This text deals with the market for film distribution in the Czech republic and it focuses mainly on the competition in this area. Its theoretical background lies in a structural analysis of sector and Porter's Competitive Forces model. This theoretical approach is confronted with contemporary situation on the market in the practical part of the text. Also, there is formulated a competitive advantage in product and in producer as a purchase motivation. These aspects of competitive advantages are discussed and some recommendations for market subjects are proposed. Brief discussion of financial indicators of main firms is also included.

Nollywoods distribution is a complex phenomenon that is ever changing. With a competing market, the industry needs to constantly keep up with innovative distribution methods. As the VCD/DVD market fades away, newer distribution platforms rise. In this thesis we are going to analyze and discuss Nollywood's opportunities of growth. With empirical material from previous research and direct contact with professionals in the industry through interviews, we can establish how Nollywood is going to flourish.

The aim of this work is to analyze attitudes of Prague film viewers towards watching films at the cinema and at home and to find out on what factors do they base their decision to watch a particular film. The means to achieve this goal are research of existing literature related to this subject and my own research through a questionnaire survey on a sample population of Prague with a corresponding demographic composition. The most crucial conclusions from this investigation are related to the frequency of watching movies in the cinema and at home, attitudes towards the origin and localization of movies, attitudes towards various genres, factors influencing the choice of a film and comparing the results of various demographic groups (by gender, age and education) within these topics.

The pandemic caused by COVID-19 has created an uncertain scenario for independent films, forcing them to explore other exhibition opportunities and having streaming as the protagonist. In this context, identifying the access gaps that Peruvian cinema have for entering the international market in a digital environment is a topic of current interest. This article aims to identify the difficulties encountered by Peruvian independent films in order to enter the main platforms (Netflix, HBO, Amazon Prime, among others). The methodology used is based on semi-structured interviews conducted to Peruvian filmmakers who have had the experience of having their films via streaming. In order to understand better the object of study, an in-depth interview was conducted to the General Management of Guarango Cine y Video, which is a production studio specialized in post-production, delivery and preparation of films for digital platform. For analyzing the results, there is a classification proposal of difficulties: technical, economical, production and socio-cultural. These four categories and their effect on film circulation are the central axis of this research. The most important findings of the research suggest that economic issues and the lack of knowledge or planning in terms of distribution possibilities are the main and transversal difficulties encountered by independent Peruvian filmmakers to exhibit on streaming platforms.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-28T17:28:08Z No. of bitstreams: 1 Andréia Ramalho.pdf: 1832917 bytes, checksum: 2abda9edcaebae22dac07e956ae105a3 (MD5) / Made available in DSpace on 2016-09-28T17:28:08Z (GMT). No. of bitstreams: 1 Andréia Ramalho.pdf: 1832917 bytes, checksum: 2abda9edcaebae22dac07e956ae105a3 (MD5) Previous issue date: 2016-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pontifícia Universidade Católica de São Paulo / This study is an analysis of the strategies for the public exhibition of Brazilian films released between 2002 and 2014, following the creation of the Brazilian National Agency for the Cinema (ANCINE). The goal is to study the commercial prospects of Brazilian films with the emergence of new technologies highlighting the political and economic backdrop, and to evaluate the measures adopted for funding, regulation and incentives for distribution. The core of the study is made up of two business models for the release of feature-length films directed by José Padilha: Elite Squad (Tropa de Elite) (2007), distributed by Universal Pictures do Brasil, and Elite Squad 2: The Enemy Within (Tropa de Elite 2: o inimigo agora é outro) (2010), which were commercialized independently by the producer Zazen Produções. This study made use of bibliographical, documentary and field research, including the following activities: the reading of literary works, data searches in the Brazilian Yearbook of Cinema and Audiovisual Arts (OCA), in the web portal Filme B and in specialized journals and interviews with the distributors of these films. From a theoretical point of view, it draws on the work of Paulo Emilio Salles Gomes, Ismail Xavier and Arthur Autran, amongst other scholars of the Brazilian cinema and its peculiarities, emphasizing the question of distribution as a fundamental link between cinematographic production and exhibition / Esta pesquisa é uma análise das estratégias de exibição pública de filmes nacionais lançados no mercado cinematográfico após a criação da Agência Nacional do Cinema (ANCINE) no período de 2002 até 2014. Objetiva-se estudar as perspectivas de comercialização do filme brasileiro com o surgimento de novas tecnologias, assinalando o panorama do cinema brasileiro sob os aspectos políticos e econômicos e avaliar as medidas de fomento, regulação e incentivos para a distribuição. O corpus da pesquisa é constituído de dois modelos de negócios de lançamentos de filmes de longa-metragem concernentes a dois filmes dirigidos por José Padilha: Tropa de Elite (2007), distribuído pela Universal Pictures do Brasil e Tropa de Elite 2: o inimigo agora é outro (2010) comercializado de forma independente pela produtora do filme, a Zazen. Este estudo valeu-se de pesquisa bibliográfica, documental e de campo, envolvendo: leitura de obras, busca de dados no Observatório Brasileiro do Cinema e do Audiovisual (OCA), no portal Filme B, em revistas especializadas e entrevistas com os distribuidores desses dois filmes. Teoricamente mobiliza aportes de Paulo Emilio Salles Gomes, Ismail Xavier e Arthur Autran, entre outros estudiosos do cinema brasileiro e sua especificidade, destacando-se a questão da distribuição como elo fundamental entre a produção e exibição cinematográfica

