This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.

The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television. / For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation. / MT2017

Each year, only around 10% of the produced films will go to theatrical release, and 90% of the produced films might be the missing jewels lost in time. In Taiwan, movie distributors will act as this filter role to find out those 10% films. In this case, we will introduce the basic knowledge of the industry and discuss the evaluation process of the distributors and at the end reaching our conclusions and suggestions.

This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.

Made available in DSpace on 2015-12-03T18:35:22Z (GMT). No. of bitstreams: 1 Andrea_Rodrigues.pdf: 1423834 bytes, checksum: 4fbb027683eae2dee3d9ba1202c501fe (MD5) Previous issue date: 2008-09-02 / The Brazilian cinematographic industry has been steadily increasing the number of films produced per year. The study elaborated the main phases of national film development from 1896 to 2007. The study also highlighted the role of the fiscal incentive laws which are of such importance for the development and survival of the Brazilian film industry. The national producers who do not have sufficient capital to internally finance film production thus they rely on these fiscal incentives. The control and management of costs are addressed by periodic reporting of amounts received from the fiscal incentive funds to the Brazilian National Film Agency (ANCINE). Planning, execution and control are of extreme importance for the development of activities by the producers. The realization of the need to improve results and better control costs was in part triggered by the difficulty that management encountered in meeting the ANCINE reporting requirements. A case study methodology was utilized. Four (film) case studies were selected to analyze performance, focusing on the improvement in cost control, budgeting and P&L analysis / O cen??rio cinematogr??fico brasileiro vem se desenvolvendo no que tange ?? quantidade de produ????o de filmes por ano. O estudo elaborou as principais fases de desenvolvimento do cinema nacional de 1896 a 2007. Quanto ao papel das Leis de Incentivos Fiscais, verificou-se que s??o de suma import??ncia para este ramo de atividade, uma vez que hoje ele sobrevive de fomento. As produtoras, por sua vez, n??o detendo capital o suficiente para custear a produ????o dos filmes, recorrem a essas Leis. O controle e o gerenciamento dos custos s??o Direcionados ?? presta????o de contas dos valores captados de incentivos fiscais para a Ag??ncia Nacional de Cinema (ANCINE). Tanto o planejamento, quanto a execu????o e controle s??o de extrema import??ncia para o desenvolvimento das atividades das produtoras. A constata????o da necessidade de aprimoramento do controle dos custos e resultado se deu pela falta de gerenciamento pr??prio das produtoras, hoje utilizado somente em fun????o da presta????o de contas do valor fomentado. Como metodologia de pesquisa foi utilizado o estudo de caso, sendo selecionados quatro casos (filmes) para an??lise de desempenho, focando no aprimoramento dos Crit??rios de custeio, or??amento e resultados de uma produtora de filmes

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This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.

近四、五年來台灣電影環境有一些極為特殊的現象。一方面自一九七０年代中期以降，台灣電影工業在生產方面的蕭條，至今已演變到相當嚴重的狀況；另一方面，部份本地電影卻在國際影展上普遍獲得好評，屢獲大獎。凋敝與光鮮之間，有著強烈的對比。不僅如此，國家對電影工業史無前例地高度關注；台灣、香港、中國大陸這「兩岸三地」的電影經濟互動頻繁；還有本地電影業者與錄影帶、有線電視等新傳播科技的分合關係……種種這些現象，在當前交織出一幅特殊且紛亂的台灣電影環境圖像。 　　本研究試圖以各類電影工業資料的整理與分析，來具體描繪出種種存在於當前電影環境的特殊現象，並說明當前電影工業的結構與運作狀況。而後將這整體電影工業狀況置放於更大的政治與經濟脈絡下，探討一九八０年代以來電影工業的發展過程，並主要從國家電影政策與電影市場動態這兩層次的影響，來分析為什麼會演變出目前電影工業的面貌。由此辨明當今台灣電影工業發展的真正問題所在，並藉以提出較為適切的政策制定與產業營運的思考方向。 　　研究指出，台灣電影工業生產量五年來持續迅速下跌，票房收入也極差。市場中充斥美國與香港影片，瓜分掉大筆資源。但少量的本地製片中，又在內容與形式方面有呈現兩極化的現象：一部份為製作粗糙的低俗娛樂電影，一部份為製作較嚴謹的藝術電影。造成這些現象的原因，主要源自於早期國家設定了電影的商業娛樂取向以及依賴外來影片的電影市場供需狀況，在時間推移之中，美國與香港的通俗娛樂電影逐漸成為市場主流，大部分觀眾的電影品味也受到嚴重影響。於是台灣發行部門將資源轉向外來影片之發行，並集中於少數公司壟斷了發行管道，而台產影片在製片資源上的缺乏在娛樂性技術性上則更無法追上外來影片，產量與票房愈來愈少。除了這一趨勢隨著經濟自由化而愈形嚴重之外，八０年代以後架構於貧富差距拉大之上的文化品味分化，少部份文化資源較豐富的人也形成藝術電影市場。於是低成本的台產藝術電影有了基本生存條件，而低成本的娛樂電影也滿足了市場中最底層的縫隙。而不管是哪一類電影，受國外之電影標準的影響都愈來愈大。 　　因此研究建議，國家政策應從限制外片進口、化解發行管道壟斷，以及積極輔導獨立製片公司三方面齊頭並進，方能解決台灣電影生產日趨沒落的危機。而獨立製片公司、創作者，與評論者則應集結起來以較大的力量來制衡主要公司的壟斷，並監督國家進行改革。