. Vedoucí a oponent práce seznámili komisi s posudky. Studentka reagovala na otázly obsažené v posudcích a na další dotazy členů komise. Diskuse., Dokončená práce s úspěšnou obhajobou

Non-fiction cinema occupies a tenuous position in relation to the film industry. Its current character, marked by hybridisation in the media landscape and its historical look towards the periphery, generally places it on the margins of film production. This research aims to offer a cartography of the non-fiction film production landscape, taking the Andalusian film industry as a field of study. Through qualitative and quantitative methodological techniques, the characteristics and aspects of non-fiction film production in Andalusia over the period 2018-2022 are reviewed and analysed. The study seeks to characterise non-fiction film production from an industrial perspective, and to show its implications for the Andalusian film industry by identifying trends and production nodes. The aim is to contribute a relevant and original study to the scarce scientific literature on non-fiction film in Andalusia that can serve as a basis for the development of future research on documentary film made in Andalusia, as an engine of contemporary economic and social development., El cine de no ficción se encuentra en una situación delicada con relación a la industria cinematográfica. Su carácter actual, marcado por la hibridación en el panorama mediático y su mirada histórica hacia la periferia, lo sitúan generalmente en los márgenes de la producción cinematográfica. Esta investigación pretende ofrecer una cartografía del panorama de producción de cine de no ficción, tomando como ámbito de estudio la industria cinematográfica andaluza. A través de operaciones metodológicas cualitativas y cuantitativas se revisan y analizan las características y aspectos de la producción cinematográfica de no ficción en Andalucía, durante el periodo de 2018-2022. La finalidad de este estudio es caracterizar la producción de cine de no ficción desde una perspectiva industrial, y mostrar sus implicaciones en la industria cinematográfica andaluza extrayendo tendencias y nodos de producción. Con ello se busca aportar un estudio relevante y original a la escasa literatura científica sobre el cine de no ficción en Andalucía que pueda servir de base para el desarrollo de futuras investigaciones sobre el cine documental hecho en Andalucía, a partir de su consideración como motor de desarrollo económico y social contemporáneo.

Companies have been forced to take note of the emerging social media app, TikTok, which has attracted more than a billion users to its platform and invited businesses into an uncharted market ready to be exploited. By seeking to understand and employ the unique features which have led to TikTok’s far-reaching success, many companies can similarly improve their position. In particular, traditional movie companies, which have recently suffered blows at the box office due to factors such as competition with online streaming, could benefit from an analysis of this tech to restore lost engagement and revenue. Specifically, how can the movie industry apply TikTok’s interactive methodology to navigate its current condition and reemerge amid new digital trends?

This paper studies the Andalusian film production undertaken by Canal Sur Television, the regional public television of Andalusia; it seeks to quantify and evaluate the evolution and potential dependence of the Andalusian film production sector on the regional public television operator. As a secondary objective, the distribution of a sample of titles produced in 2020 and 2021 in cinemas and Video On Demand platforms is studied. The hypothesis is that, over its 35 years of history, Canal Sur has become the main engine of Andalusian film production. A quantitative and descriptive methodology is applied, without access to the investment data of the public channel in film production. The results show a significant growth in Andalusian film production with the new century and a greater prominence in Spanish cinema as a whole. Canal Sur Television also increased its participation in the number of titles, although at lower levels. With the change of government in the Junta de Andalucía in 2019, the number of titles produced by public television was reduced. This investigation concludes that Canal Sur Television was a fundamental agent in film production in Andalusia in the 90s, although this does not hold true today. The cinematographic sector in Andalusia is not, therefore, a subsidiary sector of the regional public television., Esta investigación tiene como objeto de estudio la producción cinematográfica andaluza participada por Canal Sur Televisión, la televisión pública autonómica de Andalucía. El objetivo principal es cuantificar y valorar la evolución y la posible dependencia del sector de la producción de cine andaluz respecto al operador público. Como objetivo secundario, se investiga la distribución de una muestra de títulos producidos en 2020 y 2021 en salas de cine y plataformas de cine. Se propone la hipótesis de que Canal Sur se ha convertido en sus 35 años de historia en el principal motor de la producción de cine andaluz. Se aplica una metodología cuantitativa y descriptiva. No se ha tenido acceso a los datos de inversión del operador público en producción de cine. Los resultados muestran un importante crecimiento de la producción de cine andaluz con el cambio de siglo y un mayor relieve en el conjunto del cine español. Canal Sur Televisión también incrementó su participación en número de títulos, aunque en unos niveles inferiores. Con el cambio de Gobierno en la Junta de Andalucía en 2019 se reduce el número de títulos producidos por la televisión pública. Esta investigación concluye que Canal Sur Televisión fue un agente fundamental en la producción de cine en Andalucía en los años 90, aunque no lo es actualmente. El sector cinematográfico en Andalucía no es, por lo tanto, un sector subsidiario de la televisión pública autonómica.

