This study analyzed venture capital investment criteria of Taiwan¡¦s movie industry by the method of literature review and in-depth interviews. There are four directions to estimate whether a movie is investment-worthy or not. There are followed by movie marketing, the team of movie-making, movie financial status and movie contents. 1.Movie Marketing Movie marketing contains the following factors: the movie proposal contents are made by producers or directors when searching for venture capital investments, film making team¡¦s marketing and selling abilities. 2.The Team of Movie-making The team of movie making contains the following factors: the director and the producer¡¦s experience and personalities; the quality of cooperation in the movie-making team, and the last one factor is other movie investors, who are estimated by their experience. 3.Movie Financial Status This part is made of the following factors: the cash flow of the film making team, and the financing and operation ability of the team. 4.Movie Contents This part contains the following factors: first, the skills of movie-making, including cinematography skills, written skills, post-producing skills and etc.. Second, the feature of the movie. It contains stars, story and etc.. The last factor is cost controlling abilities of movie-making.

The local language production strategy (LLP) emerged in the early 1990s and developed into a key practice for major media corporations operating in Latin America, Europe, and Asia. This dissertation analyzes where Sony’s international production strategies intersect transformations in the Brazilian and Spanish film industries during the mid-1990s to 2010. The LLP strategy, widely perceived as a corporate product of globalization and market power of Sony, is simultaneously viewed as a culturally specific media product intended for local Portuguese or Spanish-language audiences using national tax incentive policies and talent. This project provides a multi-layered history of Sony’s trans/national practices, Latin American and European regional industries, Brazilian and Spanish national policies and conditions, and the creative agency and power of local film production companies. Adapted from Timothy Havens, Amanda D. Lotz, and Serra Tinic’s critical media industry studies approach and Paul du Gay’s “circuit of culture,” I conducted archival research and on-site field interviews in Rio de Janeiro, São Paulo, Madrid, and Brussels with local producers, distributors, policymakers, lobbyists, and Sony executives. The study is grounded equally in box office data, co-production financing specifics, and cultural policy as well as first-hand accounts and industry discourse. Instead of labeling the LLP another all-powerful strategy of Global Hollywood, I explore the everyday practices, power relations, and complex negotiations involved in local and national agents working alongside large transnational media company to produce commercial films like Chico Xavier (2010) or Salir Pitando (2007). Sony’s local operations have to balance the global corporate strategy and logic with changing local conditions, policies, practices, technologies, and partnerships. Each location study illustrates a unique strategy and situation ranging from the quasi-autonomous operation in São Paulo to the short-lived, highly micro-managed Sony European operation in based in Madrid. I challenge traditional theoretical and industrial understandings of national cinema, media imperialism, media convergence, and the classification of Sony Pictures Entertainment as solely an American or Japanese company. What results is a close institutional analysis exploring issues such as what defines “local” media industries, the flexibility of the nation, and the position of transnational media companies outside the U.S. / text

As the innovation systems approach becomes increasingly transferred from developed to developing countries as a framework for achieving increased productivity, the notion of deficient institutions becomes more important. Prior research on innovation systems has adopted a broad treatment of institutions that has resulted in an omission of the impact that deficient institutions have on implementing innovation. Towards providing a treatment of institutions that is more specific and by extension, accounts for the impact of deficient institutions within developing country innovation systems, this thesis on the account of both the personcentric characteristic of the entrepreneur and the entrepreneur’s ability to deal with uncertainty focused on answering the research question: How do entrepreneurs deal with deficient institutions in developing country innovation systems in order to introduce innovation? By considering the context of the Nigerian film industry innovation system, this thesis showed that entrepreneurs dealt with the deficient institutions by substituting them with informal institutions during their interactions with Nigerian actors, and with formal institutions that looked to be external to the Nigerian environment when interacting with international actors. In addition to this, the decision to use these institutions was seen to have been influenced by both the situations that the entrepreneurs faced and their personal experiences personal experiences. By showing this, the thesis contributed to the literature on innovation systems by providing a more nuanced understanding of institutions in comparison with what previously existed. Another contribution was the introduction of agency (through analytical focus on the entrepreneur) within innovation systems research.

