Att realisera en film är ett unikt och kreativt projekt där olika aktörer med olika yrkesroller samarbetar. Syftet med denna studie är att beskriva hur en manusförfattare använder sitt kontaktnätverk inom den svenska filmbranschen för att realisera en film. Studien redogör för vilka upplevda värden, i form av förmåner, som aktörer samskapar med manusförfattaren och hur det föranleder andra aktörer att vilja delta i filmprojektet. Studien har genomförts genom intervjuer med etablerade aktörer inom filmbranschen. Erhållen data analyseras utifrån tjänsteekosystemets ansats, enligt vilken en aktörs resurs, i form av kompetens, måste göras tillgänglig, anpassas och integreras med andra aktörers resurser för att samskapa värden. Resultatet av studien visar att manusförfattaren har tillgång till andra aktörer via sitt kontaktnätverk samt anpassar sitt manus och sociala beteende efter olika aktörernas upplevda värden. Filmskaparna som studerats upplever värden i ett kreativt och kommersiellt manus, men även i andra filmskapares erfarenheter. / The making of a film is a unique and creative project where various individual actors with different professions co-operate. The aim of this study is to describe how a screenwriter uses his or her relations in the Swedish film industry in order to create a film. The study aims to describe which benefits, defined as perceived values, different actors co-create with the screenwriter which stimulate other individual actors’ desire to participate in the film project. The study has been conducted through interviews with established actors in the film industry. Acquired data is analysed with regards to the theory of service ecosystems, according to which an actor’s resource, defined as competence, has to be made available and adjusted to the resources of various other actors in order to co-create value. The result of this study shows that the screenwriter aquires availability to other actors through networks of actors and adjusts the script and social behaviour to the other actors’ perceived values. The studied filmmakers perceive values in a creative and commercial script as well as in the merits of other filmmakers.

Nous essayons tout au long de cette thèse de lever le voile sur les aspects obscurs d’une industrie particulière, celle des médias, dans un pays à l’environnement politico-économique d’autant plus complexe : la Chine. Après avoir dans un premier temps défini la convergence des médias, nous verrons quelles sont les différentes formes que celle-ci peut prendre dans l’empire du milieu en comparaison avec les pays occidentaux puis nous expliquerons les raisons qui nous permettrons de comprendre en quoi il est tout à fait logique que la Chine prenne sa propre voie dans tous les domaines et en particulier celui des médias. Nous montrerons ensuite les influences que la convergence peut avoir sur une industrie en particulier : celle du cinéma ; comment tous les maillons de la chaine de valeur, depuis l’investissement jusqu’à la distribution en passant par la production, connaissent grâce à l’évolution des nouvelles technologies médiatiques et leur convergence, une révolution constante. A travers l’étude des lois et autres consignes censés réguler cette industrie, mais aussi des flux complexes que la Chine échange avec l’extérieur tout en essayant de les contrôler, nous montrerons en quoi les enjeux sont si importants dans ce marché en constante évolution. Nous présenterons les principaux acteurs de cette convergence en Chine en les comparant notamment avec le géant américain Netflix puis nous nous poserons la question suivante tout au long de ce travail : comment ces entreprises d’Internet transforment-elles la face du cinéma d’aujourd’hui ? / We will try all along this thesis to lift the veil on the vague aspects of a complex industry: medias, in a country with an even more complex political and economic environment: China. After defining de concept of media convergence, we will see what are its different forms in the Middle Kingdom in comparison with Western countries. We will explain the reasons why China is naturally taking its own path and not necessarily following the Western models, especially in the media industry. We will then show how the convergence influences one industry in particular: the film industry; how all the links of the value chain from investment to production and distribution are affected by the constant evolution of the new media technologies and how they merge with each other. By reviewing the different laws and other instructions that are supposed to rule the film media industry, but also by analyzing the complex flows between China and the rest of the world that the government tries to control, we will show how much is at stake in this huge market. We will present the main actors of this convergence in China comparing them particularly with the American giant Netflix. How these internet giants transform today’s film industry? This is the question we will try to answer all along this research.

The problem with which this investigation is concerned is the ascertainment of the attitudes of members of the Texas film industry toward the film curriculum offered in Texas institutions of higher learning. Based on the findings the following conclusions have been reached. There is not a high regard overall for film-studies programs in Texas institutions of higher learning within the film industry. This may be overcome by an interaction of the professional film community as an active participant in curriculum planning and development. Of prime consideration should be an association of film schools coordinating programs in cooperation with the Texas Film Commission. An effective curriculum for film-studies education may be organized by utilization of learning modules. This plan would organize the learning experiences in a functional manner and would move toward involvement of a career nature.

