Streaming: The World of Endless Amusement

The COVID-19 pandemic has pushed humanity into a long-awaited transition to virtual space. Although it seemed that the transition had only been temporary for the quarantine period, the mode of content delivery and the relationship between the audience and the art has already changed. In the online environment, growing globalist tendencies have led to a reduction in both meanings and forms of artistic expression;artistic autonomy is disappearing;aesthetic experience is being replaced by digital communication. In those areas where art still exists offline, there is a tendency towards localization, or even an insularity that substantially limits its audience and has a negative impact on its capability to influence society, the amount of funding it receives, and its artistic quality. An analysis of the current situation in Russian cinema confirms these tendencies.

A Review of Mirzapur Season 1 Showing How Media Frames Gun Culture and Abusive Languages

Studios have been compelled to push back the arrivals of their most prominent motion pictures to the following year or skirt dramatic deliveries entirely, drop-kicking films directly to web-based features, prompting a film industry 77.2 percent more regrettable than as of now last year, as per the media investigation organization comscore [1]. The Alternatives With the increasing number of corona cases, the hope for theatres to open decreased. [...]the search for new alternatives began and the most favourable outcome was using the OTT platform. While there are different types of OTT stages, OTT television allude to great video content transferred straightforwardly from the supplier, on to a client's screen (versatile, tablet, PC, television and so on) through Web Convention over a public organization. Various creators have utilized different models including - Innovation Acknowledgment Model (Hat), (Davis, 1989), Hypothesis of Panned Conduct (TPB) (Ajzen, 1991), Dissemination of Development (DOI), (Roger, 1995), Hypothesis of Contemplated Activity (TRA) to survey and comprehend the acknowledgment of another innovation by clients and relate it with reception of OTT media including television, voice, intuitive and others.20 as for OTT stage, Cap is utilized essentially by different creators like Cha, 2013;Cha and Chan-Olmsted, 2012.

Interplay of External and Internal Knowledge: Business Model Innovation Analysis in Chinese Publicly Traded Film Companies

The application of business model innovation (BMI) generally creates more competent and flexible enterprises in changeable markets and helps to achieve competitive advantages. Especially in a post-pandemic age, BMI has a particular significance. As such, in this study, based on the resource-based view theory, we aimed to explore how Chinese publicly traded film companies apply BMI from the perspective of the interplay of external and internal knowledge acquisition. Our focus was examining the influence of the search for external knowledge and the creation of internal knowledge on the BMI of Chinese film companies. On the basis of interviews and field observation, we selected environmental volatility and management attention as the independent variables in the study model. We analyzed the data collected from 36 Chinese publicly traded film companies by correlation and regression. The results showed that external knowledge search and internal knowledge creation substantially influenced the BMI of Chinese film companies. In addition, environmental volatility and management attention positively influenced BMI. The findings provide practical information motivating Chinese publicly traded film companies to apply BMI in the post-pandemic era.

Editorial: Bollywood, Politics and Power: An Introduction

Confronted with a second wave of COVID-19, Prime Minister Narendra Modi counselled Indians to stay home and show discipline, despite the fact that he had recently held an enormous political rally in West Bengal and refused to place restrictions on the Kumbh Mela pilgrimage, perhaps because such a move would not align with the government's openly Hindu nationalist leanings. Bollywood films have frequently served as a lightning rod for political and cultural issues, such as poverty, corruption, caste discrimination, gender inequality, anti-Muslim discrimination and the direct, human impact of Partition on Hindu-Muslim families (see Baneijee, 2016;Dudrah & Desai, 2008, Dwyer, 2014;Hirji, 2010;Mishra, 2002;Virdi, 2003). Symposium papers presented multidisciplinary perspectives on how religion, sexualities, caste, nation, and gender intersect in films to support and disseminate particular trajectories of cultural and political power that maintain the status quo in Indian society in the wake of post-1991 economic liberalization policies and the ever-increasing dominance of BJP-style Hindu nationalism. [...]as the focus of this special issue is the Indian film industry, we use India rather than South Asia to connote the geographical range of the analyses.

Covid-19 Pandemic And Crisis In The Film Sector: Opportunity To Confront Structural Problems

This study aimed to examine the crisis in the film industry as a result of the Covid-19 pandemic and its corresponding support packages for behind-the-camera employees, movie theaters and film productions. Since the crisis is dependent on the structural problems of the sector (i.e., organization, unsafe and poor working conditions, copyright issues, monopolization in distribution and management, insufficient capital accumulation, and piracy), it deepens the current crisis in these interrelated areas. Thus, various support packages specific to the cinema sector should be created. To explore potential support packages, the study conducted semi-structured in-depth interviews with representatives of the sector. The pandemic can be a catalyst for solving the existing structural problems of the film industry, which exhibits different dimensions in this process. Cinema should be supported even beyond crisis because it is an important representation of national culture and holds the potential to create high value in the cultural economy. Based on the general assumption that crises, such as pandemics, in the 21st century will come to pass, this study proposes a permanent support mechanism called the Cinema-Television Crisis Support Fund through legal arrangements.Alternate : Bu çalışmada Covid-19 pandemisinin sinema sektöründe yarattığı kriz ve bu krize yönelik destek paketlerinin incelenmesi amaçlanmıştır. Krize ve destek mekanizmalarına yönelik görüşmelerden elde edilen veriler, sinema salonları, sinema çalışanları ve yapım grubu başlıkları altında toplanarak incelenmiş ve betimsel olarak analiz edilmiştir. Sinema sektöründe Covid-19 pandemisinin yarattığı kriz, sektörün yapısal sorunlarından (örgütlenme, güvencesiz ve ağır çalışma koşulları, telif hakları, dağıtım ve işletmecilikte tekelleşme, yeterli sermaye birikiminin olmaması gibi) bağımsız olmayıp birbirleriyle ilişkili bu alanlardaki krizi daha da derinleştiren bir seyir izlemiştir. Çalışmada sinema sektörüne yönelik farklı destek paketleri oluşturulması gerektiği ortaya konmakta ve sektörün desteklenme yöntemleri tartışılmaktadır. Destek paketleri kısa vadede Covid-19’un ortaya çıkardığı problemleri gidermeye, uzun vadede sektörün yapısal sorunlarını çözmeye yönelik olmalıdır. Sektör temsilcileri ile yarı yapılandırılmış derinlemesine görüşme tekniği başta olmak üzere nitel yöntem kullanılmıştır. Pandemi, sinema sektörünün var olan yapısal sorunlarını çözmek için katalizör işlevi görebilir. Sinema, gerek ulusal kültürün temsilcisi olma niteliğinden ötürü, gerekse kültür ekonomisi içinde yüksek katma değer yaratma potansiyeline sahip olması nedeniyle kriz zamanlarının da ötesinde desteklenmek zorundadır. Yirmi birinci yüzyılın pandemi gibi krizlerle geçeceğine dair genel bir kanıdan hareketle bu çalışma, destek mekanizmalarının kalıcı olması için yasal düzenlemeler yapılarak, “Sinema-Televizyon Kriz Destek Fonu” oluşturulmasını önermektedir.