This study concerns with the characters, movie watching behaviors and lifestyles of the audiences of Kaohsiung Film Archive. Kaohsiung Film Archive, one of the local cultural museums in Kaohsiung city, provides film exhibitions and movie activities for people. The museum studies in Taiwan seldom discussed the audiences¡¦ behaviors based on personal psychological variables. On the other hand, most of the researches about movie viewers were focused in Taipei. This study attempts to reveal the differences of viewers between Kaohsiung Film Archive and other movie theaters. Some marketing suggestions for Kaohsiung Film Archive will be raised based on this study. This research has been conducted by questionnaire surveies from January 20th, 2010 to February 10th, 2010 in Kaohsiung Film Archive daily. 387 valid questionnaires are collected from the audience going to the screen room on the 3rd floor. The result shows: The majority of the movie viewers in Kaohsiung Film Archive are college-educated. The ratio of femail audience to male is 6:4. Their age distributes equally from the youth to retirements. Many people attend movies alone in Kaohsiung Film Archive, and plan the trips in advance. Their motivations to watch movies and the criteria for choosing movies are similar to the results found in the past. Except the mainstream romance and comedy, the study also finds that the audiences¡¦ favorite movie genres include non-mainstream art, documentary, and adaption of literary etc. With respect to viewers¡¦ lifestyles, there are 27 questions in the study listed on the scale meter. By using factor analysis and reliability tests, six common factors can be classified: ¡§loving cinematography,¡¨ ¡§independent and appreciative,¡¨ ¡§engaging in community activities,¡¨ ¡§enjoying family life,¡¨ ¡§taking part in social activities,¡¨ and ¡§calm and gentle nature.¡¨ These common factors further can be divided into 3 groups: ¡§pragmatic,¡¨ ¡§art and leisure¡¨ and ¡§fashion and dynamic.¡¨ The characters and movie-watching behaviors of these three groups are quite different. The age of ¡§pragmatic¡¨ people are relatively aged. They don¡¦t have paracticular vhoice of movie genres. The most frequently moviegoers are ¡§art and leisure¡¨ people, distributed in all ages. They like to watch non-mainstream art and documentary movies. ¡§Fashion and dynamic¡¨ group is the youngest people. Their choices of movies are the same as normal movie audiences.

Adult movie channel business is always a very controversial subject in the society. However, there is not so much serious research on it. The main reason is adult channels¡¦ sensitivity. On the one hand, people are curious, because they provide the basic natural desire of the human beings. On the other hand, due to that same reason, people tend to take aversive attitude toward the existence of these channels in the society. Based on this phenomenon, the focus of the research is about how these adult channels operate under the pressure of the society. This research can be divided into two parts: the structure of the theory and the analysis of the case. Through relevant theories, we can verify whether these theories are suitable for this particular industry. Meanwhile, we can present the overview and background of adult movie channel market through a lot of related secondary data. We regard these materials as the foundation of analyzing the case company. About the case analysis part, with the combination of theories and case description, we try to sketch the contours of the actual operations of adult movie channel. Because the operation of adult movie channels is based on cable TV, this research will talk about adult movie channel market in terms of cable TV and probe into the market of adult movie channel. From the case study, it can be found that the greatest hindrance of adult movie channel is the law. Under the legal regulations, there is not so much freedom for managers to run the business. In order to overcome these predicaments, they need to adopt cooperations in the industry or develop diversification to keep growing. Besides, they will face other invisible pressure such as moral pressure, the negative impression from the society and conflicts in employees' mind. Through this research, we can come out the true appearance of this special industry, and understand the way of their operation on the ecology of adult movie channel.

Since ¡§The City of Sadness¡¨ won the first Golden Lion Award of International Venice Film Festival, winning an international award has become a rule that Taiwanese film do its marketing strategy. However, although ¡§The City of Sadness¡¨ created a high profit in its sales, other awarded movies seem not so lucky in the sales performance. This research mainly bases on the aspect of marketing to study the phenomenon that Taiwanese film industry devotes in attending international film festival as its marketing strategy and further to analyze the relationship between the movie box office and this phenomenon. Secondary data would be employed in this research. As a result, besides ¡§The City of Sadness¡¨, both ¡§The Wedding Banquet¡¨ and ¡§Crouching Tiger Hidden Dragon¡¨ also have good performance in their sales. However, the success of these two movies not only resulted from getting awards but also the stories of the movies could attract people to go to the theater. According to the result of this research, we can find that there are more than 400 international film festivals in the world, but only Oscar Award is related with the sales of the film. On the other hand, other film festivals have not been able to attract people as much as ¡§The City of Sadness¡¨ did. Moreover, this situation also can prove one thing: the movie should be developed by commercial mode in order to be accepted by most audiences. To sum up, Taiwanese movies are on purpose (e.g. increase profit and government support) to attend international film festival. However, there are not any benefits to the market of the Taiwan movie and it will let audiences to be distant from their owner entertainments product of their country. If Taiwan government cannot identify the real direction of the Taiwan movies, there is no future of Taiwan movies.