Russia’s war against Ukraine has brought a humanitarian catastrophe to Europe and disrupted previously established cultural practices and rituals. One such practice has been the making and watching of films, constituting a further blow to the Ukrainian film industry, which has already experienced modifications caused by the VoD (video-on-demand) business mode and the coronavirus crisis. This study intends to highlight how the culture of cinema changed in the cities of Ukraine in 2022 that suffered and are still suffering from shelling and fighting. Its findings are based on ethnographic observations, oral history, and secondary research of public data., Russia’s war against Ukraine has brought a humanitarian catastrophe to Europe and disrupted previously established cultural practices and rituals. One such practice has been the making and watching of films, constituting a further blow to the Ukrainian film industry, which has already experienced modifications caused by the VoD (video-on-demand) business mode and the coronavirus crisis. This study intends to highlight how the culture of cinema changed in the cities of Ukraine in 2022 that suffered and are still suffering from shelling and fighting. Its findings are based on ethnographic observations, oral history, and secondary research of public data.

Cultural and creative industries have been prominent topics of academic and policymaking discussions over the past two decades. However, existing literature has predominantly concentrated on urban and metropolitan regions, neglecting peripheral regions. By identifying this research gap, this project aimed to contribute to our understanding of cultural and creative industries in peripheral regions, with a specific focus on the film industry. To investigate cultural and creative industries in peripheral areas, this work employed a novel approach and engaged in a dialogue between innovation and cultural and creative industries literature. It questioned how peripheral cultural and creative industries, particularly the film industry, can foster innovation through connections with other regions using different means. The film industry is based on continuous innovation and creativity, strongly relying on accessing new knowledge and competencies in its activities. While urban centers have various sources that trigger innovation and creativity, peripheral areas with fewer endowments need to integrate with knowledge networks to access knowledge generated elsewhere. However, the integration of peripheral film industries or cultural and creative industries, in general, with these external networks, remains understudied. To address this research gap, the study employed a case study strategy. By employing a theory-building approach (Eisenhardt, 1989) and a qualitative research design strategy, the film industry in Gotland was chosen as a case study. Document analysis and semi-structured interviews with relevant actors in the industry were conducted to address research questions. First, the regional innovation system of Gotland was examined, revealing that the film industry in Gotland benefits from a robust support structure and educational organizations. The industry consists of a diverse range of organizations focused on production, education, and film culture, respectively. Sec

In the mid-to-late 2000s, the digitalization of film production in Italy carried a promise of increased diversity and cultural pluralism due to the lower entry barriers. About a decade later, in 2016, the so-called Franceschini law introduced a revision of the norms regulating public funding which included a mandate for greater inclusivity. Did these developments fulfill their promise? The article answers this question empirically by investigating the roles occupied by women within Italian film productions and co-productions that obtained clearance (nulla osta) for national theatrical distribution between 2017 and 2021. We examine the gender composition of each film for ten heads of department involved in its production, drawing on the database produced by the CENTRIC/CineAF project. We proceed to correlate gender balance with a set of structural features (genre, format, budget). Finally, we examine the makeup of the creative teams in which women were involved, and their evolution over a period of sixty years (1964-2021). We argue that the promise of increased diversity in Italian cinema was only marginally kept. We demonstrate that the centrality of female professionals is greater in low-budget cinema and that women’s careers still suffer in terms of progression, continuity and longevity compared to those of their male counterparts. In conclusion, we highlight the limits of existing gender equality policies, evaluate the risks hidden in the processes of feminization of some of the professions (such as pay drop), and reflect on the promises and limits of big-data approaches in counteracting discrimination and supporting pluralism and equity.

This article consists of a conversation between dr. Domitilla (domi) Olivieri, scholar and activist, and Trinh T. Minh-ha, renowned film-maker, writer, theorist, and professor. Through questions and answers, the piece starts with Trinh’s take on the notion of the intellectual; the dialogue then continues by traversing some of the themes and issues that characterise Trinh’s work as a filmmaker and a scholar: films as forms of political and intellectual intervention; the matter of (diasporic) communities, subjectivities, and locations; how the issue of labels and genres plays out in the film industry; the question of audiences; the film as encounter; politics of knowl-edge productions; matters of time and temporalities. Sustaining the conversation is also an understanding that Trinh’s films do not only address issues of (trans)national movements, encounters, technol-ogies, poetry, and rhythms of lives, but they also enact and perform those very movements. Finally, the article discusses Trinh’s legacies as feminist and postcolonial practices, and the role of criticism and (non)knowing in her work across genres and registers of filmmaking that are complex and poetic, as well as strongly political.

