Film Industries

This paper examines Wes Craven’s Scream 4 (2011) as a testament film that philosophises about creative death: the process by which artistic works face exhaustion, inauthenticity, and the impossibility of renewal. Released four years before Craven’s death in 2015, the film uses the resources of the slasher and its sequel culture to meditate on what it means for a creative work to die. I argue that Scream 4 conducts this investigation through characteristically cinematic means, such as its metatextual architecture, the progressive collapse of the franchise’s reality across four films, the figure of Jill Roberts as an embodied reboot, and its construction of creative death as something that cannot be reversed through the mechanisms commercial culture makes available. The paper also situates this argument within the broader question of film as a medium for philosophising about death, drawing on Craven’s own account of what horror films are for.

Keywords: Scream 4; Wes Craven; creative death; slasher; film as philosophy

Entre 1951 y 1961 España experimenta una apertura internacional que
se traduce en un notable incremento de las coproducciones. Esta nueva etapa pone de manifiesto la fragilidad del tejido industrial cinematográfico español que obliga a muchos directores a asumir también el papel de productores para poder llevar a cabo sus filmes. Esta reestructuración del sistema de producción impulsa un desarrollo en el conjunto de la misma (Sánchez Noriega, 2018, p. 383). Los años cincuenta constituyen una década fundamental en la historia del cine español, marcan el surgimiento de figuras cuya creatividad y profesionalismo sentaron las bases sobre las que se consolidará buena parte de la cinematografía nacional posterior. Como reconoce Luis García Berlanga, tras una primera etapa dorada durante los años anteriores de la guerra civil, la década de 1950 representa un segundo momento de gran calado, aunque profundamente condicionado por «la ceguera de la censura propia de un régimen que se niega a evolucionar en su entorno histórico-geográfico» (Cobos, 2000, p. 65). Desde una perspectiva técnica objetiva, este periodo aúna excelentes profesionales en la fotografía, la decoración y la interpretación.
Destacan directores de fotografía como Manuel Berenguer, cuya obra muestra una marcada influencia del cine norteamericano (Borau, 1998, p. 133) y Alfredo Fraile, con cierta tendencia académica, pero con una notable unidad de estilo (Borau, 1998, p. 375). Ambos evidencian una sensibilidad visual refinada y una sólida formación técnica. Paralelamente, se afianzan infraestructuras industriales, como los estudios de rodaje, concebidos como centros de producción estables, siguiendo el modelo de los grandes estudios estadounidenses. Destacan IFI en Barcelona, y Sevilla Films, CEA o Roptence en Madrid, muchos de ellos equipados con salas de montaje, sonorización y laboratorios de revelado, lo que permitía concentrar todo el proceso de la producción cinematográfica en un único espacio (Valero García, 2017).

This article explores which trade-related policies are effective – that is both economically and culturally sound – to promote the film industry that has recently been highlighted more due to its prominent political, economic and cultural dimensions. By examining the trade-related policies of nine major countries for their film industries over the last forty years, several important findings are extracted which contribute towards a more pragmatic debate on ‘trade and culture’. First, regulatory barriers such as import or screen quotas should be avoided at all costs since they do not protect the domestic film industry. Second, tax relief schemes are unreliable because they tend to offer excessive support to attract foreign film producers. Third, as a choice to be considered, subsidies should be kept reasonable in size and focus on consistent goals. Fourth, well-designed trade agreements can contribute greatly to enhance film policies. Finally, once combined, these results explain to ...

There are voices in France advocating for a Korean-type screen quota system, seen as a key ingredient in the success of the Korean film industry. At the same time, there are calls in Korea for a French-type subsidy regime to be implented as a way to achieve a further take-off. This paper shows that the Korean screen quota has little correlation with Korea’s success. For the French case, its huge subsidies have had no impact on improving the attractiveness of French movies domestically. The paper concludes by suggesting that an in-depth analysis of the policies pursued by the two countries is crucial toward avoiding a too costly trial-and-error process when designing policies related to cultural industries and culture.