This thesis seeks to increase recognition of contemporary Palestinian women’s cinema and locates it firmly within the Palestinian film industry. I argue that Palestinian women’s cinema has created and developed a nuanced cinema whilst sustaining and enhancing the Palestinian film industry. The twenty-first century has undeniably witnessed the vigorous development of a Palestinian women’s cinema and the number of Palestinian women filmmakers and films is still on the rise. Scholars have often focused on increasing worldwide recognition of mainstream Palestinian films directed and produced by well-known Palestinian filmmakers. This has resulted in the marginalisation of Palestinian women’s cinema within an already marginalised Palestinian film industry. I locate Palestinian cinema, in the introduction, as a transnational cinema and I also explain my rationale for placing women’s film under the category of “women’s cinema”. In order to offer a comprehensive analysis and to understand and examine the corpus of films in this thesis, I firstly provide an overview of the historical and contemporary background of Palestinian popular arts and cinema, highlighting Palestinian women’s participation. In chapter 2, I discuss women’s roles in Palestinian politics in order to trace women’s positions and roles in political public life because it is difficult to separate activism from social life and thus from cinema, as these three intersect and mutually influence one another. In chapter 3, 4 and 5 I argue, through detailed discussion and analysis of this body of work that, unlike Palestinian cinema at large, Palestinian women filmmakers embody, interweave and reflect on the complex and often contradictory contemporary and historical issues taking into account ideologies and socio-cultural differences in a complex geopolitical space (e.g. sexual restrictions, power and authority, femininity and masculinity, restriction on movement and hyphenated identities). I also argue that these women filmmakers are interested in developing responses to what they see as heterogeneous and hyphenated Palestinian identities while adapting traditional and modern filmic styles. Here I have studied their works thematically as this provided greater insight into the social and historical contexts of contemporary Palestinian lives. I argue that films by Palestinian filmmakers living inside Palestine focus and revolve around socio-culturally sensitive and underrepresented issues of love and sexuality (chapter 3), violence and power (chapter 4). I also argue that hyphenated Palestinian filmmakers, in this case, Palestinian American filmmakers, explore through their work themes of displacement and the imagined homeland by reflecting on historical events and also through examining the different ‘journeys’ of their hyphenated characters, both internal and geographical. I study the films in this thesis within contemporary discourses on culture, cultural capital, discourses of power, identity, migration and diaspora, exile, feminist debates, gender politics, postcoloniality and borderlands.

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.

The objective of this study is to understand how the integration of digital technology (DT) in the Bangladesh Film industry has been responded to by its production, distribution and exhibition related organisations. Since no research on digital integration has been considered in a developing country context, and specifically within the area of concentrating on the industry rather than the films themselves, this research therefore addresses the gaps within the knowledge field. The Bangladesh Film Industry (BFI) used to be a centre for film production, distribution and exhibition, but this traditional industry has been in decline for decades. In response to the decline, the government started an integration process of DT in 2003, yet eight years after the launch only a fraction of the project has been completed. Apart from its partial adoption in the film production sector, distribution and exhibition have appeared to resist the adoption of new technology. This thesis therefore sets out to explore the causes of partial integration of DT in the film industry in Bangladesh through a study of the workforce, business owners, practitioners, scholars, government officials and executives functioning in and outside the industry. With the mixed method approach and emphasis on qualitative engagement (two case studies and 38 interviews), this thesis explores current attitudes and beliefs and identifies potential barriers to effective integration. In particular this dissertation examines five areas: technology integration, training for workforce development, production, distribution and exhibition capabilities, and argues that the political factor was the most important driver in integrating DT, while knowledge integration, training, and development of digital production, distribution and exhibition compatibility at individual and organisational levels were ignored. Moreover, the greatest concern of losing a job or business within the industry community due to inadequate knowledge, skills and finance is impeding the possibility of full completion of the integration process within the industry. Overall, two important contributions of this research include 1) an exploration of factors that impeded progress of the film industry in responding to the DT and 2) a formulation of some suitable recommendations to overcome the challenges in order to completely realise the integration of DT within the Bangladesh Film Industry. However, further research is recommended to investigate whether completion of the integration process will save the industry from decline or not.

The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film.  This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US.  Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market.  The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.

With this essay I identify the challenges that a film music composer may face in his career in the film music industry. I present and discuss this subject in three parts: budget, time and communication, and suggest how to deal with these. The methods I will use are based on theory, interviews with three Swedish active film music composers and analyzes of previous film projects during my education at Royal College of Music in Stockholm (KMH) and Stockholm University of the Arts (SKH). The purpose of the thesis is to understand how to work successful and sustainably with film music composition in today's film industry. The thesis has been written during the spring term of 2021 at KMH/SKH. The movies from the analysed film projects can be found at the end of the text.

This diploma thesis focuses on Czech teen comedies produced during the 2000s and the production practices associated with them. The thesis defines a teenage film as a film that not only thematizes adolescence, but primarily targets an adolescent audience. In other words, the film's creators were consciously aiming at teenagers. The basic conceptual framework used to select individual films is the category of film cycle, which is defined as a series of typologically related films produced over a limited period of time, while also conforming to the same genre conventions of a dominant genre trend. The selected films are analyzed at a specific historical moment with emphasis on the wider context of the contemporary film and media industry. The methodological approach is based on production studies and industrially oriented genre theory which views genre primarily as an industrial concept that should be examined in relation to the film business. The analysis of the production practice used in the teen comedies is grounded in interviews with the film creators. This thesis aims to show how individual producers used the business opportunities available to them at the time, how the industrial conditions are reflected in their work, and how they thought about the concepts of genre and film cycle while...

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