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Focus 2024: the annual reference guide for the professionals of the film industry The European Audiovisual Observatory’s Focus – World Film Market Trends publication is a one stop shop handbook on all the trends and tendencies in the global film industry. This easily readable 66-page report gives you key statistics for the global cinema market, Europe 28 (European Union plus the UK) as well as individual country profiles. If you want to get the cinema admission figures for Spain, the price of a cinema ticket in South Korea or the top ten films watched in Brazil, then Focus is for you! The European Audiovisual Observatory produces a new Focus report each year in May for the Cannes Marché du Film. It is distributed to all Film Market participants as a must-have information resource. And now you too can get it! What are the latest trends in the global film markets? What films are we watching? Get Focus 2024 and find out!
Focus 2023: the annual reference guide for the professionals of the film industry The European Audiovisual Observatory’s Focus – World Film Market Trends publication is a one stop shop handbook on all the trends and tendencies in the global film industry. This easily readable 68-page report gives you key statistics for the global cinema market, EU28 (European Union plus the UK) as well as individual country profiles. If you want to get the cinema admission figures for Spain, the price of a cinema ticket in South Korea or the top ten films watched in Brazil, then Focus is for you! The European Audiovisual Observatory produces a new Focus report each year in May for the Cannes Marché du Film. It is distributed to all Film Market participants as a must-have information resource. And now you too can get it! This edition carries an Iberian breeze because it comes in the year of the Observatory’s Portuguese Presidency and because we brought Spain, the Country of Honour of this year’s Market, to the stage for the launch event.Get Focus 2023 and find out!
This book reviews the development and performance of the global film industry during the COVID-19 pandemic and examines new trends in film production, distribution and consumption through a global lens. The COVID-19 pandemic has had a substantial impact on the global film industry since the beginning of 2020. There has been significant transformation in terms of film production, distribution and consumption. Hollywood, like many national cinemas across the globe, has suffered the most significant impact at all levels: the interruption of new film productions, shutdowns of movie theatres in many countries and delays in the release of new films, among them. Many movies made for cinemas were forced to move from release in theatres to various streaming platforms, and nontraditional production companies continued to grow their market share. This book places the global film industry in a post-Pandemic context. It provides detailed analyses of specific systems of film production, distribution and consumption in national cinemas, as well as in Hollywood, while also engaging with the key theoretical and methodological questions from the film studies literature. This volume is a critical reference for students and scholars of film studies and general readers who are interested in the new trends and transformation of the global film industry in a post-pandemic era. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions from across the continent to explain why viewers are attracted to particular European films, nationalities, and genres, including action-adventures, family films, animations, biopics, period dramas, thrillers, comedies, contemporary drama, and romance. It also examines how these films are financed, produced, and distributed, how they represent Europe and other Europeans, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, Asterix & Obelix: God Save Britannia, and Sammy’s Adventures: A Turtle’s Tale to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, The Girl with the Dragon Tattoo, Intouchables, The Angels’ Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can sometimes improve people’s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. While some popular European arthouse films explore a wider range of nationalities, social issues, and historical events, these mainly appeal to urban-dwelling graduates. They can also sometimes accentuate tensions between Europeans instead of bringing them together. The book discusses what these findings mean for the European film industry, audiovisual policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film.
This book provides an overview of recent and current research which defines and scopes the field of responsible marketing in one single edited book. It brings together diverse perspectives from contributors at Birmingham University, leading the academic development of knowledge of the subject, to contribute to the learning curriculum and reach out to those interested in improving marketing practices and standards. Responsible Marketing for Well-being and Society draws together a rich and diverse body of scholarly research from a variety of perspectives from individual to global, macro and micro, producer and consumer, environmental, stakeholder, supply chain, and other intermediary viewpoints. The embryonic research in this field involves different philosophical and methodological positions, theoretical approaches, and research communities including aspects of corporate social responsibility, marketing ethics, critical marketing, consumer culture theory, and macromarketing. The book takes a predominantly organisational or enterprise-level perspective in order to understand and explain how individuals and organisations can manage their marketing activities and relationships responsibly. The actions of other stakeholders are also a crucial component in achieving responsible outcomes; therefore, a broader perspective on the impacts of marketing decisions and actions on other stakeholders, such as consumers, employees, the environment, and society, is also taken as a basis for analysis and discussion. The book provides an authoritative overview for the academic market, including university libraries, research teams, PhD students, and independent researchers. The topics and contents of responsible marketing are relevant to several disciplinary fields of study including, marketing, advertising, retailing and other business subjects, consumer studies, sustainability, ethics, public policy, media studies, psychology, economics, and other social sciences.
This book explores how modern Russian cinema is part of the international information war that has unfolded across a variety of battlefields, including social media, online news, and television. It outlines how Russian cinema has been instrumentalized, both by the Kremlin's allies and its detractors, to convey salient political and cultural messages, often in subtle ways, thereby becoming a tool for both critiquing and serving domestic and foreign policy objectives, shaping national identity, and determining cultural memory. It explains how regulations, legislation, and funding mechanisms have rendered contemporary cinema both an essential weapon for the Kremlin and a means for more independent figures to publicly frame official government policy. In addition, the book employs formal cinematic analysis to highlight the dominant themes and narratives in modern Russian films of a variety of genres, situating them in Russia’s broader rhetorical ecosystem and explaining how they serve the objectives of the Kremlin or its opponents.
The International Film Business examines the independent film sector as a business, and addresses the specific skills and knowledge it demands. It describes both the present state of the industry, the significant digital and social media developments that are continuing to take place, and what changes these might effect. The International Film Business: describes and analyses the present structure of the film industry as a business, with a specific focus on the film value chain discusses and analyses current digital technology and how it potentially may change the structure and opportunities offered by the industry in the future provides information and advice on the different business and management skills and strategies includes case studies on a variety of films including The Guard (2011), The King’s Speech (2010), The Best Exotic Marigold Hotel (2012), Cloverfield (2008), Pobby & Dingan (aka Opal Dream, 2005), Confessions of a Dangerous Mind (2002), The Reckoning (2002)and The Mother (2003), and company case studies on Pixar, Renaissance, Redbus and Zentropa. Further case studies on films that failed to go into production include Neil LaBute’s Vapor and Terry Gilliam’s Good Omens. Taking an entrepreneurial perspective on what future opportunities will be available to prepared and informed students and emerging practitioners, this text includes case studies that take students through the successes and failures of a variety of real film companies and projects and features exclusive interviews with leading practitioners in all sectors of the industry, from production to exhibition.
The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional production companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a "big picture" view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world.