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.

The subject of thesis is an urban revitalization solutions in the territory of Zlín Film Studios, its restoration for film production and other uses. Our vision is to be achieved in this area in the form of interconnected sub-objectives of a compact and fully functional, exceptional unit with the accumulation of education, specific entrepreneurship in the audiovisual industry, a number of civic services, temporary and permanent housing and even facilities for relaxation and sports. The intention reflects the unique history to the maximum possible extent, respects the environment and the existing urban-architectural solutions and creates a new multifunctional public space.

In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image." / text

The subject of thesis is urban design of the Film Studios, its recovery, opening this area to the public, the use of film themes and to design the new functional use. The area, where the Film Studios have been built, is located in the city Zlín – Kudlov. The area has size of 10,11 ha and it is defined by the built-up area in the south, north and west and from the east street Vrchy. The area is crossed by street Filmová, which is divided into two parts, on the part of the bulit-up area of the Film Studios and the undeveloped part of gardening and unmanaged areas. The vision of the project is to revitalize the area using the new functional use, simplify transport structure and supplement the existing buildings by new buildings.

Diploma thesis addresses the new use of film studios in the city of Zlin – Kudlov. Solved territory is located about 2.5 km southeast of Zlin. The aim of the design was to create a functioning unit, which combines several functions, both existing and proposed. The resort is located on one of the highest points in the area with beautiful views of the surrounding area. In the area of film studios is therefore proposed tower, which is inspired by the film strip and dominates the area. Film studios are also associated with the emergence of the Zlin Film Festival. There is therefore designed pedestrian zone with squares for cultural events and exhibitions related to film themes. The proposal seeks to create a living organism that would be returned to the film studios lost life.

This final diploma thesis deals with revitalization of Film studios in Zlín and its surroundings. On the west from solved area is forest cemetery and residential complex Fabiánka. Areal of the Film studios is from residential complex Fabiánka separated by terrain depression. The Film studios in Kudlov which is situated near to Zlín was established in thirties of last centrury, their strong side is interesting history, the natural environment and good availability from Zlin. The theme of the Film survived in the area to the present days, there are film laboratories and film secondary school. Some objects are rentes as office space, there is Zlín radio and on the northeastern part of the area is situated pharmaceutical production. The main new function witch is design is housing in apartment buildings which are completed by offices and public services witch is situated around film pedestrian zone. There is designed a new sports complex and film park with forest amphitheater, therefore it can be used by general public. In areal are functions for all age category.

This diploma thesis deals with urban study of revitalization of complex of former film studios on an area of approximately three kilometers south of the center of Zlín, in the town district which is called Kudlov. The complex has been constructing since the thirties of the last century, however nowadays it is no longer determined to its original function. In this thesis, the optimalization of current state, the completion of several building and the area expansion of the park on the West are designed. Great emphasis was given on the largest possible multi-functionality, in addition to the main function of living in apartment houses, the area is complemented by commerce, leasable manufacturing facility, an outdoor sport complex and the already mentioned park. The urban concept reflects the traditional urbanism of the city of Zlín, it means a periodical grid of structure and a unity of shapes and materials.

The thesis is focused on the revitalization of the Zlín film studios, with maximum respect for the principles of the investor, using the area in the long term. Idea thesis consists in consolidating the roots of film history, familiarity with film themes and issues for every generation. It also ensures that the area live 24 hours a day. For this reason, in the area of proposed areas not only public facilities, manufacturing, sport but also areas for housing. Campus should become a place where everyone would like to return, whether for entertainment, recreation, leisure and entertainment

The study analyzes the largely understudied cinematic cooperation between Czechoslovakia and Cuba in the first decade following the Cuban Revolution. It is based mostly on archival documents from the former Central Directorship of Czechoslovak State Film, the ministry of education and culture and the ministry of foreign affairs. Several chapters also draw from oral history, data collected from series of interviews with Cuban technicians and artists who have worked in Cuban cinema since the 1960s as well as Czechoslovak experts who worked at the Cuban Institute of Cinematographic Arts and Industries in the 1960s. The Cuban Institute of Cinematographic Art and Industry (CICAI), founded in March 1959 shortly after the triumph of the Revolution, faced a shortage of human and material resources since its inception. The film industry, which had been mostly in the hands of the Americans before 1959, lost much personnel due to mass emigration. Later on, due to the American blockade and embargo, it also lost its most important provider of films, material and equipment. The majority of CICAI's technician and artists were just starting and were lacking in technical knowledge required to make films. Czechoslovak State Film (CSF) offered extensive help to Cuban cinema, especially in the area of developing the...