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1

A Romanian Jew in Hollywood: Edward G. Robinson

100%
Moldovan R.
American, British and Canadian Studies Journal
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2014
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vol. 22
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issue 1
43-62
EN
The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I show that Edward G. Robinson was one of classical Hollywood’s most influential actors; for instance, traits of his portrayal of Little Caesar (one of the very first American gangster films) can be found in almost all subsequent cinematic gangster figures, from Scarface to Vito Corleone. In the same vein, the doomed noir characters he played in Fritz Lang’s The Woman in the Window and Scarlet Street are still considered by film critics today to be some of the finest, most nuanced examples of noir heroes. Therefore, the main body of my article will be dedicated to a more detailed analysis of these films, while the introductory section will trace his biography and discuss some of his better-known films, such as Confessions of a Nazi Spy and Key Largo. The present study highlights Edward G. Robinson’s merits and impact on the cinema industry, proving that this diminutive Romanian Jew of humble origins was indeed something of a giant during Hollywood’s classical era.
2
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CRISIS MANAGEMENT AND COMMUNICATION AT FILM STUDIOS IN LATVIA

100%
Steinbergs K., Cane R.
Sociālo Zinātņu Vēstnesis
|
2015
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issue 1
60-75
EN
The existence of every company, organization or even whole industry can be jeopardised by a crisis situation, which can arise due to a wide range of internal and external environmental factors. Quite often, crisis situations affect those industries and companies whose activities are largely affected by external factors. One example of such industries is the Latvian film industry, which to a great extent is dependent on the availability of public funding for making films and carrying other audio-visual projects. A substantial reduction in public financing of film industry in 2009 created a crisis-like conditions within the industry as a whole and in most of the related companies as well. This article analyses crisis management and communication in the Latvian film industry as a whole and in its individual companies. There are also statistical data analysed on the amount of public funding and its impact on the number of films made. Also the overall long-term crisis situation in film industry is analysed. In order to give an analysis of the situation in film industry companies six semi-structured interviews have been conducted. This allowed to determine the causes of the crisis, its impact on business activities of those companies, management and communication processes during crisis. The study showed that the cause of the crisis was almost exclusively not receiving of public funding by Latvian film studios and thus a failure to implement their film projects. In such situations the work of the studio manager and the internal communication are of the essence. The results of the interviews showed that such situations can be successfully overcome if there have been good pre-crisis relationships developed, reputation and good work results provided. The most important part of internal communication during a crisis is to provide open and complete information on previous work done by the company. If external communication is very important during crisis situations for the industry as a whole, then it is not so important for individual companies. It was also concluded that such crisis situations create a creative crisis, and taking into account the specifics of Latvian film studios, the studio director’s personal crisis communication replaces the crisis communication of the company. Finally, it was concluded that the Latvian film industry long-term crisis, which was resulted from the reduction of public funding could be considered as systematic failure of strategy within the industry.
3
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Analysis of state aid policy to stimulate innovation and internationalization in Lithuanian animation industry

88%
Mitkus T., Maditinos D. I.
Oeconomia Copernicana
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2017
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vol. 8
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issue 3
433-446
EN
Research background: In order to achieve systematic development and growth of creative industries, instead of its being a random process, effective cultural policy tools need to be implemented. This task is greatly burdened by the fact that creative industries are a heterogeneous concept. Evidence suggests that indirect state aid is one of the most effective ways to stimulate growth and development of audiovisual segment. Lithuanian indirect state aid case suggests that there is still a great deal of confusion and misconception with the implementation and exploitation of this tool. Purpose of the article: To analyze how effectively indirect state aid is constructed to stimulate growth and development of the Lithuanian animation industry. Methods: This paper uses two methods to gather data. The first one is a quantitative questionnaire design to evaluate the overall situation of Lithuanian animation industry. The second method involves qualitative semi-structured interviews to collect specific data about Lithuanian film tax incentive from representatives of government institutions that administrate local fiscal incentive scheme and representatives of audiovisual industries. Findings & Value added: Results show that although Lithuanian film tax incentive can be considered as a successful cultural policy tool that brought a noticeable inward investment to the local film industry and economy in general, it had no positive effect on the local animation industry. The gathered evidence suggests that indirect aid tool should be constructed with more of surgical precision for each industry, rather than a fit-for-all cultural policy tool.
4
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Studying the role of globalization in the American and Chinese film industry: A cross-cultural management perspective