Está comprobado que el neuromarketing es una herramienta efectiva para perfeccionar ciertas estrategias de venta. A pesar de esa afirmación, existen discusiones sobre cuáles son los límites reales de su efectividad y cómo debe ser la metodología en base a la que se establezcan las mediciones que reflejen los procesos neuronales de los sujetos de estudio. Un área concreta donde las estrategias de neuromarketing resultan más opacas y están menos validadas empíricamente por experimentos publicados en revistas científicas es en el sector cinematográfico. La incidencia potencial comprobada experimentalmente del neuromarketing en la industria cinematográfica contrasta con las informaciones difundidas por canales no científicos en torno a su eficacia controlando los procesos de decisión de los espectadores. En base a estas comunicaciones difundidas, el espectador puede resultar convencido de que el film que va a presenciar se ha servido de estrategias de neuromarketing diseñadas para que le afecten a un nivel biológico, sintiéndose más indefenso ante el film que si no se le hubiese condicionado por esta creencia. Esta predisposición conlleva que el propio anuncio de haber aplicado técnicas de neuromarketing para el diseño del audiovisual funcione a nivel efectivo como marketing que condiciona al espectador. Para analizar esta situación, compararemos casos concretos donde se publicita el uso del neuromarketing por parte de empresas centradas en el sector cinematográfico con la realidad empírica demostrable a partir de estudios científicos publicados que han abordado el neuromarketing aplicado en el medio audiovisual., It is proven that neuromarketing is an effective tool to improve certain sales strategies. Despite this statement, there are discussions about what the real limits of its effectiveness are and how the methodology should be based on which the measurements that reflect the neural processes of the study subjects should be established. A specific area where neuromarketing strategies are uncleared and have less empirical validation by experiments published in scientific journals is in the film sector. This doubt about the potential incidence of neuromarketing in the film industry contrasts the information disseminated by non-scientific channels regarding its effectiveness in controlling the decision-making processes of spectators through its products. Based on these communications, the spectator may be convinced that the film they are going to view has used neuromarketing strategies designed to affect them on a biological level, feeling more defenseless in the face of the film than if they had not been conditioned by this belief. This predisposition implies that the announcement itself of having applied neuromarketing techniques for the design of the audiovisual works as a marketing action that conditions the spectator. In order to analyze this possibility, we compare specific cases where the use of neuromarketing by companies focused on the film industry is advertised with the demonstrable empirical reality of published scientific studies focused on neuromarketing applied in the audiovisual medium.

[ES] A lo largo de la historia, cada era configura su propio imaginario respecto al héroe, de modo que la mitología resultante se conforma en función a la cosmogonía del momento. Sin embargo, este imaginario también posee una ascendencia cultural y está constantemente influida por las distintas corrientes cosmogónicas del pasado. Eso permite comprender que la aprehensión del arquetipo sucede en un entorno noológico en transformación constante que se extiende hasta tiempos ancestrales. En esta investigación, presentamos un estudio sobre el arquetipo del héroe en cada edad, para poder comprender la función mítica de este referente mítico a lo largo de la historia, y sus repercusiones en la contemporaneidad. Del mismo modo, esto nos permite reflexionar sobre la función sociopolítica del heroísmo, y cómo la mitología está sujeta al control del discurso de las jerarquías sociales. En cualquier caso, estudiamos cómo frente a esto, en el imaginario colectivo popular subsisten temáticas y héroes independientemente de quien ostente la hegemonía cultural. Analizamos también, el imaginario de la sociedad contemporánea, para determinar qué héroe es el más representativo de nuestro tiempo, en función del orden del discurso y los intereses sociales. Del mismo modo, también prestamos atención a los héroes que, sin ser protagónicos, representan mejor los ideales democráticos que fundamentan las sociedades occidentales. Asimismo, identificamos aquellos héroes que han llegado hasta nuestros días debido a su arraigo cultural. Por último, el desarrollo de la investigación en torno a la noología del héroe y la evolución del imaginario colectivo nos permite comprender mejor el carácter esencial del héroe. Al final de la tesis es posible considerar el grado en que los arquetipos son monolíticos y si, en algunos de los casos, la transformación de su aprehensión puede dar lugar a referentes singulares, a pesar de conservar rasgos comunes., [CA] Al llarg de la història, cada era configura el seu propi imaginari respecte a l'heroi, de manera que la mitologia resultant es conforma en funció a la cosmogonia del moment. No obstant això, aquest imaginari també posseeix una ascendència cultural i està constantment influïda pels diferents corrents cosmogònics del passat. Això permet comprendre que l'aprehensió de l'arquetip succeeix en un entorn noològic en transformació constant que s'estén fins a temps ancestrals. En aquesta recerca, presentem un estudi sobre l'arquetip de l'heroi en cada edat, per a poder comprendre la funció mítica d'aquest referent mític al llarg de la història, i les seves repercussions en la contemporaneïtat. De la mateixa manera, això ens permet reflexionar sobre la funció sociopolítica de l'heroisme, i com la mitologia està subjecta al control del discurs de les jerarquies socials. En qualsevol cas, estudiem com enfront d'això, en l'imaginari col·lectiu popular subsisteixen temàtiques i herois independentment de qui ostenti l'hegemonia cultural. Analitzem també, l'imaginari de la societat contemporània, per a determinar quin heroi és el més representatiu del nostre temps, en funció de l'ordre del discurs i els interessos socials. De la mateixa manera, també parem esment als herois que, sense ser protagonistes, representen millor els ideals democràtics que fonamenten les societats occidentals. Així mateix, identifiquem aquells herois que han arribat fins als nostres dies a causa del seu arrelament cultural. Finalment, el desenvolupament de la recerca entorn de la noologia de l'heroi i l'evolució de l'imaginari col·lectiu ens permet comprendre millor el caràcter essencial de l'heroi. Al final de la tesi és possible considerar el grau en què els arquetips són monolítics i si, en alguns dels casos, la transformació de la seva aprehensió pot donar lloc a referents singulars, malgrat conservar trets comuns., [EN] Throughout history, each era configures its own imaginary regarding the hero, so that the resulting mythology is shaped according to the cosmogony of the moment. However, this imaginary also has a cultural ancestry and is constantly influenced by the different cosmogonic currents of the past. This allows us to understand that the apprehension of the archetype happens in a noological environment in constant transformation that extends to ancient times. In this research, we present a study on the archetype of the hero in each age, in order to understand the mythical function of this mythical reference throughout history, and its repercussions in contemporaneity. Similarly, this allows us to reflect on the sociopolitical function of heroism, and how mythology is subject to the discourse control of social hierarchies. In any case, we study how, in the face of this, the themes and heroes subsist in the popular collective imagination regardless of who holds the cultural hegemony. We also analyze the imaginary of contemporary society, to determine which hero is the most representative of our time, based on the order of discourse and social interests. In the same way, we also pay attention to the heroes who, without being protagonists, better represent the democratic ideals that underpin Western societies. Likewise, we identify those heroes who have survived to this day due to their cultural roots. Finally, the development of research around the noology of the hero and the evolution of the collective imagination allows us to better understand the essential character of the hero. At the end of the thesis it is possible to consider the degree to which the archetypes are monolithic and whether, in some of the cases, the transformation of their apprehension can give rise to singular referents, despite preserving common features.

