Digital technology has radically disrupted the established ways of organising the film industry. However, digital initiatives such as marketing and distribution strategies involving social media and online distribution have also provided means through which filmmakers manage this environment. I investigate the role of the digital data involved, which I term Digital Engagement Metrics (DEMs), in market reconfiguration. Through exploratory, longitudinal case study of market construction for independent films, the thesis articulates the interdependent combination of attributes that co-constitute DEMs' highly mobile, and multifaceted valuation capacities, and develops a conceptualisation of their role as a market device. I engage with the literature of translation, calculation, and the performativity and materiality of markets. I then develop an approach for tracing market activity to understand the interaction of networked agencies that shape the arrangement of economic transactions. My analysis is delivered in three empirical chapters, which provide rare data on the emergent digital practice of a film production company. I chart the progressive establishment of DEMs' role in the hybridisation of established market attachment frameworks, and the instantiation of new modes of coordinating market actors. I conclude that the dynamic assembly, content and distributed architecture of market arrangements involving DEMs simultaneously shape the product and enable its calculation. In addition to extending the reach of market studies into a new empirical field, I make a number of contributions to the theoretical literature. My findings bring two coordinating kinds of performativity into focus. These are the creation of felicitous conditions required to mobilise DEMs as an organisational concept, and the digital materialisation of the audience both as the market, and as a qualified property of the market object. Reading DEMs through the market devices lens renders previously hidden modes of calculation visible, and this has implications for developing assemblage-oriented research in the creative industries.

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.

During the last 15 years, the film industry has undergone severe technological, cultural, and economic transformations initiated through online film distribution. Existing players need to adapt and innovate their business models to stay competitive. However, there is little knowledge about what players actually do in this respect. Since the film industry is of great economic and cultural importance, it is essential for researchers and managers alike to understand the transformations in the business models of film companies. Therefore, this thesis aims to investigate which areas of the business models of Nordic film studios have been most affected by changes and how the studios have responded to these transformations. Based on a longitudinal, comparative case study of the companies SF Studios and Nordisk Film, the study reveals that distribution channels, revenue streams, margins, partner network, customer needs, and core offerings have changed the most. The main transformations can be seen in stronger partnerships and an increased focus on in-house production to serve the high demand for content, secure a content flow for distribution, and generate new revenues. / Under de senaste 15 åren har filmindustrin genomgått stora tekniska, kulturella och ekonomiska förändringar som inleddes av den digitala filmdistributionens uppkomst. För att förbli konkurrenskraftiga måste nuvarande aktörer anpassa och förnya sina affärsmodeller. Det finns dock lite kunskap om vad företagen faktiskt gör i detta avseende. Eftersom filmindustrin har ett stort ekonomiskt och kulturellt värde är det avgörande att förstå förändringar i filmbolagens affärsmodeller, både för forskare och ledare. Syftet med denna uppsats är därför att undersöka vilka delar av nordiska filmstudiors affärsmodeller som är mest drabbade av förändringar och hur studiorna har reagerat på detta. Baserat på en longitudinell, jämförande fallstudie av företagen SF Studios och Nordisk Film visar denna studie att distributionskanaler, intäkter, marginaler, partnernätverk, kundbehov och kärnutbud har förändrats mest. De huvudsakliga förändringarna visas i starkare partnerskap och ett ökat fokus på egen produktion, för att uppfylla den höga efterfrågan på innehåll, säkra ett innehållsflöde för distribution samt generera nya intäkter.

In the wake of the #MeToo movement, how society responds to sexual misconduct allegations has greatly changed. It has had an effect on policy from the federal to the organizational level. Looking at overarching changes that came about after the movement is one thing but taking a look at consequences brought upon certain individuals who had allegations put against them is another. This thesis explores public relations (PR) strategies executed by prominent individuals in the film industry and their publicity teams following sexual misconduct accusations. PR at its core is about relationship management. So, this line of thought leads one to believe that college-aged students are more willing to forgive prominent figures for alleged problematic actions if the individual had a higher investment in their relationship management practices. Four case studies of actors and directors who had misconduct allegations brought against them during the peak of the #MeToo movement were analyzed and compared based on how their reputation stands today. This is important because the consequences faced by these individuals can be greatly influenced by perception and not the analysis of the actual situation. The findings of this study showed that with greater awareness of the actual claims put against a person, the more likely college-aged people are to perceive individuals negatively.