This offprint reproduces an entry originally published in Film Atlas. It examines the Techniscope widescreen process developed at Technicolor Italiana in Rome and its role in reshaping Italian and international genre cinema between the 1960s and 1970s. Combining industrial history, film technology and stylistic analysis, the text explores the format’s impact on spaghetti westerns, giallo cinema and New Hollywood filmmaking.

This course is an interdisciplinary seminar addressing the history, business, and cultural reception of media franchises. As the foundation of the course, we will distinguish between transmedia (i.e., expanding upon a single narrative across media) and multimedia (i.e., retelling the same narrative across media). Based on this distinction, we will analyze how artists, organizations, and audiences have adopted these storytelling strategies in the United States and around the world. Our analysis will be grounded in a series of critical readings taken from film studies, media studies, cultural studies, and adaptation studies. These methodologies and perspectives will guide discussions around questions such as: How have dominant approaches to franchise storytelling-including adaptation, expansion, and remixing-developed over time? How do these approaches compare across national cultural industries? How do different technologies affect the production and reception of transmedia franchises? What determines authorship in networked franchise production? To what extent do audiences shape the development of transmedia franchises? We will approach these questions and others through case studies of franchises across cinema, literature, comic books, television, and video games.

This course will examine the films and television work of Spike Lee, exploring his career as a master director whose output forms a major intervention in the politics of racial representation on screen and off. The class will embrace several methodologies to examine Lee’s career. Guided by theoretical, critical, and historical readings, we will analyze the various aesthetic and narrative means Lee has employed to interrogate racism and how his screen work has represented the complex intersection of race, class, gender, and justice in the U.S., while foregrounding the African-American experience and thought in groundbreaking ways. We will have weekly screenings and counterpoint Lee’s feature films, like Do the Right Thing (1989), with his nonfiction work, like 4 Little Girls (1997). Along the way, we will explore his originality that often defies established categories of/in filmmaking, not only in terms of genre, but also in complicating notions of independent vs. studio, New York vs. Hollywood, comedy vs. drama, and explore how Spike Lee has inspired, influenced, and sponsored other filmmakers.

Apesar das relações internacionais terem um campo de estudo muito extenso, uma
área pouco desenvolvida por ela é a área da cultura. A cultura além de se configurar como um direito, também é vista pelo sistema internacional como uma forma de controle social, a partir da mudança do cenário internacional a uma maior integração. Contudo, ao vivenciarem as negligências dos Estados, grupos minoritários reverteram suas vivências a um movimento artístico, esse movimento é usado como plataforma de política de exposição ao suas dinâmicas, a fim de procurar visibilidade e mudanças, porém ao se tornar um viés político, se relaciona com o Soft Power, se tornando um Soft Power, que se desvincula da narrativa hegemônica da Indústria Cultural, forma de controle utilizada pelos Estados. Assim, utilizando fontes teóricas como Adorno, Horkheimer, Nye muito presentes nos estudos das relações internacionais, se constrói o presente trabalho, porém com a delimitação ao escopo geográfico da América Latina.

Este artículo examina la particular dedicación, participación y representación de las mujeres en el cine chileno e internacional a partir del Festival Internacional de Cine de Valdivia, FIC Valdivia 2006, desde una perspectiva semiótica inspirada en los postulados de Eliseo Verón. Se analiza la contribución de Lucía Carvajal Berland y Músia Rosa, quienes elaboraron una clasificación fílmica basada en reseñas del crítico Mariano Silva, orientada a profundizar en el conocimiento del lenguaje cinematográfico. Asimismo, se incorporan entrevistas realizadas por Carvajal a destacadas figuras femeninas del cine nacional

A Culture is a set of spiritual and material values which
respond to the sum of existential problems, which, starting
from the acquisition of food, arrive at the creations of art.
And Cinema is the highest form of art as it closely
resembles life. Relying on the assumptions of Mrinal Sen,
Godard or decisions of Syberberg or Bela Tarr, we can
assume that Cinema is facing its destruction. Therefore, the
various cultures associated with watching Cinema which
sprang up in response to unique stimuli throughout the
world, are on the verge of extinction.
Similarly, an entire movement in film history has been
neglected repeatedly by the academic circles, branded as
“crude” and “vulgar”, and their contribution has been
blissfully overlooked. Neither of these films are properly
cataloged or preserved. An entire history is on the verge of
extinction, as they were never recorded.
This dissertation primarily focuses on the specific impact of
Bengali Cinema in shaping a body of audience in rural West
Bengal roughly spanning from late 1970s till the early
2000s. Further, it will discuss the neglect it received in the
urban sectors, but despite the resistance, it profoundly
contributed to the emotional demands of people.