75%
Rybak P.
Civitas Hominibus. Rocznik filozoficzno-społeczny
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2022
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vol. 17
101-107
PL
Głównym celem artykułu było porównanie, analiza i ocena procesu globalizacji w obu branżach filmowych poprzez ocenę sukcesu zagranicznych hitów kinowych, w tym przypadku filmów Marvela, na chińskim rynku w celu sprawdzenia hipotezy sformułowanej na początek. Wszystkie zebrane informacje pozwoliły na wyciągnięcie wniosków.
EN
The main aim of this paper was to compare, analyse and evaluate the globalization process on both film industries by assessing the success of foreign blockbusters, in this case, Marvel films, in the Chinese market in order to check the hypothesis that has been formulated at the beginning. All of the information gathered allowed conclusions to be drawn.
5
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The Role of Audience in the Turkish Film Industry

75%
Babayagmur Apa A., Balta Peltekoglu F.
Przegląd Orientalistyczny
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2022
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vol. 1-4 (281-284)
3-20
EN
According to consumer-centered marketing theories, “the consumer is the king”. As there are so many alternative brands in the market, it is vital to understand the reasons for customers’ choices. Likewise, in the film industry, the audience is “king” heaps of times. The filmmakers rely on popular genres, characters, actors, and directors to gain the target audience’s appreciation. However, when it comes to art, cultural and creative industries, implementing customer-focused strategies has caused controversy. If cinema is an art, how important should the expectations and needs of the audience be? This study addresses the audience’s role in the Turkish film industry. Following a literature review of the Turkish film industry’s history and current structure, the study interprets the audience profile and box office data using statistical analysis. The study shows that the audience has been influential in almost every period of the Turkish film industry and at every stage of the value chain, from planning to distribution.
6

The Blockbuster Biopic Bohemian Rhapsody as an Expression of Cinema / Music Synergy

63%
Radošinská J., Rusňáková L., Točená Z., Schwarz M.
Communication Today
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2023
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vol. 14
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issue 1
4-21
EN
The study focuses on Bohemian Rhapsody (2018, directed by Bryan Singer, later Dexter Fletcher), the biographical drama that reflects on the extraordinary lives and career patterns of the four members of the rock band Queen, predominantly the band’s frontman, Freddie Mercury. Given the fact that this feature film has changed the way we perceive the economic potential of biopics entirely, we offer an overview of some of the reasons why it was so successful in terms of the globalised film industry. The main objective of the study is to outline the biographical drama’s synergistic tendency in relation to the movie industry and the music business. Acknowledging Bohemian Rhapsody’s unprecedented global success, we work with the assumption that certain biographical dramas can, in fact, become globally popular, partly thanks to the fact that they utilise music as a nostalgia-driven narrative tool making portrayals of musicians deeper and more complex. The assumption is addressed via a theoretical reflection on the given topic and through a qualitative content analysis of the biographical drama Bohemian Rhapsody.
7