Trender som globalisering och digitalisering har gjort det möjligt för organisationer att sammankoppla specialister globalt utspridda. Detta för att samarbeta mot ett gemensamt mål med hjälp av information-och kommunikationsteknologi. Organisationer med denna struktur kallas för virtuella organisationer. Filmbranschen har lång erfarenhet av att jobba som en virtuell organisation. Genom att intervjua tre aktiva filmproducenter om kultur och tillit undersöker jag med denna studie om det finns kunskap att hämta från hur filmbranschen arbetar med kultur och tillit som kan användas på andra virtuella organisationer. Resultatet visar vikten av att virtuella organisationer rekryterar medarbetare som delar dess värderingar därtill visar studien vilken betydelse en gemensam målbild har för organisationens förmåga att skapa tillit.

Thesis submitted 1967; degree awarded 1968. Thesis (M.S.)--Boston University, 1968. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This thesis is a study of the development of documentary films in Jamaica from 1938 - 1966, what has been accomplished, and how it has been achieved, as well as a critical analysis of the present situation and recommendations for improvements. The study should be of value to the country as it is the first that has been attempted in this particular field, and one of the few to be attempted by a Jamaican in the many areas of the country's development. [excerpt from Introduction]

As the innovation systems approach becomes increasingly transferred from developed to developing countries as a framework for achieving increased productivity, the notion of deficient institutions becomes more important. Prior research on innovation systems has adopted a broad treatment of institutions that has resulted in an omission of the impact that deficient institutions have on implementing innovation. Towards providing a treatment of institutions that is more specific and by extension, accounts for the impact of deficient institutions within developing country innovation systems, this thesis on the account of both the personcentric characteristic of the entrepreneur and the entrepreneur’s ability to deal with uncertainty focused on answering the research question: How do entrepreneurs deal with deficient institutions in developing country innovation systems in order to introduce innovation? By considering the context of the Nigerian film industry innovation system, this thesis showed that entrepreneurs dealt with the deficient institutions by substituting them with informal institutions during their interactions with Nigerian actors, and with formal institutions that looked to be external to the Nigerian environment when interacting with international actors. In addition to this, the decision to use these institutions was seen to have been influenced by both the situations that the entrepreneurs faced and their personal experiences personal experiences. By showing this, the thesis contributed to the literature on innovation systems by providing a more nuanced understanding of institutions in comparison with what previously existed. Another contribution was the introduction of agency (through analytical focus on the entrepreneur) within innovation systems research.

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A travers une étude générale des infrastructures de production, l’ambition de cette recherche est double. Il s’agit d’une part de mettre en évidence la centralité du studio dans l’organisation de la production cinématographique française des années 1930, mais également de montrer quel a pu être l’impact des évolutions de fonctionnement des studios au cours de la décennie sur les conditions de travail et les modes de sociabilité des ouvriers et techniciens du film. Cette thèse ne se contente pas de rassembler des données factuelles et de dresser un inventaire des structures de production dans la France de l’entre-deux-guerres, elle étudie également les dynamiques d’une branche de l’industrie cinématographique en pleine évolution - les studios – tout en faisant de l’humain – ouvriers et techniciens du film - le pivot de la réflexion. L’analyse des dimensions techniques, économiques et humaines des studios français dans les années 1930, se déploie en trois parties correspondant à trois périodes marquées par des dynamiques différentes.La première partie (1929-1930), aborde la question du passage au parlant en privilégiant une approche descriptive des installations ; elle dresse un tableau de la situation en 1929 et analyse les nouvelles dynamiques économiques et techniques qui modifient en profondeur le paysage des studios français à l’aube de la décennie. La deuxième partie (1931-1933), s’attache à mettre en lumière le fonctionnement quotidien des studios, leur rôle dans la formation et la carrière des professionnels mais également leur impact sur la vie économique et sociale des territoires dans lesquels ils sont implantés. Enfin la troisième partie, (1934-1939), soulève la question du modèle de développement des studios français. Premières victimes de la crise de la production des années 1934-1935, les ouvriers et techniciens du film sont les premiers à réagir, répondant à la dégradation de leurs conditions de travail et de rémunération par un mouvement de revendications et de luttes sociales qui agitent les studios durant toute la seconde moitié de la décennie. / Throughout this general study of the production facilities, the goal of the research is two fold. It aims first at establishing the centrality of the studios in organizing the French movie production in the 1930’s. It equally looks at showing what have been the impacts of the changes which had affected the functioning of the studios during this decade on the working conditions and sociability modes of the working class and technicians of the film industry. Not only this PhD gathers evidences and draws an inventory of the production facilities in the France between the two world wars, but it also studies the dynamics of a fast evolving branch of the film industry, the studios, while making of the human - workers and technicians of the film industry - the centre of the reflection. The analysis of the technical, economic and human dimensions of French movie studios in 1930’s, unfolds in three parts corresponding to three periods marked by different dynamics. The first part (1929-1930), discusses the transition to talking cinema favoring a descriptive approach of the facilities; it paints a picture of the situation in 1929 and analyzes the new economic and technical dynamics that profoundly altered the landscape of French studios at the beginning of the decade. The second part (1931-1933) , aims to highlight the daily operation of the studios, their role in the training and career of professionals but also their impact on economic and social life of the territories in which they are located. Finally, the third part, (1934-1939), raised the question of the development model of French studios. First victims of the crisis of 1934-1935 production year, workers and technicians of the film are the first to react, responding to the deterioration of their working conditions and compensation by a movement of demands and social struggles that stir the studios throughout the second half of the decade.

