Suchergebnisse

Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben. ; This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

A BRIEF HISTORY OF THE USDA MOTION PICTURE SERVICE TO 1943 The US Department of Agriculture (USDA) began producing films in the early 1900s and continued for decades. Millions saw these films in a wide variety of venues, including public schools, colleges and universities, civic meeting halls, libraries, church halls, and even open fields. Over the period of several decades, from the silent-movie era through the 1950s, the USDA was a significant government filmmaking organization, touting itself to be not only the first government agency to organize a filmmaking division but also the most prolific. The USDA motion picture branch was internationally respected, and the distribution of its films was high for US government institutions, particularly in the 1920s and 1930s. The USDA showed its films practically anywhere extension workers or others could gather a small group or a large crowd. The role of the films varied,.

Annually, Hollywood loses roughly $3.5 billion dollars in revenue to optical disc piracy in Taiwan. Optical disc piracy involves the camcording or copying of motion pictures onto laserdiscs, digital versatile discs, or video compact discs. Through the U.S. Trade Representative's satellite enforcement offices in Taiwan and coordination with the Taiwanese legislature and enforcement agencies, the U.S. motion picture companies have been able to influence some change in the frequency and severity of optical disc piracy in Taiwan. This can be mainly attributed to the Motion Picture Association of America's alliance with the U.S. Trade Representative in placing Taiwan on numerous "Special 301" lists, which can have a negative effect on the Taiwan's trade relationship with the United States, public image, and ability to attract foreign investors. The reduction of optical disc piracy in Taiwan is impeded by accession to the World Trade Organization, cultural hurdles, weak domestic film industry and self interest. Nevertheless, U.S. Copyright industries can still influence change externally, by continued pressure under "Special 301"; and, internally, by incentivizing Taiwan businesses and building relationships with governmental and independent intellectual property organizations.

When James F. Nickerson took the reins as the new president of Mankato State College in July 1966, the college was rapidly expanding. It was also a time of social unrest in the United States and in Mankato. "Two Weeks in May," uses historic photos, documents, newspapers, film footage, and recorded interviews, to tell the story of the 1972 Vietnam Was student protests at Mankato State College. Years after the events Nickerson would reminisce on those weeks in May 1972 and conclude, that it was a positive reflection of the American way. It was "democracy in action." -- Back cover. A film made possible by funding provided by Library Services, Minnesota State University, Mankato. With additional funding support from the Department of English at Minnesota State Mankato, the Minnesota State Mankato Foundation, and a grant provided by Prairie Lakes Regional Art Council from funds appropriated by the Minnesota State Legislature. ; https://cornerstone.lib.mnsu.edu/university-archives-msu-authors/1423/thumbnail.jpg

Academic, trade, and popular publications commonly assert that 80 percent of motion pictures fail to make a net profit, suggesting also that the main players of the motion picture industry operate in highly volatile market conditions. More importantly, major film companies use this argument to negotiate for better terms with their production and distribution partners, to lobby for stricter copyright protections, and to argue in favor of media conglomeration as a hedge against adverse market conditions. This article disputes these assertions by calculating the full range of income that major motion pictures derive from their primary and secondary markets. It demonstrates that a large share of studio films are ultimately profitable, therefore challenging the arguments that conglomerates make with industry partners and government policy makers. ; (VLID)1566703

A letter report issued by the General Accounting Office with an abstract that begins "The Digital Millennium Copyright Act was enacted to ensure that members of actors', directors', and writers' unions were paid residuals when films were reused in television and video. GAO's analysis of motion picture industry data found that, in the three years leading up to the 1998 legislation, at most, about 2 percent of the $1.7 billion in residuals owed went unpaid. The unpaid residuals accrued when production companies did not require distributors to pay residuals upon reuse of the film. In reviewing films made under contract with an actors' union between 1996 and 1998, GAO found 771 films for which residuals had not been paid or obligations assumed. About 87 percent of these films were low-budget productions costing less than $2 million. Because these low-budget films typically generate little in the way of earnings on which residuals are based, the amount of lost residuals is relatively small. Although there has been little impact on the motion picture industry so far, the legislation could affect the profitability of low-budget films. The payment of previously unpaid residuals could increase the production and distribution costs of low-budget films, thereby diminishing the profits. However, even if the legislation caused some low-budget films to become unprofitable, gross revenues in the motion picture industry would fall by less than 2 percent. Although the legislation's impact on the overall motion picture industry may be small, some individuals working on low-budget films could experience substantial losses."