Kapitał niejedno ma imię… Przemysł filmowy w świecie przedcovidowym

63%
Lewicki A.
Kwartalnik Filmowy
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2021
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issue 113 Film i technologia
243-247
PL
Artykuł jest recenzją książki Marcina Adamczaka Kapitały przemysłu filmowego. Hollywood, Europa, Chiny (2020). Autor monografii opisuje w niej sposoby funkcjonowania współczesnego rynku filmowego. Książka składa się z trzech rozdziałów dotyczących: hollywoodzkiego systemu kinematograficznego, od jego początków do czasów obecnych; europocentrycznego podsystemu festiwalowego opartego na budowaniu prestiżu społecznego, kulturowego i symbolicznego; oraz wzrastającej roli Chin w pejzażu współczesnej produkcji i dystrybucji filmów. Książka zawiera też propozycje metodologiczne, które mogą być wykorzystywane w dalszych badaniach dotyczących nie tylko funkcjonowania rynku filmowego, ale również innych przemysłów kreatywnych, choć nie sposób przewidzieć, czy w świecie postcovidowym rynki te będą funkcjonowały według zasad opisanych w książce Adamczaka.
EN
Review of Marcin Adamczak’s book on the functioning of the modern film market: Kapitały przemysłu filmowego. Hollywood. Europa. Chiny [Capitals of the Film Industry: Hollywood. Europe. China] (2020). The book consists of three chapters, which describe: the Hollywood cinematographic system from its beginnings to the present day; the Eurocentric festival subsystem based on building social, cultural and symbolic prestige; and the growing role of China in the landscape of contemporary film production and distribution. The book contains also methodological proposals, which can be used in further research concerning not only the functioning of the film market, but also other creative industries, although it is impossible to predict whether in the post-covid world these markets will function according to the rules described by Adamczak.
8
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The (Restored) Practice of DEFA Co-productions with the “Normalized” Czechoslovak Film Studio in the 1970s

62%
Skopal P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2013
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vol. 13
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issue 22
189-199
PL
Po zakończeniu czterech koprodukcji, które NRD-owskie oraz czeskie studia zrealizowały w latach 1957-1965 miał okres pięcioletni okres przerwy w koprodukcyjnych przedsięwzięciach studiów DEFA i Barrandov. W czasach czechosłowackiego Nowej Fali czescy filmowcy niechętnie postrzegali współpracę z DEFA. Proces „normalizacji” po inwazji wojsk Układu Warszawskiego w roku 1968 sprawił, iż oba reżimy oraz struktury przemysłów filmowych ponownie zaczęły współdziałać. Koniec niezależnych zespołów produkcyjnych w studiach DEFA i Barrandov doprowadził do destrukcji kreatywnego otoczenia i jakości podejmowanych realizacji, miał jednak także nieplanowany efekt w postaci odnowienia współpracy koprodukcyjnej na linii DEFA-Barrandov. DEFA była zainteresowana współpracą z doświadczonymi praktykami, zwłaszcza scenarzystami. Z kolei filmowcy pracujący w studiu Barrandov – po 1968 roku pozbawieni wcześniejszych kontaktów z partnerami zachodnimi i poddani ścisłej kontroli ideologicznej – wkładali wiele wysiłku w kształtowanie projektów z NRD według własnych preferencji. Harmonizacja celów i środków szczególnie dobrze sprawdzała się w sferze filmów dla dzieci. Działo się tak dlatego, że ten typ produkcji rzadko prowadził do rozbieżnych interpretacji przeszłości pomiędzy dwoma partnerami. Dwoma dodatkowymi istotnymi powodami były: mniejsza kontrola ideologiczna, jaką zarząd Barrandova otaczał grupy dramaturgiczne pracujące nad filmami dla dzieci oraz ciągłość zatrudnienia w tej grupie od okresu poprzedzającego „normalizację”, która była w tej grupie znaczenie silniejsza niż w innych. W latach 70. oba opisywane studia miały własne motywy zachęcające do znalezienia efektywnego modelu koprodukcji.
EN
After four co-productions which the East German and Czech studios made from 1957 to 1965, a five-year hiatus in DEFA-Barrandov co-productions took place. During the Czechoslovak New Wave era, the Czech filmmakers gave DEFA the cold shoulder. But the process of “normalisation” that took place after the August 1968 Warsaw Pact invasion of Czechoslovakia put both the regimes and the film industry structures back in sync. While the end of independent production groups at DEFA and Barrandov damaged the creative environment and the quality of productions as a whole, it also had an unforeseeable effect: the revival of DEFA-Barrandov co-productions. On the German side, DEFA was interested in help from experienced practitioners, especially scriptwriters. On the Czech side, Barrandov´s filmmakers-now isolated from previous contact with western partners and under strict ideological control-strove to shape the DEFA projects they were offered according to their own criteria. There was thus a harmonization of goals and tools, which worked especially well in the sphere of children movies. This was not only because this type of production rarely crashed against divergent interpretations of the past by the two partners. There were two more important reasons as well: namely, that the dramaturge group for children’s movies was under looser ideological control by Barrandov management; and that the personal continuity with the pre-normalization era was stronger in this group than was the case for other groups. In the 1970s, both studios were motivated to find an effective mode of co-operation.
9
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Metodologiczne problemy historii powojennego dokumentu filmowego w Polsce

