Este trabalho tem o objetivo de mapear, apresentar e avaliar o repertório internacional de políticas públicas que promovam o alcance e a diversidade dos filmes exibidos em cada país em um período marcado pela mundialização, globalização e pela hegemonia das empresas americanas, mais especificamente, a partir da década de 1990. Partindo de indicadores de alcance e diversidade, selecionei duas experiências nacionais que foram bem sucedidas garantir a frequência per capita e o número de salas per capita; o percentual de ingressos de filmes nacionais, o percentual de ingressos de filmes não estrangeiros e não americanos e o número de filmes exibidos. Para selecionar as experiências nacionais de êxito (França e Coreia do Sul, utilizei os dados de 2013 do Instituto de Estatísticas da UNESCO a respeito da diversidade nacional e linguística na exibição cinematográfica e o desempenho, em 2012 e 2013, das cinematografias nacionais em seis dos principais festivais internacionais de cinema (Berlim, Cannes, Sundance, Veneza, Pusan e Mar del Plata). Para compilar o repertório internacional das políticas de fomento e exibição cinematográficas, foi utilizada revisão de bibliografia e análise dos documentos das agências nacionais de fomento e regulação / This paper aims to map, present and evaluate the international repertoire of policies to promote diversity and reach of exhibited films in each country in a period of globalization and hegemony of the american companies, more specifically after the 1990\'s. Using indicators of diversity and access, I selected two successful national experiences in ensuring the frequency per capita, cinemas per capita; the percentage of national films exhibited, percentage of foreign films exhibited, e the number of exhibited films. To select the successful national experiences (France and South Korea), I used 2013\'s data of the UNESCO Institute for Statistics about the national diversity on exhibition and the countries\' performance on 2012 and 2013 at the most important film festivals. To compile the international film policies repertoire, I used a bibliographic revision and documents of the national support agencies

Le cinéma mettant en scène des anglais d'origines indienne ou pakistanaise, se déroulant sur le territoire britannique et traitant de relations avec les habitants qu'ils soient anglais dits de souche, anglais issus de l'immigration ou de familles métissées est appelé British-Asian cinema. Quelle image moderne de la britannicité les films British-Asians propagent-ils? L'identité anglaise n'est pas liée à la couleur de la peau ou aux origines ethniques mais au sentiment d'être anglais et de partager une culture commune. Beaucoup de personnes issues de l'immigration se disent aujourd'hui anglaises comme cela a pu être expliqué dans le très surprenant documentaire "100% English". Ces diverses représentations transparaissent dans les médias et de façon claire et accessible dans les films. Le cinéma agit comme un moyen de propager dans le monde entier une image de la britannicité. C'est dans ce contexte de redéfinition identitaire britannique que le gouvernement de Tony Blair a misé sur le cinéma britannique et son développement dans toute sa diversité. Nous pouvons nous interroger sur ce qu'est cette représentation britannique, mais aussi anglaise, vu sous cet angle particulier du mélange culturel au cinéma. L'intégration, réussie ou non, les mariages forcés, la religion, les stéréotypes culturels britanniques et Asians sont autant d'obstacles à franchir pour affirmer une identité britannique. Certains anglais ne savent plus qui ils sont réellement, on en vient à faire des tests ADN pour évaluer son niveau d'anglicité et toute légitimité à être anglais. Il est étonnant d'observer qu'à l'inverse, ces nouveaux britanniques issus de parents indiens ou pakistanais, affichent souvent une identité britannique et anglaise claire, peut être même exacerbée et mieux définie. / Cinema staging English people of Indian or Pakistani origins, taking place in Britain, is called "British-Asian cinema". What is the modern image of Britishness that British-Asian films convey? In this respect, English identity is not linked to the color of the skin or to ethnic origins but to a common culture. Various representations appear in media and in a clear ans approachable manner in films. The cinema acts as a means to spread an image of Britishness worldwide. It is in this context of British self-defining or redefing that the government of Tony Blair gave support to the British cinema and its development in all its diversity. Analysing British representation through the lens of cinema seems quite interesting. Whether it is represented as successful integration or forced mariages, religious fanaticism, the Asian cultural stereotypes are obstacles to overcome to assert a British identity. Moreover, some English people do not know who they are, indeed they ended up making DNA tests to assess their level of Englishness and any legitimacy to be English, as it is explained in the TV documentary "100% English". It is striking to notice that on the opposite, these new British people of Indian or Pakistani parents, often show a clear British and English identity, which can sometimes be exacerbated and very accurately defined.