This article explores the post-apartheid Afrikaans film industry. Afrikaans is one of the eleven official languages of South Africa and boasts a thriving film industry. The authors argue that Afrikaans language cinema was in a privileged position during Apartheid because of the government's then manipulation of ethnic, racial, and cultural identities through subsidies and audience segregation. However, in the post-apartheid era Afrikaans filmmakers had to transition to and found new ways of creating a filmmaking identity and style while carrying the baggage of being the former oppressor’s language. The intricacies of the Afrikaans language and its status as a minority language are mirrored in the Afrikaans film industry, a dimension that warrants deeper examination. Despite the challenges faced by the Afrikaans language, the Afrikaans film industry has remained buoyant, thanks in large part to corporate funding. Corporate sponsors have demonstrated a commitment to supporting the industry by funding numerous film projects. In this article, we will delve deeper into the symbiosis of the Afrikaans language and its film industry and explore the pivotal role of corporate investment in keeping the Afrikaans film industry thriving. Drawing on the authors’ reflections and insider perspectives from the industry, combined with open-ended interviews with key role players, the article documents how filmmakers and institutions navigated a challenging environment, adapting to and resisting the forces of modernity and the residual influence of Apartheid on the Afrikaans industry.

This paper examines the evolution of digital platforms serving specialized service sectors in satellite cities. Focusing on the Moscow Region (Balashikha), we analyze how local aggregators structure user data to reduce information asymmetry. The study highlights the role of specialized portals in establishing a trust-based digital environment within localized urban economies.

India's World provides a platform for incisive, analytical, and thought-provoking discussions on India's role in international affairs. Our mission is to give voice to Indian perspectives on international issues, fostering debates and discussions that reflect India's growing influence in the world. Each issue is carefully curated, featuring contributions from leading thinkers, academics, policymakers, and journalists. The magazine is a trusted source for those looking to understand the complexities of international politics, economics, and diplomacy from an Indian viewpoint. Our logo is inspired by the mandala architecture of the Borobudur Temple in Central Java, Indonesia, an architectural marvel symbolising the brilliant outcome from the deep philosophical and spiritual interaction between India and the world around it. ENDORSEMENT "India's World provides an excellent platform that explains India's global engagement, values and national interest in a contemporary world order that is at a critical inflection point.

Con este ensayo realizo un ejercicio doble. Por una parte, hago una reflexión sobre la actividad de los comités de selección de los festivales ,en este caso del Festival Internacional de Cine en Guadalajara (FICG). Por otra, ligado a lo anterior, pretendo indagar en el caso de los cortometrajes que concursan para ser seleccionados, y que por sus condiciones de producción y el número considerable de obras que participan fungen como termómetro social, es decir, como indicadores de fenómenos, temas y acontecimientos que afectan a la sociedad en un periodo específico y se filtran principalmente en estas representaciones de corta duración. Finalmente, me interesa ver cómo de alguna manera los tratamientos de estos temas atienden a ciertos modelos estéticos.

The government institutions of Spain and Brazil signed a first agreement on cinematographic co-production in 1963. This agreement remained unchanged until 2008, when ICAA and ANCINE ratified a new bilateral agreement. Furthermore, both countries belong to CACI, promoter of some international agreements and conventions to help stimulate the creation of an Iberoamerican audio-visual space. The main example of their activities is programa IBERMEDIA. The results of these bilateral or multilateral agreements are a number of Spanish-Brazilian productions. This paper aims to compile these co-productions in order to prove the efficacy of the public policies that help the cinematographic co-production.