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
249-255
EN
The Methodological Problems of Studies on the History of Polish Postwar Documentary   The author discusses the narratives and stereotypical (ideological) point of view as a matrix for constructing an overly simple image of the Polish documentary in the postwar period (1944–1955) as shadowed in the untruth of political discourse. In Marek Hendrykowski’s opinion this particular period in Polish documentary film was much more complicated and multi perspectived (in a “dialogical” sense) as a research object posing new questions and opening new perspectives for film historians.
10
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Historia zespołów filmowych z dzisiejszej perspektywy

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2013
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vol. 12
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issue 21
341-351
EN
Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.
PL
A History of Polish Film Units from a present-day perspective Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.
11

Benshi w yoseba, czyli śladami innych cieni

51%
Świdzińska W.
Kwartalnik Filmowy
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2021
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issue 116 Kino i tożsamośc społeczna
235-241
PL
Książka Dawida Głowni Początki kina w Japonii na tle przemian społeczno-politycznych kraju (2020) przedstawia szczegółowo narodziny kinematografii japońskiej – od sprowadzenia aparatury filmowej w 1897 r. i założenia pierwszych wielkich przedsiębiorstw, takich jak Nikkatsu, po początki cenzury filmowej, ustanowionej w wyniku „skandalu Zigomarowskiego” z 1912 r. Autor ukazuje kontekst społeczny, polityczny i kulturalny powstania kina w Japonii, odnosząc się m.in. do świata ulicznych rozrywek (misemono), do których początkowo zaliczano kinematograf, a także wojny rosyjsko-japońskiej, wydarzenia stymulującego rozwój branży filmowej. Szczegółowo omówiono także genezę benshi – narratorów komentujących pokazy wczesnych filmów. Procesy opisane przez Dawida Głownię zostały zestawione z narodzinami kina na ziemiach polskich na przełomie XIX i XX w.
EN
Dawid Głownia’s book Początki kina w Japonii na tle przemian społeczno-politycznych kraju [The Beginnings of Cinema in Japan in the Context of the Country’s SocioPolitical Transformations] (2020) offers a detailed and comprehensive presentation of the birth of Japanese cinematography, from the importation of the film apparatus in 1897 and the establishment of the first major film companies such as Nikkatsu to the establishment of film censorship as a result of the “Zigomar scandal” of 1912. The author also presents manifold social, political and cultural contexts of the emergence of cinema in Japan, such as the world of street performances (misemono), which initially included the cinema, or the Russo-Japanese War, which stimulated the birth of the film industry. The origin of benshi, whose narration accompanied silent film screenings, is also discussed in detail. In the review, the processes described by Dawid Głownia are juxtaposed with the birth of cinema on Polish lands at the turn of the 19th and 20th century. 24
12

Aktorka jest od grania

51%
Kurz I.
Kwartalnik Filmowy
|
2022
|
issue 117 Kino nieznane/ukryte
210-216
PL
Na fali ruchu #metoo na planie filmowym (oraz w debacie publicznej) pojawił się nowy zawód: koordynatorka intymności. Jej zadaniem jest zapewnienie bezpieczeństwa i komfortu pracy aktorkom oraz aktorom uczestniczącym w scenach intymnych wymagających nagości lub symulowania seksu. Koordynacja (lub mediacja) oznacza również, że wysiłki te są podejmowane z myślą o artystycznych celach twórców filmu. Dyskusja na temat koordynacji intymności w filmie budzi dużo nadziei, ale też wiele wątpliwości i kontrowersji. Sygnalizują one zmiany dokonujące się w przemyśle filmowym, ujawniają długie życie pewnych przekonań i uprzedzeń, dotyczących zarówno seksualności oraz jej reprezentacji, jak i rozumienia sztuki filmowej. Autorka wskazuje niektóre z nich, dotyczące statusu aktorki i jej ciała, istoty aktorstwa oraz procesualnego i zespołowego charakteru pracy na planie. (Materiał nierecenzowany).
EN
With the #metoo movement, a new profession appeared on the film set (and in the public debate): the intimacy coordinator. Her task is to ensure the security and comfort of actresses and actors participating in intimate scenes requiring nudity or simulating sex. Coordination (or mediation) also implies that these efforts are made with the filmmakers’ artistic goals in mind. The discussion on intimacy coordination in film evokes a lot of hope, doubts and controversy. They signal changes taking place in the film industry and reveal the long life of certain beliefs and prejudices, related both to sexuality and its representations and to the understanding of the film art. The author indicates some of them, concerning the status of the actress and her body, the essence of acting, and the processual and team nature of working on the set. (Non-reviewed material).
13

