Suchergebnisse

ABSTRACT Understanding the dynamics of Turkish movie market in a historical perspective will underline the reconsideration of micro dynamics like audience. The study gives market feedback to each related parry in the movie industry, brings into open market issues, and therefore contributes to market information sources where there isn't an organized academic study. The study also covers strenghts of American movie market along with the changing dynamics of Turkish movie market. Having implemented movie market industrilization and shifted to market globalization, American movie market has a lead role in world movie markets, and it contains a useful source of information in terms of its macro environment and marketing mix. The success of this market lies in its strenghts such as, high level of specialization and building a strong national and international distribution network which allowed for high budget and volume of motion picture production. The thesis focuses on relative impact of micro environmental and macro environmental dynamics of Turkish movie market over producers, distributors and exhibitors, along with defining the strenghts and weaknesses of changing market structures. Micro environmental factors such as, production orientation, marketing orientation, financial sources and each party's perception of audience are analysed. In addition, economical, governmental, legal, technological, international and socio-cultural factors are analysed within the macro environmental framework. uThe field survey was conducted with a structured-qualitative questionairre administered to S producers, S distributors and S exhibitors by convenience sampling method, and it consists of open-ended questions

Comme le montrent la condamnation par l'Organisation mondiale du commerce (OMC) des règlements audiovisuels de la Chine et l'accord de libre-échange entre la Corée du Sud et les États-Unis, la conquête des marchés cinématographiques asiatiques reste un enjeu économique considérable pour les États-Unis et Hollywood. D'ailleurs, l'ouverture du marché cinématographique chinois illustre une défaite paradoxale de la Convention sur la diversité des expressions culturelles (CDEC). Le système chinois quasi-imperméable tend à s'ouvrir de plus en plus aux produits audiovisuels non nationaux grâce au principe du libre-échange, tandis que, jusqu'à présent, les Parties à la CDEC souhaitaient privilégier le consensus politique plutôt que dénoncer des politiques culturelles strictes qui interdisent les échanges culturels équitables. ; Peer reviewed

The emergence of the mass market as a concept ordering distinctions in urban space is investigated through newspaper reporting and promotion of early movie‐going in Toronto, 1907–1916. The analysis builds upon a revision of Chicago Sociology's text on The City, shifting the method and theoretical weight to rest more on Park's Natural History of the Newspaper than Burgess' Growth of the City. The metropolitan newspaper is both document and agent of urbanization, and is used here to describe how modernity was grounded in mass culture. The newspaper provides a sensible version of urban living for city dwellers, a map or menu of the city's rhythms and spaces. Specific to the movies, there is a shift from journalism to promotion, from trying to understand the audience to letting advertising for ever‐changing film titles stand in for the urban practice. In particular, the brief fad of serial films with accompanying stories in newspapers perhaps marks when a mass audience was first assumed. Serial films provided an umbrella text to explicitly show how the variety of spaces, times, prices, and classes of audiences encompassed a common practice, a mass practice.

Abstract
Movies are often viewed as important tools to promote cultural communication. Many international moviegoers and researchers endorse Chinese movies as authentic representation of traditional Chinese history and culture. However, in this era of commercialism, movies are often produced as commercial products to win the maximum profits at global market; thus, the history and culture in Chinese movies are often reshaped and reconfigured to meet the taste of foreign moviegoers. This paper uses Judou (1990), Inkstone Bed (1995) and Crouching Tiger, Hidden Dragon (2000), three movies shot in Huizhou, a land known for its profound traditional culture, as a case study to explore how and why traditional culture is reshaped and reconfigured. The results show that those three movies diverge from traditional culture in one way or another. The distortion or stigmatization of Huizhou culture in Judou and Inkstone Bed caters to global audience's preconceived notion of a corrupted and chaotic "ancient China." Crouching Tiger, Hidden Dragon transcends local settings to address cross-cultural and multinational themes. With a diversity of cultural elements hybridized and well-attuned, it sets a good example for Chinese movies to win global recognition and commercial success worldwide.