Está comprobado que el neuromarketing es una herramienta efectiva para perfeccionar ciertas estrategias de venta. A pesar de esa afirmación, existen discusiones sobre cuáles son los límites reales de su efectividad y cómo debe ser la metodología en base a la que se establezcan las mediciones que reflejen los procesos neuronales de los sujetos de estudio. Un área concreta donde las estrategias de neuromarketing resultan más opacas y están menos validadas empíricamente por experimentos publicados en revistas científicas es en el sector cinematográfico. La incidencia potencial comprobada experimentalmente del neuromarketing en la industria cinematográfica contrasta con las informaciones difundidas por canales no científicos en torno a su eficacia controlando los procesos de decisión de los espectadores. En base a estas comunicaciones difundidas, el espectador puede resultar convencido de que el film que va a presenciar se ha servido de estrategias de neuromarketing diseñadas para que le afecten a un nivel biológico, sintiéndose más indefenso ante el film que si no se le hubiese condicionado por esta creencia. Esta predisposición conlleva que el propio anuncio de haber aplicado técnicas de neuromarketing para el diseño del audiovisual funcione a nivel efectivo como marketing que condiciona al espectador. Para analizar esta situación, compararemos casos concretos donde se publicita el uso del neuromarketing por parte de empresas centradas en el sector cinematográfico con la realidad empírica demostrable a partir de estudios científicos publicados que han abordado el neuromarketing aplicado en el medio audiovisual., It is proven that neuromarketing is an effective tool to improve certain sales strategies. Despite this statement, there are discussions about what the real limits of its effectiveness are and how the methodology should be based on which the measurements that reflect the neural processes of the study subjects should be established. A specific area where neuromarketing strategies are uncleared and have less empirical validation by experiments published in scientific journals is in the film sector. This doubt about the potential incidence of neuromarketing in the film industry contrasts the information disseminated by non-scientific channels regarding its effectiveness in controlling the decision-making processes of spectators through its products. Based on these communications, the spectator may be convinced that the film they are going to view has used neuromarketing strategies designed to affect them on a biological level, feeling more defenseless in the face of the film than if they had not been conditioned by this belief. This predisposition implies that the announcement itself of having applied neuromarketing techniques for the design of the audiovisual works as a marketing action that conditions the spectator. In order to analyze this possibility, we compare specific cases where the use of neuromarketing by companies focused on the film industry is advertised with the demonstrable empirical reality of published scientific studies focused on neuromarketing applied in the audiovisual medium.

Der Boom in der Medien- und Bewegtbildbranche durch Streamingdienste wie Netflix verursacht nicht nur positive Veränderungen wie das Wirtschaftswachstum, sondern auch negative wie die Umweltbelastung. Der vorliegende Beitrag beschäftigt sich mit der Frage, inwieweit in der deutschen Filmwirtschaft unter ökologisch nachhaltigen Bedingungen produziert wird. Zunächst wird die Wertkette der Filmwirtschaft nach Wirtz vorgestellt. Auf Basis von leitfadengestützten Expert*inneninterviews, die im Juni 2021 durchgeführt wurden, werden die von Produktionsunternehmen umgesetzten grünen Maßnahmen in der Filmproduktion ermittelt. Zu diesem Zweck werden die Bundesländer Baden-Württemberg und Hamburg gegenübergestellt. Durch das langjährige Engagement der regionalen Filmförderungen in diesen Bundesländern gelten die dortigen grünen Entwicklungen als besonders fortschrittlich. Anschließend gilt es, mögliche Herausforderungen in Bezug auf ökologische Nachhaltigkeit in der deutschen Filmwirtschaft aufzudecken, die schließlich der Ableitung von Optimierungsvorschlägen für Unternehmen der Filmbranche dienen. Die Ergebnisse aus der qualitativen Forschung zeigen, dass bereits erste Schritte in Richtung grüne Filmproduktion realisiert wurden, aber noch Verbesserungspotenzial herrscht., The boom in the media and moving image industry caused by streaming services like Netflix is not only causing positive changes like economic growth, but also negative ones like environmental pollution. This article deals with the question to what extent the German film industry produces under ecologically sustainable conditions. First, the value chain of the film industry according to Wirtz is presented. Based on guided expert interviews conducted in June 2021, the green measures implemented by production companies in film production are identified. For this purpose, the German states of Baden-Württemberg and Hamburg are compared. Due to the long-term engagement of the regional film subsidies in these federal states, the green developments there are considered to be particularly progressive. Subsequently, the aim is to uncover possible challenges with regard to ecological sustainability in the German film industry, which ultimately serve to derive optimization proposals for companies in the film industry. The results from the qualitative research show that first steps towards green film production have already been realized, but that there is still potential for improvement.