Associations are embedded in many aspects of filmmaking. It is this artist's goal to analyze visual associations in the process and product of an original narrative video piece called Discretion. Character relationships and plot structure are examples of nonconcrete visuals developed in preproduction. Family trees and plot diagrams provide a structural map for the film and are helpful tools to communicate with the cast and crew. Art direction and wardrobe are examples of concrete visuals developed during production. For example, wardrobe with certain colors may be assigned to each character in the film. Editing and compositing allow further development in the postproduction phase. Juxtaposing scenes and imagery results in a more complex web of connections for the viewer to discover. In effect, this thesis is meant to explore the filmmaking process with a special emphasis given to visual associations. In this discussion, the video will be referred to as a film to relate concepts to other films and to the filmmaking process. However, it is important to note that interchanging these words is a common practice that is not acceptable in many industry settings.

<p>Genre is a very important characteristic for movies and generates utility for the audience, therefore, it is very useful for producers and investors to study the correlation between annual genre performance and consumer preference of the audience. How are genre elements reflecting the audience’s taste every year? Does it change over time and does this change have a pattern? With Lancaster’s characteristic consumption theory as an approach, we explored the balance and shifting trends of the popularity of genre elements, thus providing guidance and predictions for the producers and investors for decision making reference. A study based on 15 years of movie performance in box offices and award ceremonies indicates that consumer’s preference on genre elements follow certain patterns and could be predicted. The importance of genre elements deserves more attention from decision makers, and perhaps a special unit on genre studies should be established  economy-wised to much more deeply exploit their value.</p>

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. Includes bibliographical references (leaves 214-219).

There are many researching studies to be found that describes how media relates to men and women differently. Even if it’s a newspaper research or a magazine research they all display the same information. That there are differences in the way that women and men are described or portrayed in articles and pictures. Most of these gender studies are made on a basis of magazines that are mainly intended to men or to women. They all send out messages that the consumer sees as a fact but that really are a construction of the reality. In this research we have studied a movie magazine called Cinema from a gender perspective. The magazine intends to both men and women. One of our main goals was to see if there were any differences between how the men and women are described in Cinema compared to the ones that only are intended to men or women. We have been studying eight articles of well known actors from the magazine Cinema. Four of them are portraits of men and four are portraits of women. We have been using qualitative analysis to study the texts and the pictures in the articles to see if there are any differences in the way that men and women are portrayed. We have also considered and researched if the gender of the writers influences the article and what it is in the portraits that construct genders. The results of our study, points out that there are differences in the way that men and women are portrayed by the magazine Cinema but not to such a great extent as the magazines that are only intended to men or women. But there are still differences. In this study we have been pointing out many of these differences and constructions that make a woman to be seen as a woman and a man to be seen as a man. Hopefully this will help both producers and consumer to become more aware of how the media constructs the reality.

Background: Advertising channels in today's marketplace are becoming more limited with the development of ad-free sources of entertainment. The phenomenon of product placements is therefore becoming one of the most important sources for advertising in media. Especially film productions have turned into a canvas for companies to display their brands upon. Purpose: The purpose of this thesis was to investigate the case of product placements in Hollywood blockbuster movies. In particular, brand recognition and audience's ac-ceptance of a brand’s presence in movies were examined. Method: A mixed method approach was applied in order to fulfill the purpose of this thesis and answer research questions. A questionnaire in the form of a handout and focus group discussions were used to collect quantitative and qualitative data from audiences consisting of international students. The questionnaires were handed out after the movies had been shown in a setting resembling that of a movie theater, meaning that respondents were not aware of the study beforehand and were therefore not biased. The focus group discussions gave us information needed in answering the second research question and getting more insights of the practice. Conclusions: Our research showed that product placements in movies lead to brand recognition, and audience’s acceptance of a brand’s presence is influenced by congru-ency of product placement in movies. This outcome resulted from the combination of four determining factors: movie genre, execution factors, appropriateness in the movie setting and brand characteristics.

abstract: Recognition memory was investigated for naturalistic dynamic scenes. Although visual recognition for static objects and scenes has been investigated previously and found to be extremely robust in terms of fidelity and retention, visual recognition for dynamic scenes has received much less attention. In four experiments, participants view a number of clips from novel films and are then tasked to complete a recognition test containing frames from the previously viewed films and difficult foil frames. Recognition performance is good when foils are taken from other parts of the same film (Experiment 1), but degrades greatly when foils are taken from unseen gaps from within the viewed footage (Experiments 3 and 4). Removing all non-target frames had a serious effect on recognition performance (Experiment 2). Across all experiments, presenting the films as a random series of clips seemed to have no effect on recognition performance. Patterns of accuracy and response latency in Experiments 3 and 4 appear to be a result of a serial-search process. It is concluded that visual representations of dynamic scenes may be stored as units of events, and participant's old/new judgments of individual frames were better characterized by a cued-recall paradigm than traditional recognition judgments. / Dissertation/Thesis / Ph.D. Psychology 2014

Diploma work reflects the issue of psychospiritutarian transformation. In this way, a local specific video installation was created aimed at the sensual experience of the viewer. The Film has approximately thirteen minutes and contains four parts, which arose from the archive of the recorded audiovisual material spinning on the camera with a fixed 50mm lens from May 2018. A special role plays a visual relationship that is traditionally linked to this phenomenon.