Purpose The purpose of this research is to investigate online WOM in terms of its practice and the effect it can have on movie consumers. What are the motives moviegoers have in generating eWOM? Where can eWOM on movies be found online, and how does it impact its readers? Design/methodology/approach In order to develop our aim and research questions, the main concepts about WOM in general and WOM in the film industry were reviewed. Furthermore, the method of research was quantitative and was conducted on Business students at the University of Gävle, Sweden. An online survey was put at their disposal by mail as well as social media. Findings With the help of the results of our study, we discovered that our respondents had a positive attitude towards generating online WOM if given the opportunity. We identified the main motives movie consumers have, when it comes to generating eWOM, positive as well as negative. The effect of eWOM on moviegoers was also analyzed and we could conclude that positive eWOM can influence moviegoers to consider a specific movie and negative eWOM can either have no impact on filmgoers or make them disregard the specific movie. Finally, our findings also suggest that social media and review websites are the most used platforms for eWOM on movies. Theoretical & Practical implications This research offers a base for further research as it specifically focuses on consumer behavior towards eWOM, specifically in the film industry. The behavior of the consumers was examined from both the negative and the positive aspects of eWOM to deeper understand the effect it has in the film industry. Furthermore, the willingness to generate eWOM, motives, platforms of generation and effect were also key aspects of our research. Originality/value This research is unique in its kind due to its consideration of differentiating on both negative and positive aspects of eWOM. Previous research tends to focus only on the general phenomena of WOM, which did not give the possibility to understand the different ways it affects the consumers.

Bakgrund: Filmklimatet har gjort det svårt för producenter att nå lönsamhet och fånga en stor biopublik. Under 2014 var det 78 % av svensk film som gick med förlust. Filmbranschen har genomgått stora förändringar till följd av digitaliseringen, där den nya tekniken har resulterat i en stor flexibilitet som har medfört att biograferna snabbare kan svara på biopublikens efterfrågan. Filmer kan numera snabbt plockas bort från biorepertoaren. Det har resulterat i att gapet mellan filmer som går bra och filmer som går dåligt har ökat. Aktörer talar om en bransch som präglas av turbulens, osäkerhet och risktagande, där den primära inkomstkällan för producenter är intäkter som genereras från bio. Producenters strategiska val blir allt viktigare för en films överlevnad.  Syfte: Studiens syfte är att undersöka vilka strategiska val en producent kan använda sig av för att en film ska erhålla höga intäkter och nå lönsamhet. Metod: Studien använder sig av en kvantitativ metod som utgår från en deduktiv ansats där 111 filmer har studerats genom regressionsanalyser.  Resultat: Studien har identifierat att budget och huvudrollsinnehavare påverkar en films intäkter. Det går det inte att urskilja vilka strategier som leder till att en film blir lönsamhet.