In the closing scene of The Last of Us (2016), we see the torso of a young black man who stands naked before a clearing in the forest. As he gazes out at a cascade of water tumbling down to a rocky pool below, the young man's image gradually fades away, absorbed into the landscape. Nothing about this scene, from the blackness of the protagonist to the coniferous forest, has any clear reference point in Tunisian national cinema. Indeed, director Ala Eddine Slim has expressed distaste for being classified as a regional filmmaker, preferring that his work be seen as international, transcending borders. And yet, to the familiar eye, this film belongs unmistakably to Tunisia's postrevolutionary political transition, a time fraught with unpredictable shifts in national identity and the contours of the state. Slim is part of a new generation of Tunisian filmmakers who have won critical acclaim on the international festival circuit since the 2011 revolution. More than a burst of creative energy released by the demise of autocratic rule, their experimental aesthetic emerges, in part, from struggles within Tunisian filmmaking establishment that have shaped the conditions of production under political transition. In this essay, I track the intergenerational conflicts that have prompted to the recent extroversion of young Tunisian filmmakers, who have set their sights beyond the nation for funding and recognition.

Está comprobado que el neuromarketing es una herramienta efectiva para perfeccionar ciertas estrategias de venta. A pesar de esa afirmación, existen discusiones sobre cuáles son los límites reales de su efectividad y cómo debe ser la metodología en base a la que se establezcan las mediciones que reflejen los procesos neuronales de los sujetos de estudio. Un área concreta donde las estrategias de neuromarketing resultan más opacas y están menos validadas empíricamente por experimentos publicados en revistas científicas es en el sector cinematográfico. La incidencia potencial comprobada experimentalmente del neuromarketing en la industria cinematográfica contrasta con las informaciones difundidas por canales no científicos en torno a su eficacia controlando los procesos de decisión de los espectadores. En base a estas comunicaciones difundidas, el espectador puede resultar convencido de que el film que va a presenciar se ha servido de estrategias de neuromarketing diseñadas para que le afecten a un nivel biológico, sintiéndose más indefenso ante el film que si no se le hubiese condicionado por esta creencia. Esta predisposición conlleva que el propio anuncio de haber aplicado técnicas de neuromarketing para el diseño del audiovisual funcione a nivel efectivo como marketing que condiciona al espectador. Para analizar esta situación, compararemos casos concretos donde se publicita el uso del neuromarketing por parte de empresas centradas en el sector cinematográfico con la realidad empírica demostrable a partir de estudios científicos publicados que han abordado el neuromarketing aplicado en el medio audiovisual., It is proven that neuromarketing is an effective tool to improve certain sales strategies. Despite this statement, there are discussions about what the real limits of its effectiveness are and how the methodology should be based on which the measurements that reflect the neural processes of the study subjects should be established. A specific area where neuromarketing strategies are uncleared and have less empirical validation by experiments published in scientific journals is in the film sector. This doubt about the potential incidence of neuromarketing in the film industry contrasts the information disseminated by non-scientific channels regarding its effectiveness in controlling the decision-making processes of spectators through its products. Based on these communications, the spectator may be convinced that the film they are going to view has used neuromarketing strategies designed to affect them on a biological level, feeling more defenseless in the face of the film than if they had not been conditioned by this belief. This predisposition implies that the announcement itself of having applied neuromarketing techniques for the design of the audiovisual works as a marketing action that conditions the spectator. In order to analyze this possibility, we compare specific cases where the use of neuromarketing by companies focused on the film industry is advertised with the demonstrable empirical reality of published scientific studies focused on neuromarketing applied in the audiovisual medium.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

The aim of this research is to explore the behavioral aspects that are affected among mid-level and lower-level team members when outsourcing to foreign countries in the film industry in a project management context. More specifically, we delve into how team dynamics, communication, and trust are affected within project teams. Previous research and theory are employed throughout the research process, including Hofstede's Six Cultural Dimensions, Stuart Hall’s Model of Encoding and Decoding, the Riley & Riley Model of Communication, the FIRO model, and Adler’s Optimal Levels of Trust. This research is inductive and qualitative, consisting of five semi-structured interviews with various professionals in the film industry. The analysis is triangulated amongst the interviewees and previous research to give further insight into the behavioral aspects affected by outsourcing in the film industry. Our findings emphasized improvement in team dynamics when open-mindedness and willingness to learn is present amongst team members. Guided by the leadership of mid-level management, the work environment became more desirable when adapting to thelocal crew’s industry standards, leading to quicker team bonds and higher levels of trust. This was also accomplished through allocating time for socialization between team members. Conflict may be avoided through successful knowledge transfer between original and native teams. Language barriers may require a translator or fixer to be hiredto bridge those gaps. Overall, outsourcing to foreign crews was found to be an extremely valuable experience, provided all aforementioned behavioral aspects were successfully met by team members. This research serves to add to the understanding of how foreign outsourcing has an effect on the work environment of a project team, as past literature has not explored these behavioral aspects within the film industry. Therefore, we found it necessary to provide further insight into this field.

