Film Industry in CIVET Countries

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

According to Barbra Dozier’s blog, movies play a significant role in the entertainment industry. They are appealing to the viewer’s eyes and ears because they combine both video and audio and they can be watched at home, in theatres, and thanks to the latest technology one can even watch movies on the go. Just like many individuals, I too spend my time watching movies as a form of entertainment. The latest one I watched and enjoyed was a comedy named The House. Although the movie may have had mediocre reviews, The House was still funny and enjoyable to watch. The plot and conflict revolve around two struggling parents who cannot afford to send their sure-to-succeed daughter to college after the town's scholarship program no longer had funding. As result the parents and a friend started an illegal underground casino in his domicile in order to make money before the time to pay their daughter's tuition came around. The rated R movie directed by Andrew Jay Cohen contains many well known actors such as Will Ferrell, Amy Poehler, and Jason Mantzoukas.

This essay explores the popularity of Australian film, both locally and internationally and asks the question: Is there a crisis in the Australian Film Industry? This essay will go through the current issues the Australian Film Industry and will demonstrate examples of those problems.

Australia’s film and television industry has experienced drastic changes since the rise of national cinema. Leading the world film industry, Australia was home to the first film studio and feature film at the end of the 19th century and the beginning of the 20th. The Story of the Kelly Gang (1906) toured England from 1908 as the longest film ever made, popularising a new genre of bushranger movies and epitomising the Ned Kelly legend as a significant aspect in Australian cultural identity (Juddery, 2008). The beginning of Australia’s film industry built itself on bushranger films, with the focus being local audiences rather than foreign, as stated by Judder. However, power struggles within the industry and banning of the bushranger genre saw to the quick demise of the film industry in 1912. Another aspect contributing to the demise is the emergence of competition with Britain and the US releasing two feature films each to Australia’s eight, later decreasing to three against the US’ 212 in 1914. Soon thereafter, the industry was dominated by foreign productions. This is evidenced in the 1994 documentary Celluloid Heroes, which states that “during one week in 1959, 1500 fine dramatic actors appeared on Melbourne television, and only 5 Australians”, resulting in the 1960 Postmaster-General Charles Davidson to implement local content requirements, beginning with TV stations required to broadcast 40 per cent Australian content every 28 days with four hours in peak time, which was

The poor distribution of Australian films has made it difficult for the public to view these said films, due to the lack of theatres screening the actual pictures. This contributes to the community of the Australian public to collectively be unaware of these films and leads to the small number of tickets sold in cinemas. With this lack of money being spent on Australian films, the industry suffers due to with no return going into the

Although Telenovelas are a major part of Latin American television, US fiction movies are widespread across the whole region. This contradicts the cultural proximity hypothesis due to the low cost of importation into Latin America for a difference of culture and language.

picture cinemas still continued. By the 1970’s the movie industry, even with the fact of the rise

How did the Paramount decision of 1948 change the U.S. film industry? To what degree did the decision alter the way the industry did business?

is growing outside of the USA. This kind of growth includes the large countries that previously specialised in film production. For countries such as China and India, the annual release of films has grown progressively for the past decade, followed by a forced growing purchase power and investments in cinemas (Lorenzen, M. 2008). The American film industry must, in a way, watch its back. Especially when the amount of small film countries, such as Denmark and Switzerland, has grown. The smaller countries have attracted attention by not only up-scaling their production, but also winning market shares from Hollywood. Other new filmmaking countries are also on the rise, with Korea, Mexico etc. joining the market, who bring cheaper production technologies to their advantage (Lorenzen, M. 2008).

Being an island nation makes us a trading nation, which is an obvious connection between borders. How we trade with each other allows for transnational cinema to be present and is the basis for an understanding, which connects people across geographical borders. Following the recent European referendum it is relevant to mention how this will affect the UK’s film industry regarding trade. The MEDIA Scheme/Creative Europe funding will be stopped, co-productions with different countries will be harder to achieve in the short term, British/European co-productions may need new legislation, and fewer UK films will be shown in European cinemas as well as many other negative outcomes (Follows, 2016). However this shows how much transnationalism affects UK trade, company distribution and future films’ success as well as the impact which politics has upon the film industry. This shows how not only cast/crewmembers’ nationalities, the location and the storyline matters in transnational cinema, but the trade and distribution after the film is made all enhance the transnationality of the piece.

To provide an analysis and make recommendations to increase revenue in the movie exhibition industry.

The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.

The costs, methods of distribution, and themes of Hollywood and Nollywood films reflect strongly their target audiences; how the target audience affects the production of a film and how the production of a movie is designed to capture a specific

Over the years, Bollywood has emerged as its own distinct identity in the global Film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. ( Pillania 1) However, Hollywood is still the leader in revenues generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets. Globalization is often misrepresented as the growing influence of the western culture in the world and so we tend to state that Hollywood is influencing Bollywood to a great extent. An argument can be made to justify the validity of that statement. However, this paper aims at presenting the influence of Bollywood on Hollywood in

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.