On-Screen ‘Othering’ of Bilingual Speakers: Being Bilingual in English and an Asian Indian Language

51%
Škifić S.
|
2018
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vol. 66
|
issue 11: Anglica
113-130
EN
Analyses of bilinguals’ speech patterns and related cultural stereotypes as portrayed in films have become relatively frequent in recent years. This paper focuses on the nature and amount of ‘linguistic space’ provided by the film industry for the sociolinguistic presence of the ‘Other’ in bilingual contexts. It represents an analysis of films in which bilingual characters (in English and one of Asian Indian languages*) are presented. The analysis focuses on on-screen produced stereotypes about such bilinguals, immigrants’ struggles to assimilate to the English-dominant cultural and linguistic context, and patterns of code-switching between English and Asian Indian languages, i.e., contexts of usage of the two languages. The first part of the analysis focuses on identifying patterns of recurring topics in the analyzed films as they are connected with different aspects of negotiating the identity of bilinguals in English and one of Asian Indian languages. Topics related to the conflict between homeland nostalgia and traditional values upheld by first-generation immigrants and a more noticeable cultural assimilation among second- and third-generation immigrants are reflected in the extent of linguistic assimilation among different generations of immigrants. The second part of the analysis focuses on instances of code-switching, i.e., specific contexts in which English and Asian Indian languages are used, as well as factors that contribute to such instances of code-switching. Sociolinguistic analyses of the portrayal of bilinguals in English and one of Asian Indian languages in film production might partially explain the nature of stereotypes about such bilingual speakers.
PL
Analiza wzorów mowy osób dwujęzycznych oraz powiązanych z nimi kulturowych stereotypów obecnych w kinie jest stosunkowo nową dziedziną badań. Artykuł koncentruje się na naturze oraz zakresie „przestrzeni językowej”, jaką przemysł kinematograficzny może dostarczyć studiom socjolingwistycznym w zakresie analizy obecności „Innego” w kontekście dwujęzyczności. Artykuł analizuje filmy, w których występują dwujęzyczne postaci, posługujące się językiem angielskim oraz jednym z języków Indii używanym w kontekście pozaindyjskim*. Analiza skupia się na sposobie, w jaki filmowe reprezentacje wytwarzają stereotypy dotyczące osób dwujęzycznych w kulturze anglojęzycznej, takich jak trudności asymilacyjne w kulturze anglojęzycznej oraz wzorce zmiany kodu językowego między językiem angielskim a językami Indii. Pierwsza część analizy skupia się na filmowych reprezentacjach sposobów, w jakie osoby o pochodzeniu indoazjatyckim negocjują swoją dwujęzyczną tożsamość; jej celem jest identyfikacja motywów powielanych w kolejnych filmowych produkcjach. Zakres językowej asymilacji odzwierciedla bariera pokoleniowa: podczas gdy pierwsze pokolenie imigrantów cechuje nostalgia za ojczyzną oraz tradycyjnymi wartościami, drugie oraz trzecie pokolenie charakteryzuje zauważalna kulturowa asymilacja. Druga część analizy poświęcona jest zmianom kodu językowego: bada kontekst, w którym używany jest język angielski oraz okoliczności użycia języków Indii, a także analizuje czynniki mające wpływ na zmianę kodu. Socjolingwistyczna analiza filmowych reprezentacji osób dwujęzycznych o korzeniach indyjskich może przyczynić się do wyjaśnienia podłoża stereotypów na temat tej grupy osób.
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