Está comprobado que el neuromarketing es una herramienta efectiva para perfeccionar ciertas estrategias de venta. A pesar de esa afirmación, existen discusiones sobre cuáles son los límites reales de su efectividad y cómo debe ser la metodología en base a la que se establezcan las mediciones que reflejen los procesos neuronales de los sujetos de estudio. Un área concreta donde las estrategias de neuromarketing resultan más opacas y están menos validadas empíricamente por experimentos publicados en revistas científicas es en el sector cinematográfico. La incidencia potencial comprobada experimentalmente del neuromarketing en la industria cinematográfica contrasta con las informaciones difundidas por canales no científicos en torno a su eficacia controlando los procesos de decisión de los espectadores. En base a estas comunicaciones difundidas, el espectador puede resultar convencido de que el film que va a presenciar se ha servido de estrategias de neuromarketing diseñadas para que le afecten a un nivel biológico, sintiéndose más indefenso ante el film que si no se le hubiese condicionado por esta creencia. Esta predisposición conlleva que el propio anuncio de haber aplicado técnicas de neuromarketing para el diseño del audiovisual funcione a nivel efectivo como marketing que condiciona al espectador. Para analizar esta situación, compararemos casos concretos donde se publicita el uso del neuromarketing por parte de empresas centradas en el sector cinematográfico con la realidad empírica demostrable a partir de estudios científicos publicados que han abordado el neuromarketing aplicado en el medio audiovisual., It is proven that neuromarketing is an effective tool to improve certain sales strategies. Despite this statement, there are discussions about what the real limits of its effectiveness are and how the methodology should be based on which the measurements that reflect the neural processes of the study subjects should be established. A specific area where neuromarketing strategies are uncleared and have less empirical validation by experiments published in scientific journals is in the film sector. This doubt about the potential incidence of neuromarketing in the film industry contrasts the information disseminated by non-scientific channels regarding its effectiveness in controlling the decision-making processes of spectators through its products. Based on these communications, the spectator may be convinced that the film they are going to view has used neuromarketing strategies designed to affect them on a biological level, feeling more defenseless in the face of the film than if they had not been conditioned by this belief. This predisposition implies that the announcement itself of having applied neuromarketing techniques for the design of the audiovisual works as a marketing action that conditions the spectator. In order to analyze this possibility, we compare specific cases where the use of neuromarketing by companies focused on the film industry is advertised with the demonstrable empirical reality of published scientific studies focused on neuromarketing applied in the audiovisual medium.

Unlike the cinema-merchandise offered by the hegemonic film industry (Hollywood) for the consumption of the masses, the imperfect cinema (1969), conceived by Cuban film director and theorist Julio García Espinosa, not exactly as an art but as a poetics 'interested' in achieving the most (perfection) with the least, that is, to achieve the best results with the best resources, it is raised as an activity that should also be popular and democratic (of everyone and for everyone). Under these precepts, imperfect cinema comes to life and develops in the first decades of post-revolutionary Cuba despite limitations of all type, managing to consolidate a national industry that came to produce important films both for Cuba and for world film culture, of which. Here are some examples., A diferencia del cine-mercancía ofertado por la hegemónica industria cinematográfica (Hollywood) para el consumo de las masas, el cine imperfecto (1969), concebido por el director y teórico de cine cubano Julio García Espinosa no propiamente como un arte sino como una poética ‘interesada’ en lograr lo más (la perfección) con lo menos, esto es, conseguir con los mejores recursos los mayores resultados, es planteado como una actividad que debería ser, además, popular y democrática (de todos y para todos). Bajo estos preceptos, el cine imperfecto cobra vida y se desarrolla en las primeras décadas de la Cuba posrevolucionaria pese a limitaciones de todo tipo, logrando consolidar una industria nacional que llegó a producir importantes filmes tanto para Cuba como para la cultura cinematográfica mundial, de los cuales se muestran aquí algunos ejemplos.