Samarendranath Pandey (1950s-80s) was a name that resonated with the common people. The man reached us via his fictional detective, Dipak Chatterjee, created under his pen name Swapan Kumar. The stories by him still remain a matter of 'dispute' in most Bengali households especially in an era dominated by Mass Media. Unlike other fictitious sleuths, Dipak was different in himself. Highly inspired by "westernized" culture. Swapan Kumar's tales were pathbreaking. It is no wonder that it found a place in the pulp fiction category. For the very first time, readers in Bengal witnessed a detective like Dipak. He was more of a super-hero than a common man. Swapan Kumar's tales were action-driven, not rooted in realistic investigation. It is through this paper that I have tried to paint the character of Dipak-kind of a Gen-Z sleuth in the light of contemporary society where people have already witnessed the craze of an 'Avengers', Marvel, DC superhero. The paper also examines the relevance and extent of his mass appeal in contemporary society.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow 'feel good' movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who 'prefer' arthouse and foreign language film have slightly more constrained socioeconomic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

This review examines 32 New Takes on Taiwan Cinema, edited by Emilie Yueh-yu Yeh, Darrell William Davis, and Wenchi Lin, highlighting its contribution to expanding the study of Taiwan cinema beyond the canonical focus on Taiwan New Cinema. By analysing thirty-two films from 1963 to 2017 across diverse genres and historical contexts, the volume demonstrates the richness and diversity of Taiwan’s cinematic heritage while raising important questions about the meaning of “national cinema” in Taiwan’s complex political and cultural landscape.

Although the period from cinema's first advent in Japan in the late 19th century through the rise of talkies in the 1930s is called the "silent" (musei) era, cinematic sounds actually proliferated during that time. However, as talkies gradually came to dominate the Japanese film industry, producers pursued the synchronization of screen images and on-screen sound, eliminating the need for benshi and minimizing non-diegetic sounds in the exhibition of films. I explore the transformation of the concept of cinematic sound during the transitional period from the silent cinema era to the talkie era, and examine how this transformation created a new soundscape and a different concept of the social and epistemological space for the audience to experience cinema as modern mass media. I argue that the transformation of soundscape and sound practice in and around film theaters constructed a new cinematic soundscape and reformulated audiences' audiovisual experience.

Los ecos violentos del progresivo desgarramiento de los telones simbólicos, cuyos semblantes aparentemente nos mantenían protegidos, en estos aciagos días parece que patéticamente restringen las vías de tramitación del nefasto panorama criminal. Sí, porque absurdamente la reiteración escandalosa de la violación a los derechos humanos le ha restado carga significativa a las zonas nudas en las que se impone la ley del más fuerte, del más poderoso o ¿del más corrupto? Grupos hegemónicos y la desatada narcocultura acuñan una retórica inaudita que hiere a la vapuleada Matria. Así, sin reparo pasamos de los encabezados morbosos al obsceno espectáculo de la crueldad, que ya no se contenta con el simulacro, sino que exige la transmisión hiperrealista que sacie la pulsión escópica del voyerismo catalizado por el efecto redes sociales. A lo que se agrega el maniqueísmo cyberpunketo de los algoritmos. En tal dinámica viciosa recursiva, la serpiente depone y devora cíclicamente sus desechos. Rechazamos categóricamente la heterotopía impune. No a la necroeconomía de la masacre que capitaliza el terror con sus narrativas de abandono. No más caos como mecanismo de sometimiento. Pues, esta circunstancia de excepción mina la paz personal y colectiva.

