Abstract The purpose of this study is to develop the strategy of Taiwanese film industry under the globalization. After comparing with different countries¡¦ film industry, analyzing Taiwanese current film industry, and interviewing key persons working in the film industry, I combine with all points to develop the strategy chart for Taiwanese film industry. This strategy includes the ways to build perfect teams, select proper topics, raise funds, produce professional films, operate effective marketing plans, and understand their customers, which help the film industry to work perfectly under business mechanism and will attract outside investors to invest in the film industry. About raising funds, filmmakers should raise funds under business mechanism to provide the clear business plan in details and invest their own money. The government should provide the deposit for the bankers to encourage them to loan money to filmmakers under the government guarantee money. Also, pre-sales contract can be a deposit for the bankers and filmmakers should buy completion bond to ensure the film will deliver on time. Most important of all is to set up a platform to help venture capitals or whoever are interested in investing films to quickly know how the film process runs. Also, the government should encourage companies to invest films by tax incentives. About producing films, collaboration is necessary, especially combining our creative directors with professional teams from Hong Kong. To invite actors or actresses from different courtiers will also have positive sales increase in actors or actresses¡¦ home countries. Also, filmmakers should choose the materials that are quite acceptable for the customers and involve different opinions from the west and the east. About returning, marketing teams should have clear marketing objectives, create return from relevant products, use combination marketing tools, choose right agents, strengthen negotiation power, provide exact numbers from box offices and familiarize customers¡¦ behavior.

No description available.

No description available.

This thesis explores the global-local interplay among three key players, which are Hollywood, the Chinese government, and Chinese film industry, by analyzing representations of China and Chinese culture in three kinds of modes of film cooperation between Hollywood and China in the era of globalization. Drawing on both the analysis of three factors respectively and the elaboration of tripartite push-and-pull, a spectrum of film collaboration has been built to find out how the leveraging powers work, indicating that the images of China in selected films manifest a shared cultural identity that is hybridized and market-friendly. By further discussing China’s position in the global competition, it reveals China’s ambition to brand itself as a global media power instead of a media capital.

In the field of labor economics, abundant research has been conducted on the cause and magnitude of the gender wage gap in various industries in the United States. While the national gender wage gap has decreased over the last few decades, this trend has not been observed in every industry. The film industry, in particular, has experienced a notable lack of progress in both its social and economic treatment of women. Because Hollywood has significant influence in the United States, its misguided portrayal of women and failure to ensure equal pay for male and female actors sets a harmful standard for the rest of the nation. Due to the confidential nature of actors’ salaries, however, there is little research on the topic of the gender wage gap in Hollywood. Using a couple hundred observations, I examined the magnitude of the gender wage gap in Hollywood and compared the impact of gender on actors’ salaries to that of more pertinent variables, such as critical success and available finances. I concluded that gender has a greater effect on an actor’s salary than any other variable. In consideration of the relative lack of literature on this topic, I recommend several ways to further the research conducted in this study.

Abstract This study analyzed Taiwan film industry with Michael Porter¡¦s ¡§Diamond¡¨ system, and also tried to drive a dynamic diamond system to scenario plan for the future of Taiwan film industry. There are four attributes in a diamond system. They are: Factor Conditions, Demand Conditions, Related and Supporting industries, and Firm Strategy, Structure, and Rivalry. The conclusions of the analysis are as follows: 1. Factor Conditions Film industry knowledge, finance support and high quality human resource are significant in filmmaking. 2. Demand Conditions Because of the small home market and low market share, film production companies in Taiwan should actively search for strategic alliances and co-production chances. It would broaden market scale in this way. 3. Related and Supporting industries In order to leverage resource into film production, Related and Supporting industries need to group clusters. 4. Firm Strategy, Structure, and Rivalry Focusing the competition among national firms is more important than facing the competition with international big companies. The conclusion of the scenario planning suggests that developing digital content industry and attracting high quality human resource would drive the Taiwan film industry diamond run.

No description available.

No description available.

Since the 1980s, growing international recognition for Taiwanese auteurs has placed Taiwan on the map of world cinema. However, in the new millennium popular tastes have gradually become a key concern for Taiwanese filmmakers; in the years since 2008, the dramatic box office success of Cape No.7 has further boosted their commercial production. Through four case studies, this thesis investigates four major filmmaking strategies among Taiwanese filmmakers, seeking to provide a wide-ranging picture of Taiwan cinema since the turn of the century. These case studies represent different approaches to filmmaking and indicate the different audiences that Taiwanese filmmakers may address. Ang Lee’s Crouching Tiger, Hidden Dragon not only demonstrates that Asian films can achieve international box office success but also raises issues of cultural authenticity and cultural translation. Chapter One describes how the global success of Crouching Tiger, Hidden Dragon has promoted transnational co-production in Asia. The Hollywood-funded project Double Vision and Taiwanese filmmakers’ engagement in intraregional co-production are outlined in Chapter Two, examining the development of pan-Asian co-production in Taiwan cinema. The immense popularity of Cape No.7 in Taiwan reflects Taiwanese viewers’ demand for cultural products with local colour. Chapter Three views this domestically-produced film as a local response to cultural globalisation and revisits the significance of nativist imagination to the production and consumption of contemporary Taiwan cinema. The last chapter examines auteur-oriented filmmaking in this area and underscores the dependence of art cinema in Taiwan on the film festival economy and international niche markets. These case studies highlight the influence of transnational connections on the production, consumption and content of contemporary Taiwan cinema, showing that Taiwan cinema should be understood in a transnational context.

The collapse of the video window is disrupting the economic framework between exhibitors and distributors in the film industry. This study analyzes the collapse from several angles and provides a detailed description as to why the collapse has, and will continue to be, disruptive. I first examine the impact various technologies have had on the collapse of the video window – the time between a motion picture’s theatrical release and video release – during 1997 – 2012. The average video window has declined from 5 months 22days in 1997 to 3 months 29 days in 2012. Differences of means tests were used to inspect the average video window at the time of each technology’s introduction. Then in order to reveal how the length of the video window affects box office profit, I use an ordinary least squares regression to examine the determinants of gross domestic box office profit for a sample of 294 top earning U.S. films during 1999-2012.