This dissertation is a study of elite efforts to master new technologies of political communication in twentieth- century China. In particular, it focuses on an unlikely pair of topics--cinema and state formation. While motion pictures are not often included in discussions of the media, they too have played a role in the creation and exercise of political power. Numerous choices have been made throughout modern Chinese history concerning the proper role of culture in state affairs. A central argument here is that propaganda activities have shaped mass media production from the moment of China's own "communications revolution" onward. Cinematic technologies --like those of the telegraph, radio, and journalistic press--were instantly appreciated for their powers to enhance political efficacy and shape mass opinion. The relentless pursuit of state prerogatives in each of these areas, partly in response to decades of foreign threat and social crisis, has creating an enduring institutional basis for centralized media management which has survived to the present day

This dissertation examines the role antitrust law played in the collaboration between the motion picture industry and the U.S. government during Franklin D. Roosevelt's presidency. It is largely an industrial analysis that incorporates legal, political, and social histories in its attempt to investigate the impact of antitrust law on the industry during the Great Depression and World War II. Antitrust law in the U.S. was relatively new when the first round of lawsuits were filed against the Hollywood studios in the 1910s, and it played a key role in the development of the business and economic structure of the industry. This study offers a basis for a more complete understanding of how antitrust shaped the motion picture industry by addressing three areas of historical specificity: first, government-industry relations during the Great Depression; second, antitrust law and its on the structure and behavior of the motion picture industry throughout the decade; and, finally, the reasons behind (1) the Department of Justice issuing a consent decree in the middle of the United States v. Paramount; (2) the subsequent creation of the Motion Picture Committee Cooperating for National Defense (later renamed the War Activities Committee-- Motion Picture Industry); and (3) Hollywood's substantial efforts to aid the government in its national defense work for the duration of the war. Ultimately, this dissertation argues that the motion picture industry's close relationship with the Roosevelt administration played a key role in its ability to stave off the commencement of government actions against them until the postwar period.

The MPPDA Digital Archives consist of a database of the extant records of the General Correspondence files of the Motion Picture Producers and Distributors of America, Inc., covering the period from 1922 to 1939. Established in 1922, the MPPDA was the trade association for the motion picture industry, and included all the major companies producing and distributing motion pictures in the United States in its membership. The association was popularly known as the Hays Office, after its first President, Will H. Hays, who remained in office until 1945. Hays was a leading Republican party politician, who resigned from President Warren Harding's Cabinet to take up the MPPDA position. After Hays' retirement, the association was renamed the Motion Picture Association of America. ; Australian Academy of the Humanities; the ANU College of Arts and Social Sciences

Abstract: The main purpose of this document to state the importance of the films not only as a cultural generator, but also as an economical and industrial engine for the Country of origin. It establishes, mainly the importance that producers and directors have to play in these two film slopes of movie business: as a culture product and as a consumption product. It shows the contribution that the 7th art has given to the United States obtaining important blockbusters and as a mean in which this Country has influenced in the values and the desires of others. We expose what, years ago, the film industry represented to Mexico during the "Golden Era" ("Epoca de Oro"), how it declined and which mechanisms are being implemented by the government to stimulate this industry. On the other hand, we give detailed information of what the Mexican film makers could do to impulse the industry. Resumen: El presente documento tiene como finalidad plasmar la importancia de los negocios dedicados a la producción cinematográfica no sólo como generadores de cultural, sino también como motor económico y empresarial del país de origen. Se establece la importancia que tienen principalmente los productores y directores de actuar en estas dos vertientes del negocio del cine: como cultura y como producto de consumo. Se plantea el aporte que han hecho en los Estados Unidos los negocios de producción cinematográfica recaudando importantes sumas de dinero en taquilla y como medio por el cual este país ha influido en los valores y deseos de los demás. Se expone lo que alguna vez la producción de cine representó para México durante su "Época de Oro", cómo declinó y qué mecanismos se están implementando para estimular a los negocios dedicados a este giro. Por otro lado, se puntualiza lo que este tipo de negocios en México pudieran hacer para impulsar la industria.

The transition of the motion picture from foreign amusement to local enterprise was primarily the result of transnational commercial activity linking investors, entrepreneurs, and entertainment professionals. Amid the ongoing urbanization of China's early Republican period, the enterprises emerging from this activity became increasingly profitable and, as a result, film production and exhibition became regularized phenomena, rooted in identifiable genres and standardized approaches to engaging audiences within the immersive space of the theater. By the early 1920s, those closest to the nascent industry were eager to legitimize its power by portraying the medium as a tool for political and social reform. However, commercial strategies and aesthetics remained relatively undisturbed despite this progressive rhetoric. In geographic terms, motion picture–related enterprises and culture remained strongly regional: affected and constrained by the non-Chinese national industries operating in politically divided China, by competing forms of local popular culture, and by existing geographies of exchange and infrastructure. The early Republican "experimental" period in Chinese cinema was, from an enterprise-centered perspective, one of numerous coexisting subnational cultural centers and zones. Keywords: modern Chinese history, Republican era (1911–1949), business history, cultural geography, Sino-foreign enterprise, media change, cinema, motion pictures (production and exhibition), film theaters, popular culture