Gli elementi di continuità tra fi lm e viaggio sono innumerevoli e ci attraggono, toccano le nostre corde e arrivano al nostro immaginario tanto più incisivamente quanto più siamo capaci di condividerne il valore intangibile. Un fi lm è un viaggio breve che può però accompagnarci per tutta la vita e diventare parte signifi cativa del nostro vissuto. Un viaggio, esperienza di altro luogo, ritorna come fi lm nella nostra memoria e si rinnova. Una produzione audiovisiva può valorizzare una città, un ambiente, e favorire il collegato sviluppo di interesse e turismo. Ed è vero anche che i luoghi di ambientazione possono essere elementi di forza per un fi lm. Si tratta, tuttavia, non di condizionare il cinema alla valorizzazione dei luoghi o viceversa ma di tenere presente, a tutti i livelli, la sinergia positiva che un coerente progetto artistico può sviluppare, il circuito positivo di reciproca valorizzazione fi lmluogo che una produzione attenta può avviare. La giornata di studio, organizzata e coordinata con passione da Enrico Nicosia, ha permesso di affrontare l'affascinante tema della città di celluloide

El trabajo documental de Bettina Perut e Iván Osnovikoff, aunque muy heterogéneo, se ha caracterizado por enfatizar el mundo exterior -el del paisaje, los animales y los fenómenos naturales-en tensión con el mundo interior. Pensemos, por ejemplo, en las casas de las comunidades aymara en el desierto de Atacama en Surire (2015) o los mandriles en el zoológico de Santiago de Noticias (2010). El estilo observacional de los directores se resuelve en panorámicas de paisajes, largas secuencias sobre ciclos naturales, primeros © Todos los derechos reservados 2018 -Revista Otra Parte.

This report provides an evidence-based roadmap for adopting data standards that raise the effectiveness and competitiveness of Europe’s film industries. It focuses on standards that reduce friction across production, distribution, and cross-border collaboration, with special attention to ease of uptake for SMEs and small-country markets. The recommendations align with the EU’s data policy direction – Data Governance Act, European data spaces, eIDAS 2 – and with the CresCine objective to turn Europe’s cultural diversity into a market advantage.

Le sale cinematografiche di provincia sono state a lungo tra i luoghi preferiti dagli italiani per trascorrere il proprio tempo libero. Diverse dai cinema urbani, erano spesso non commerciali, politicizzate, polifunzionali e temporanee. Il volume ne ricostruisce la storia, finora trascurata, dalle origini al boom dei consumi mediali prendendo come caso di studio quello della Lombardia e ponendo particolare attenzione a tre periodi storici: la nascita della sala cinematografica permanente, il periodo del fascismo dominato da enti parastatali come l’Opera nazionale del dopolavoro (OND), la modernizzazione dei locali nei primi anni Cinquanta. Adottando l’approccio della New Cinema History, che combina analisi quantitativa e sguardo microstorico, la trattazione si muove dal centro alla periferia e viceversa, e si snoda tra centri decisionali nazionali (governo, partiti, associazioni di categoria) e comuni di piccole e medie dimensioni avvalendosi di un ricchissimo apparato di dati e fonti d’archivio.

Príspevok k dokumentárnemu filmu za rok 2019. Jelena Paštéková (ed.): Slovenský film v roku 2019. Zborník hodnotiacich príspevkov z Týždňa slovenského filmu 2020. Bratislava: Slovenský filmový ústav, Slovenská filmová a televízna akadémia, Vysoká škola múzických umení v Bratislave 2021 - ISBN 978-80-85187-85-4

Príspevok k dokumentárnym filmom vyrobeným v roku 2023.
In: Jelena Paštéková (ed.): Apropo – Slovenský film v roku 2023. Zborník hodnotiacich príspevkov z podujatia Týždeň slovenského filmu 2024. Bratislava: Slovenský filmový ústav 2024 - ISBN 978-80-69059-05-04

This book examines the evolution of the Korean film industry, presenting a comprehensive account from the early days of experimental screening to its current period of attracting increased foreign investment. Exploring the Korean film industry's troubled past, this book covers occupation, civil war, authoritarianism, globalisation, and the continued uncertainties amidst geopolitical competition. It differs from other existing works by connecting the development of the Korean film industry to the country's international relations. Furthermore, it considers what impact this had on the industry itself rather than just on the content of the films produced. With such an approach, this book reveals the background and reasons for its achievements, ultimately providing an inspiring example of global success and an applicable benchmark for other film industries seeking their own international breakout. By offering fresh insights and new information linking the past and present of the Korean film industry, the book serves as a useful companion to scholars of cultural studies, business history, Korean studies, and globalisation, even if they may not be familiar with the specifics of this dynamic industry. Moreover, this book can serve as a valuable reference for shaping the roadmap of audiovisual sectors-including the film industry-toward a promising future.