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.

In The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.

The aim of this thesis is to explore the different forms of global integration and artistic and economic performance factors in order to explain their contribution to the development of film industry as one of the &ldquo / core cultural industries&rdquo / (Hesmondhalgh, 2007, s. 12) accepted as &ldquo / the driver of local economic development at selected locations like cosmopolitan cities&rdquo / (Scott, 2004a, p. 463). In this regard, this thesis attempts to explore globalization process of film industry within different forms of integration and artistic and economic success factors for films and film companies. The main hypothesis of the thesis is that globally integrated film industry is the outcome of artistic and economic successes at film, firm, and organizational level and the function of strong local and global networks, different forms of production strategies and social network structures as well as the high level of social, human, and material capital. Thus, while film, firm and organization specific variables and their effects are tried to be examined for economic performances / human, social, and economic capitals are explored for artistic performances. For the identification of the level of global integration and artistic and economic successes for Istanbul film industry both qualitative and quantitative methods are employed together with social network analysis throughout the thesis. In this way, this thesis describes the types and levels of integration for the case study area and evaluates its relative successes gained in the domestic market with the perspective of global film market. The analyses show that it is a fast growing industry in Istanbul and has managed to succeed in global market at different levels with different strategies. However, the findings demonstrate that production organization of film industry, which is generating economic growth in domestic market / remain incapable against the changing dynamics of film industry in global market. It is still small scale industrial activity and located on the periphery of global film market. For the global integration and sustainable economic growth, it seems very difficult to maintain the existing dynamics of film production in Istanbul.

In the 1990s, the fact that Hong Kong cinema thrived in the world market, with both art and commercial films, is a theoretical anomaly. Despite its petite size and lack of government support and protection, it has survived both colonial administration and Hollywood domination. Hong Kong has a long history of prolific filmmaking, and has flourished during a decade full of challenges, and out of proportion to the size of the city and the industry. Hong Kong film is now recognized for its directors’ personal style and action aesthetic. How did this happen? How did Hong Kong filmmaking develop into an efficient system that could survive the harsh conditions of its past and thrive in the competitive environment of the 1990s? Hong Kong’s story is one of paradox and Hong Kong cinema relates that story by embracing paradox in both its industrial system and cultural ideology. This project is a formal, cultural and industrial analysis of Hong Kong cinema in its multiple contexts. Instead of replicating the Hollywood studio system or other national cinema models, Hong Kong cinema, like bamboo surviving by bending with the wind, has developed a flexible system adapted to its habitat, but that also simultaneously created a space for a unique style of filmmaking with a transnational perspective. I will investigate how the cinematic system worked, and how individual filmmakers devised tactics to both work within and push the limits of the system. I will explore what they reveal about the local condition I call “orphan island anxiety”, a deep sense of insecurity underneath the economic miracle, and a paradoxical state that people from a non-conventional nation state experience in an age of universal and normative ideas of the nation. The case of Hong Kong cinema will illuminate for us an industrial model substantially different from that of Hollywood, and a voice that was missing from official Sino-British talks, which reveals a cultural sensibility not found in either Hollywood or in Chinese national cinema. / text

Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources. / text

Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.

Thesis (PhD)--Macquarie University. Division of Society, Culture, Media & Philosophy, Department of Media. / Bibliography: leaves 391-427. / Preamble or redesigning Poland: 1989-2004 -- Introducing Polish cinema -- Of (post) transitional Polishness and film -- Of the Polish film industry, culture and criticism 1989-2004: a story in three acts -- Of nostalgia and arcadias in heritage films -- Of the People's Republic and its memory -- Of the transitional ethos -- Of (post) transitional comic relief -- Conclusion. / This thesis examines patterns of (post) transitional developments in Polish cinema between 1989 and 2004. It proposes a three-stage approach to the analysis of transitional continuities in films about the mythical Polish past, The Polish People's Republic (PRL), the contemporary reality and contemporary Polish comedies. / Mode of access: World Wide Web. / iv, 427 leaves

This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.