Está comprobado que el neuromarketing es una herramienta efectiva para perfeccionar ciertas estrategias de venta. A pesar de esa afirmación, existen discusiones sobre cuáles son los límites reales de su efectividad y cómo debe ser la metodología en base a la que se establezcan las mediciones que reflejen los procesos neuronales de los sujetos de estudio. Un área concreta donde las estrategias de neuromarketing resultan más opacas y están menos validadas empíricamente por experimentos publicados en revistas científicas es en el sector cinematográfico. La incidencia potencial comprobada experimentalmente del neuromarketing en la industria cinematográfica contrasta con las informaciones difundidas por canales no científicos en torno a su eficacia controlando los procesos de decisión de los espectadores. En base a estas comunicaciones difundidas, el espectador puede resultar convencido de que el film que va a presenciar se ha servido de estrategias de neuromarketing diseñadas para que le afecten a un nivel biológico, sintiéndose más indefenso ante el film que si no se le hubiese condicionado por esta creencia. Esta predisposición conlleva que el propio anuncio de haber aplicado técnicas de neuromarketing para el diseño del audiovisual funcione a nivel efectivo como marketing que condiciona al espectador. Para analizar esta situación, compararemos casos concretos donde se publicita el uso del neuromarketing por parte de empresas centradas en el sector cinematográfico con la realidad empírica demostrable a partir de estudios científicos publicados que han abordado el neuromarketing aplicado en el medio audiovisual., It is proven that neuromarketing is an effective tool to improve certain sales strategies. Despite this statement, there are discussions about what the real limits of its effectiveness are and how the methodology should be based on which the measurements that reflect the neural processes of the study subjects should be established. A specific area where neuromarketing strategies are uncleared and have less empirical validation by experiments published in scientific journals is in the film sector. This doubt about the potential incidence of neuromarketing in the film industry contrasts the information disseminated by non-scientific channels regarding its effectiveness in controlling the decision-making processes of spectators through its products. Based on these communications, the spectator may be convinced that the film they are going to view has used neuromarketing strategies designed to affect them on a biological level, feeling more defenseless in the face of the film than if they had not been conditioned by this belief. This predisposition implies that the announcement itself of having applied neuromarketing techniques for the design of the audiovisual works as a marketing action that conditions the spectator. In order to analyze this possibility, we compare specific cases where the use of neuromarketing by companies focused on the film industry is advertised with the demonstrable empirical reality of published scientific studies focused on neuromarketing applied in the audiovisual medium.

This paper aims to propose a conceptual model which will unveil how fans of different film genres observe the importance of elements of marketing mix when consuming products in the film industry during COVID-19 pandemics. To verify the proposed conceptual model, a survey was conducted during the lockdown and the responses of 1606 individuals from Serbia, who declare themselves as film fans, were analyzed using structural equation modelling analysis. The results support the assumption that the respondents who prefer different film genres give different importance to elements of the film marketing mix. Our findings show that based on the genre of the film marketing activities can be tailored so as to improve their effects, especially during the pandemics and post-pandemics period. It is believed that the herein presented research could initiate further research on the issue of modelling marketing activities in the film industry based on consumers' genre preference and behavior.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen., In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

The aim of this research is to explore the behavioral aspects that are affected among mid-level and lower-level team members when outsourcing to foreign countries in the film industry in a project management context. More specifically, we delve into how team dynamics, communication, and trust are affected within project teams. Previous research and theory are employed throughout the research process, including Hofstede's Six Cultural Dimensions, Stuart Hall’s Model of Encoding and Decoding, the Riley & Riley Model of Communication, the FIRO model, and Adler’s Optimal Levels of Trust. This research is inductive and qualitative, consisting of five semi-structured interviews with various professionals in the film industry. The analysis is triangulated amongst the interviewees and previous research to give further insight into the behavioral aspects affected by outsourcing in the film industry. Our findings emphasized improvement in team dynamics when open-mindedness and willingness to learn is present amongst team members. Guided by the leadership of mid-level management, the work environment became more desirable when adapting to thelocal crew’s industry standards, leading to quicker team bonds and higher levels of trust. This was also accomplished through allocating time for socialization between team members. Conflict may be avoided through successful knowledge transfer between original and native teams. Language barriers may require a translator or fixer to be hiredto bridge those gaps. Overall, outsourcing to foreign crews was found to be an extremely valuable experience, provided all aforementioned behavioral aspects were successfully met by team members. This research serves to add to the understanding of how foreign outsourcing has an effect on the work environment of a project team, as past literature has not explored these behavioral aspects within the film industry. Therefore, we found it necessary to provide further insight into this field.

This study attempts to dissect the tendency to depict public relations institutions in the films produced by Warner Bros and Columbia Pictures. These two production houses are listed as the companies that most often release new films in America. Characters who have profiles as public relations institutions appear in films produced by different production houses. The research will be conducted by taking film samples in the 2010-2019 period. The selection of this year's range is based on previous studies that also used content analysis to look for trends in the depiction of the public relations profession in films in the period 1990-2000 and 2000-2009. This study uses a quantitative approach with descriptive type and uses the method of content analysis. The results show that there are differences in content on the characteristics of the PR profession, the type of campaign in The Social Network and Our Brand is Crisis films. Then on the indicators of the aspect of persuasion, there are similarities from the aspect of persuasion used in the practice of the PR profession.