<p>We have in this study preformed a quantitative examination on how hooligans use film and new technologies to spread private videos on the Internet. With today´s technologies it is very easy for hooligans to publish their videos. In this study, we have choosen to do a questionnaire poll based on seven questions about what people think of hooliganviolence on online video sharing sites. We have also conducted an online interview with a former swedish hooligan. The people who participated in our study are all anonymous, and therefore we have no age or gender included in our study. Most of the videos discussed here are used as entertainment, according to their publishers/viewers, but also as a method of advertising the supporterclubs of different teams. Following our study we can conclude that new technologies have a huge importance for the spread of these videos.</p>

We have in this study preformed a quantitative examination on how hooligans use film and new technologies to spread private videos on the Internet. With today´s technologies it is very easy for hooligans to publish their videos. In this study, we have choosen to do a questionnaire poll based on seven questions about what people think of hooliganviolence on online video sharing sites. We have also conducted an online interview with a former swedish hooligan. The people who participated in our study are all anonymous, and therefore we have no age or gender included in our study. Most of the videos discussed here are used as entertainment, according to their publishers/viewers, but also as a method of advertising the supporterclubs of different teams. Following our study we can conclude that new technologies have a huge importance for the spread of these videos.

Svenska filmbranschen styrs av ett filmavtal mellan staten och olika aktörer i branschen. Detta avtal skall förnyas under år 2013. Staten har i en avsiktsförklaring för det nya avtalet uttryckt en vilja till en förändring kring villkoren för att få statligt stöd för filmproduktion i Sverige. En så kallad teknikneutralitet skall införas som innebär att filmproduktioner inte längre på förhand behöver ha säkrat en biografdistribution för att få statligt ekonomiskt stöd. Detta skulle kunna innebära en förändring för den svenska filmens distribution i Sverige som i nuläget består av tämligen fast ordning på visningsfönster, där just biografdistributionen har en särställning. Vår forskning behandlar svenska filmproducenters, distributörers och biografägares tankar och åsikter kring distribution av svensk långfilm i Sverige. Kvalitativa intervjuer gjordes med representanter från dessa aktörer för att få en övergripande bild av situationen idag samt eventuella möjligheter som framtiden bär med sig. Uppsatsen tar exempelvis upp biografens betydande ställning, Video on demands framfart, och producenter och distributörers önskningar om en större flexibilitet kring distributionen av film. Möjligheten att kunna skapa skräddarsydd distribution för varje enskild film och fönstersystemets påverkan på filmens aktualitet. / The swedish film industry is regulated by a film contract between the state and representatives of the industry. This contract shall be renewed during 2013. The swedish state has in a declaration of intention expressed a wish of changes about the conditions to acquire financial support from the state for film production in Sweden. A so-called technology neutrality shall be instated which means that film production no longer in forehand needs to have secured a cinema distribution deal to acquire financial support from the state. This could mean a change for distribution of swedish films in Sweden which now consist of a somewhat strict order of viewing windows. Our research addresses how swedish film producers, distributors and cinema owners think about the distribution of swedish feature films. Qualitative interviews were conducted with these professionals to get a conclusive picture of the situation in Sweden to date and what the future might bring. The essay deals with the cinema's importance, the growth of Video on demand, and producers and distributers wishes of a more flexible way for distribution of film. The possibility to be able to tailor the distribution for every individual film and the window systems impact on the films up-to-dateness.

Made available in DSpace on 2016-06-02T20:23:17Z (GMT). No. of bitstreams: 1 6452.pdf: 1458349 bytes, checksum: cbecc4105eff21d62043d97c9d5e041e (MD5) Previous issue date: 2014-07-03 / Financiadora de Estudos e Projetos / The industrial model of filmmaking is structured by dividing the production of a film between three sectors. Production, distribution and exhibition, and the gradual and sequential content offer in the viewports. The distribution and exhibition sectors are responsible for the film commercialization, both work together in order to enable commercial success of production and monetize their own activities. Currently, the distribution activity is exercised by American conglomerates of media, the majors, and by independent distributors that operate on a national scale, usually with smaller films, called niche films. However, the development of new media and the communication media's convergence resulted in a model that proposes the content display on multiple windows and production by niche's demand . This research proposes to discuss and understand the role of the new display windows, potentiated by the convergence of media vehicles, as diffusion of alternative independent audiovisual productions. As an example, it will be discussed the distribution strategy for the movie 3 Efes (Carlos Gerbase, 2007). / O modelo industrial de produção cinematográfica estrutura-se a partir da divisão da realização de um filme entre os setores de produção, distribuição e exibição, e da oferta gradual e sequencial de conteúdos nas janelas de exibição. Os setores de distribuição e exibição são responsáveis pela comercialização do filme, que atuam em conjunto no intuito de possibilitar sucesso comercial das produções e rentabilizar suas próprias atividades. Atualmente a atividade de distribuição é exercida pelos conglomerados de mídia norte-americanos, as majors, e pelas distribuidoras independentes que atuam em escala nacional, em geral com filmes menores, chamados filmes de nicho. Em contrapartida, o desenvolvimento das novas mídias e da convergência dos meios comunicacionais resultou em um modelo que propõe a exibição de conteúdos em múltiplas janelas e produção por demanda de nichos. O presente trabalho propõe a discussão e compreensão do papel das novas janelas de exibição, potencializadas pela convergência dos veículos midiáticos, enquanto alternativas de difusão de conteúdo audiovisual independente. Como exemplo, é discutida a estratégia de distribuição do longa-metragem 3 Efes (Carlos Gerbase, 2007).