Result of the merger in 1973 between Spes and Tecnostampa, the two most important Italian film development and printing societies, Technospes constitutes a complex case study to re-investigate the deep crisis that subverted the cinematographic industry since the 1960s, shifting the focus from socio-cultural to techno-industrial dynamics. In the rapid decline of Technospes during the 1970s, one can read not only the epilogue of two great protagonists of the technical history of Italian cinema, but the emergence of new material and technical needs and patterns that marked the audiovisual industry of the late 20th century. The factory—to be understood as a site of aggregation as wells as an urban building, an infrastructure, and a set of costs—is the place in which resonates the most the collapse of the old system and the emerging of new industrial criticalities (safety rules, maintenance costs, technological updates, production flexibility).

The Treaties of Rome of 1957 were a turning point in European history. Due to its characteristics, the movie industry oscillated between enthusiasm and panic in dealing with the new techno-normative scenario: on the one hand, the potential of greater cooperation, circulation, and financing; on the other on, the renunciation of protectionist policies. Given the importance recognized in the change of scenario and assumed the initial lack of understanding of the European institutions toward the film sector, the main national associations of the film industry had to consolidate and intensify their relationships. In particular, the Italian anica and the French fncf acted as driving forces for the establishment of new associations not only at the European level but also globally, to act as spokespersons for the needs of the industry. In a few years, the Comité des Industries Cinématographiques Européenees and the Bureau International du Cinéma were born. Both became collectors of multiple inner associations and, far from being empty shells, these organizations carried out assiduous techno-diplomatic efforts and established a constant dialogue with the European Parliamentary Group for Cinema, to achieve a balance between the directives of the Common Market and the needs of the sector. This contribution aims to reconstruct, also through detailed documentation from the Anica archives, the dawning phases of this decisive, but still largely unexplored, institutional turning point in the European media field and which constitutes the first important step toward the transnationalisation of the audiovisual industry.

Through twelve exemplary case studies, this edited collection investigates the role played by Italian cinema in disseminating a new culture of consumption between 1950 and 1973. Owing to the continued centrality of film in the media experience of Italians, the cinema of the golden age of capitalism can be seen as a powerful commercial lever. While elsewhere the economic miracle coincided with the rise of television, in Italy the combination of public support for film production and political containment of broadcasting allowed the film industry to maintain a significant sphere of influence, not only as a vehicle of cultural content but also—thanks to the amplification of the popular press—as an interpreter of the country’s social and cultural transformations.
Contributors: Agnese Bertolotti, Claudio Bisoni, Dorothea Burato, Laura Busetta, Marco Cucco, Gloria Dagnino, Angelo Pietro Desole, Federico Giordano, Anna Masecchia, Eugenia Paulicelli, Eleonora Sforzi, Federico Vitella, Martina Zanco.

Attraverso dodici casi di studio esemplari, il volume esplora il contributo offerto dal cinema alla diffusione della nuova cultura dei consumi in Italia tra il 1950 e il 1973. In ragione della persistente centralità del prodotto-film nell’esperienza mediale degli italiani, il cinema dell’età d’oro del capitalismo appare come una potente leva commerciale. Se altrove il miracolo economico coincide con l’ascesa della televisione, in Italia la combinazione tra sostegno pubblico alla produzione e contenimento politico del broadcasting ha permesso all’industria cinematografica di mantenere un’influenza rilevante non solo come veicolo di contenuti, ma anche, grazie all’amplificazione della stampa popolare, come interprete delle dinamiche sociali e culturali del tempo. Con saggi di Agnese Bertolotti, Claudio Bisoni, Dorothea Burato, Laura Busetta, Marco Cucco, Gloria Dagnino, Angelo Pietro Desole, Federico Giordano, Anna Masecchia, Eugenia Paulicelli, Eleonora Sforzi, Federico Vitella e Martina Zanco.