This work aims to study and reflect on composers who were part and left their musical mark during the Golden Age of American Cinema in Hollywood. Also getting to know a little about the history of cinema throughout these decades and its entire evolutionary process, changes andcrises that contributed to an extremely important time in Hollywood history. Being the 1920s, which introduced talking movies and later music in the scenography, these years were years of great interest by new composers and those already working in the industry, such as the composers who accompanied the films in movie theaters. piano and thus adding sound to cinema, for the development of this new ability to combine image with sound. It is also in this decade that we find some of the composers who most marked the film industry and some who do so today., Este trabalho tem como objetivo estudo e reflexão sobre compositores que fizeram parte e deixaram a sua marca musical durante a Era de Ouro do Cinema Americano em Hollywood. Conhecendo também um pouco da própria história do cinema através destas décadas e de todo o seu processo evolutivo, mudanças e crises que contribuíram para uma época extremamente marcante na história de Hollywood. Sendo a década de 1920, que introduziu os filmes falados e posteriormente as músicas na cenografia, estes anos foram anos de grande interesse por parte de novos compositores e daqueles que já trabalhavam na indústria, como os compositores que acompanhavam os filmes nas salas de cinema ao piano e que assim adicionavam o som ao cinema, para o desenvolvimento desta nova capacidade de juntar a imagem ao som. É também nesta década que encontramos alguns dos compositores que mais marcaram a indústria cinematográfica e alguns que o fazem até hoje.

Focusing on Sweden, this article departs from the proposition that film production and the film industry are governed by institutional arrangements that produce and reproduce gender and gender relations. The article is based on interviews with directors and producers and analyses how Swedish directors and producers describe their roles and relationship, relating this to how these roles are shaped by the law, film policy, and financial arrangements. The article argues that the Swedish film industry rests on a gendered division of labor, that the professions of director and producer are constructed in relation to masculinity, and that the gender equality measures undertaken are not sufficient to come to grips with the gender inequalities in the industry., Special Issue: On and Off Screen: Women’s Work in the Screen Industries, Kvinnor i svensk film: om kön film och representation

La mujer siempre se ha encontrado bajo la sombra del hombre, pero la evolución de la sociedad le ha permitido salir de ella y dejarse ver en cualquier ámbito laboral, o eso es lo que se piensa actualmente. Con este Trabajo de Fin de Grado se quiere observar y analizar si la presencia femenina, dentro del mundo cinematográfico, sigue estando bajo el techo de cristal, es decir, ligada al departamento de maquillaje, peluquería y vestuario, o ha conseguido hacerse un hueco en los cargos de mayor responsabilidad. Para ello, se realizó un análisis cualitativo de las 50 películas más vistas, desde 2017 hasta mayo de 2021, de las dos plataformas de streaming con más seguidores: Netflix y Amazon Prime Video. Además, se realizó una encuesta, dirigida a la sociedad, para comprobar que la mayoría de las personas que respondieron a la encuesta sí creen que la mujer se encuentra bajo el techo de cristal, piensan que es menos conocida en el mundo cinematográfico y que no tiene la misma facilidad a la hora de optar a presupuestos más altos., Women have always lived under men's shadow, but society's evolution has allowed them to get out of it and can now be seen in any kind of workplace, at least thats what we think nowadays. This final degree project's objective is to observe and analyse that if women presence, inside the film industry, is still under the glass ceiling, that is, bound to the make up, hairstyle, and clothing department, or if it has made it's way into a more important position. Therefore, a qualitative analysis was made about the 50 most watched films, from 2017 until May 2021, on the two streaming platforms with the most followers: Netflix and Amazon Prime Video. Furthermore, a survey was conducted, aimed towards society, to verify that the majority of people who answered the survey do think that women that are under the glass ceiling, are less known in the film industry and that they don't have as much ease when it comes to having higher budgets., Departamento de Historia Moderna, Contemporánea y de América, Periodismo y Comunicación Audiovisual y Publicidad, Grado en Periodismo

In order to distribute their films in China, U.S. filmmakers must submit them to Chinese censors for approval, which frequently require changes to films to portray China and the Chinese in a more favorable light.  Given the millions of dollars to potentially be made in the large Chinese market, filmmakers have been willing to comply with Chinese censors, and have even begun to censor themselves by anticipating China’s concerns and tailoring their films appropriately.  In this way, China is able to influence the way it is portrayed in films not just for audiences in China, but in the United States and around the world.  To combat the spread of Chinese propaganda in this way, Senator Ted Cruz introduced a bill, dubbed the SCRIPT Act, that would prohibit filmmakers from obtaining government assistance with their films unless they refrain from making changes to film content to accommodate the Chinese government.  This Article examines whether the SCRIPT Act, by denying government support to filmmakers based on the content of their films, violates the First Amendment.  While a bill might be crafted to do this in a way consistent with constitutional requirements, certain aspects of the SCRIPT Act make it likely to be unconstitutional.

[ES] El presente estudio trata sobre los actuales modelos de gestión de festivales internacionales de cine en España y Rusia, analizando similitudes y diferencias entre ambos. La investigación está basada en datos empíricos obtenidos a través de encuestas online a los responsables de la organización de dichos festivales., [EN] This study deals with the current management models of international film festivals in Spain and Russia, analyzing similarities and differences between the two. The research is based on empirical data obtained through online surveys made to those responsible for organizing these festivals.

[ES] El presente estudio trata sobre los actuales modelos de gestión de festivales internacionales de cine en España y Rusia, analizando similitudes y diferencias entre ambos. La investigación está basada en datos empíricos obtenidos a través de encuestas online a los responsables de la organización de dichos festivales., [EN] This study deals with the current management models of international film festivals in Spain and Russia, analyzing similarities and differences between the two. The research is based on empirical data obtained through online surveys made to those responsible for organizing these festivals.