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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

從海外影視展覽看影音節目產業發展 / I A Study of the development of audio-visual programs ndustry via Overseas Film Exhibition

楊繼昌 Unknown Date (has links)
隨著數位電視的演進,引導高畫質收視時代的來臨,而國內電視節目製作的規格若未隨之提昇,對於電視節目製作的品質將會與高畫質所製作之產品有所差異,如此將影響國內影音產品進入海外市場的可能性。同樣地,當國外已開始輔導大型電影製作的政策指導時,國內的電影製作若還未能隨之提升其製片成本及拍片模式,對於要國內電影推展至國際市場,勢將面臨重重考驗。因此,為能進一步的瞭解海外影音參展的作為,對於影音產業未來發展的影響,故本研究透過國內影音產業到不同地區參加影音展覽之銷售結果的檢定與二階段集群分析等方法的運用,分別按歐美、東北亞及東南亞等地區的差異,進行整體的研究分析。 近三年海外參展的整體銷售時數的研究中,初步發現參加香港地區所舉辦的國際影音展覽之銷售時數為最高,至於近三年海外參展的平均每時數銷售金額,則是以東京與坎城的平均每時數銷售金額為最高。從海外影視參展銷售時數及參展銷售金額的研究,可以瞭解在歐美地區的海外影視參展之銷售成效是以坎城的銷售績效為較佳;在東北亞地區的海外參展之銷售成效,則未呈現明顯的差異,表示東京與首爾的海外銷售績效是一樣的;在東南亞海外影視參展的銷售時數部分,僅新加坡與香港的銷售時數有顯著差異,且香港的銷售時數較新加坡為高。此外,從二階段集群分析的研究結果發現,按海外參展之銷售時數、銷售金額及經營年數等變數的不同,分類成三群,分別為稱為「海外參展銷售績效_優質」、「海外參展銷售績效_良好」及「海外參展銷售績效_尚可」等。
2

侯孝賢與蔡明亮之後:台灣電影於法國行銷之研究分析 / After Hou Hsiao Hsien and Tsai Ming Liang: A case study of promotion of Taiwan Cinema in France.

史靄琍, Stalens, Alizee Unknown Date (has links)
海角七號在台灣上映之後,重新喚起了台灣觀眾對於國片的興趣。對於台灣的電影產業來說,海角七號象徵著該產業經歷一段長時間幽暗歲月後所出現的第一道曙光。回顧近二十年的台灣電影概況,雖然在1980年代,有一波新台灣電影浪潮,這時許多台灣導演試圖在國際舞台上角逐一席之地,著名的代表導演有楊德昌、侯孝賢、蔡明亮、李安等。其中侯孝賢和蔡明亮的作品深受法國觀眾的歡迎,並且大獲輿論好評,這也讓他們更容易爭取到一些國際的合作資源。不過,後來在2000年以降崛起的新銳導演,他們的作品所面臨的,又是怎麼樣的環境呢? 本論文針對台灣電影在法國的推廣來做為研究的主題,並且配合在世界著名的坎城影展所作的田野調查以及對於法國電影批發商的深度訪談來回答研究問題。本論文首先探討台灣新電影浪潮的背景以了解為何侯孝賢和蔡明亮兩位導演的電影能夠在法國受到推崇。而文獻資料也顯示,近期像是海角七號這類在台灣大受好評的電影,並沒有在法國獲得對等的口碑。事實上,在2008年以後以及海角七號所開創的票房以來,如果非蔡明亮或是侯孝賢兩位導演的作品,在法國只有引進兩部台灣電影:《停車》和《不能沒有你》。觀察台灣片商和坎城影展台北電影委員會可以發現,台灣其實並沒有花很多精力在歐洲推廣台灣的電影。除此之外,台灣與亞洲的電影在法國的市場,正面臨來自南美與非洲大陸等新興電影的強烈衝擊。另外,根據訪談的結果,法國片商普遍表達,在選擇要進口的台灣電影時,會偏好刻劃台灣社會議題的藝術類型電影,而不會去選擇商業類型,雖然就是這些電影在2008年之後重新受到了台灣觀眾的矚目。也就是說,即使台灣電影在一些小型的影展相當受歡迎,在歐洲這塊舊大陸的市場競爭力依舊是相當脆弱的。 / Since Cape No.7 was released in theaters in Taiwan, a new interest in local cinema was witnessed among Taiwanese audience. This movie represents the light at the end of the tunnel for Taiwan New Cinema after enduring a long period of “sadness”. When New Taiwan Cinema began in the 1980s, a few directors managed to be under the spotlights on the international scene, such as Edward Yang, Hou Hsiao-hsien, Tsai Ming-liang and Ang Lee. Hou Hsiao-hsien and Tsai Ming-liang have been particularly well received by the French public and the good reviews movie professionals and critics there gave them, probably helped their films to the point of enjoying some privileged collaboration. However, how is the situation nowadays, when it comes to newer directors’ productions, directors from the 2000s? This thesis aims to study the promotion of Taiwan Cinema in France firstly, through a field study during the internationally renowned Marché du Film de Cannes that takes place during the prestigious Film Festival of the same name and, secondly, by leading in-depth interviews with French films distributors. After reviewing Taiwan New Cinema background and understanding how Hou Hsiao-hsien and Tsai Ming-liang are still highly welcomed and respected in France, this study revealed that Taiwan Cinema that started to regain local attention doesn’t really attract French distributors’ anymore. Indeed, since 2008 and after the success of Cape No.7 in Taiwan, only two Taiwanese films that were not made by either Hou or Tsai have been distributed in France: Parking and No Puedo Vivir sin Ti. Observations of Taiwanese distributors and Taipei Film Commission at Le Marché du Film de Cannes revealed a lack of efforts to attract French or European buyers. Besides, Taiwan and Asian Cinema in general are facing a great opponent as French distributors are now being attracted to more emergent cinemas coming from South America and Africa. Furthermore, interviews with French distributors showed that the type of films French distributors were more likely to buy was a art house type of cinema that related to social issues in Taiwan as opposed to the rather commercial type of cinema that regain Taiwanese audience attention since 2008. Even though Taiwan New Cinema is still welcomed in some smaller scale film festivals, its future on the old continent seems fragile.

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