Guadalajara ha sido un espacio propicio para la producción cinematográfica desde la llegada del cine a México. Este artículo analiza cómo los realizadores de óperas primas, a partir del año 2011, han buscado integrarse al campo cinematográfico transnacional. Se examinan sus condiciones estructurales y subjetivas por medio de la teoría de los campos de Bourdieu y las tácticas de Certeau. Mediante revisión documental y entrevistas semiestructuradas, se identificó una aportación incipiente al campo desde una cinematografía local en formación, misma que enfrenta desigualdades estructurales frente al centro del país, lo que dificulta una incorporación estratégica de los debutantes del interior.

This conceptual article explores how the film sector within the creative industries contributes to sustainable development and the achievement of the Sustainable Development Goals (SDGs) in post-socialist and postcolonial cities. It develops a framework linking the creative industries to the SDGs and applies it to the film sectors of Łódź (Poland) and Mumbai (India). The analysis shows how film production supports the environmental, social, and economic pillars of sustainability by fostering social inclusion, strengthening urban economies, and promoting environmental responsibility. The study also highlights the sector's role in advancing green production practices and raising public awareness of sustainability issues. Overall, the analysis demonstrate that the film industry contributes to sustainable urban transformation, illustrating how cities can leverage their cinematic heritage to build cultural resilience, stimulate local development, and enhance social well-being.

The latest technological developments continually affect all fields, including through the implementation of
augmented reality (AR) in media broadcasting. The use of AR can improve the public image of
broadcasting and allow international, national, and regional information and stories to be presented
impressively and effectively. Furthermore, AR will allow presenters to interact with television stories
through a three-dimensional (3D) virtual environment as well as provide the viewer with rich information
about the world. However, undergraduate media departments at most universities in Jordan are still
teaching news presentation in basic newsrooms. Therefore, this paper presents an experimental
collaboration between the Television Department and Animation & Multimedia Department at the
University of Petra; an AR virtual studio and 3D computer graphics animation were used to teach
performance skills to students who aim to become television news anchors after graduation. This
experimental research provides students with a new approach and tool for storytelling, including
techniques to deal with technological evolution in the media field. This paper evaluates the impact of
employing virtual worlds in newscasts as an effective method of education delivery for Jordanian students,
and also offers suggestions for improving the curricula of radio and television departments. Such
improvements will enable media students who are interested in working as presenters or news
broadcasters to gain skills and experience in interacting with 3D animated elements. The results of this
research revealed that media students and graduates would be more successful in the media industry if
they mastered the skills of communication, presentation, and acting performance to interact with virtual
environments and virtual 3D animated objects. These skills could lead to improved employment
opportunities after graduation. Accordingly, this study aimed to present solutions and motivate universities
in Jordan to apply the AR virtual studio as a powerful tool for presenting stories.

The Cinematic Gatekeeping Matrix (#CGM) is a comprehensive theoretical, analytical, and practical #framework designed to examine and challenge structural gender inequalities within the global film industry. Drawing upon feminist #film theory, #institutional critique, and grounded theory methodology, CGM identifies the multilayered processes through which #gendered_barriers are produced, reproduced, and contested in cinematic spaces.

At its analytical core, CGM is organized around four interrelated domains—#Access, #Recognition, #Historical_Memory, and #Narrative_Control, each representing a dimension of power through which women’s creative participation and representation are regulated.
Through open, axial, and selective coding of qualitative data (e.g., interviews, film texts, institutional reports), the CGM translates individual experiences and cultural narratives into structural insights.

Practically, the framework functions as a diagnostic and transformative tool: it enables researchers, filmmakers, and policymakers to visualize invisible gatekeeping mechanisms, identify institutional biases, and design strategies for equitable participation and representation. In doing so, the CGM bridges the gap between feminist theory and applied cinematic practice, offering both a lens of critique and a roadmap for reform.

Maryam Saboori, Parsa Jamal Nasab – All rights reserved (2025)