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Indian cinema has produced a series of locally developed film genres, most notably the ‘mythological’ and the ‘curry western’. In this paper, I examined films that fall under the sub-genre of the dacoit film, in an effort to fill in a gap in the Indian film history genre development and provide professionals in the field with the necessary information to not only recognize but also make use of recurrent tropes that appear in these films. To do that I selected 11 (eleven) representative dacoit films that cover several decades of Indian film production.  In addition, I conducted a literature review of film genre in Indian film to understand how film genre develops in the Indian film industry and what are the differences in relation to genre theory as developed for the Hollywood film industry. The theoretical framework I used for this study is based upon the work of two film genre analysts, Grant and Altman in addition to various Indian film scholars. In order to understand how genre development takes place for each genre element I applied the thematic analysis methodology to the 11 (eleven) dacoit feature films. My results showed that there are 5 (five) major themes that characterize dacoit films. In addition, overall dacoit films exhibit strong consistency in all the genre elements of the theoretical framework, and they do follow Indian film conventions as well.

This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Tomlinson in Globalization and Culture as ‘the rapidly developing and ever-densening network of interconnections and interdependences that characterize modern social life’. This theory of globalization is used as a methodological framework to understand the complex network of global and local interconnections that has driven the development of Working Title Films over the past twenty five years to becoming one of the most important British production companies in the international film industry. Through a detailed analysis of the practices of development, production, distribution and exhibition by Working Title Films and the Hollywood dominated global film industry, this thesis seeks to understand the function of genre and genre films as cultural products, economic products and meaningful representations in the global market and to better understand Hollywood, mainstream film and cinema as social institution. The analysis in the following chapters serves as evidence to support the central argument of this thesis that the use of genre in the film industry’s production, distribution and exhibition processes of globalization was the critical area for Working Title Films to master in order to produce value as meaningful audience appeal and connectivity to global audiences for on-going economic success.

Graças ao abrandamento das crises econômicas por que passavam os países da América do Sul e à implementação de melhores políticas de apoio ao cinema, a produção cinematográfica da região começou a retomar o seu ritmo nas últimas duas décadas. Esta atividade vem recebendo o apoio de algumas iniciativas da região. O debate em torno da idéia de integração fomentado pelo Mercosul, bem como os acordos que daí têm resultado, oferecem oportunidades de fortalecimento para a indústria cinematográfica e de ampliação de mercado através da entrada nos países vizinhos. Ainda que estabelecidos à margem de um programa comum com objetivos coordenados, os desafios apresentados a partir do Mercosul Cultural levaram a iniciativas que tecem redes e têm instalado circuitos para ocupar o espaço quase vazio de trânsito cultural entre os países mercosulinos. / In the past two decades the South American film production went back on track thanks to the slowdown of economic crises in the countries of the region and the implementation of better policies to support the film sector. This movie activity has received support from some initiatives in the region. The debate around the idea of integration promoted by Mercosul and the agreements signed since that offers opportunities to consolidate the movie industry and to expansion the film market through the entry into neighboring markets. Although weren´t established by a program with coordinated goals, the challenges presented to the MERCOSUR Cultural led to initiatives that weave networks and installed 5 circuits to occupy the space almost empty of cultural traffic between the countries of MERCOSUR.

Anti-communism in America reached its apex in the 1950s. One element of this crusade focused on preventing suspected communists from working in their chosen profession, a practice called blacklisting. In attempting to assert their legal rights, the blacklisted found an imperfect justice system, cloaked in equality, yet hampered by the existing cultural setting that treated as immoral anything communist. This dissertation deconstructs the interplay between culture and law, between the desire to root out communists and the attempt to maintain a fair legal system. With an emphasis on the entertainment industry, broadly defined, I will trace blacklisting from anti-labor tool to for-profit instrument focusing on how the blacklisted employed the lawsuit to fight for their jobs. I argue that from the late 1940s through the mid-1960s, blacklisted plaintiffs continuously found themselves handicapped by their association -- either current or past, real or perceived -- with the Communist Party, and not until a plaintiff with no demonstrable ties to communism came along did the legal system prove a comprehensively effective tool in ending the practice. I show that various members of the blacklisted community, with the aid of a small number of lawyers, tried an assortment of legal theories in their attempt to remedy their pariah status with the results often promising -- the first three jury trials ended in victories for the plaintiffs -- but ultimately hollow as a recalcitrant appellate judiciary dashed these early hopes. Moreover, I show how plaintiff's lawyers, sensitive to a legal system that demanded a successful plaintiff be free of communist ties, adjusted their strategy to accommodate the relationship between cultural setting and legal success. / text

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