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People's way of consuming media changed tremendously with rapid technological improvements and increased internet penetration levels across India due to emergence of over-the-top media services (OTT) platforms. COVID-19 outbreak has tremendously increased the demand for OTT streaming channels like Netflix, Amazon prime, Zee 5, Alt Balaji and Disney Hotstar which transformed the world of entertainment and media by contributing mind blowing services during the lockdown period.This research paper is an attempt to study the shift in media consumption patterns from old ways of entertainment like cinema, television to new ways of entertainment like OTT platforms, study and analyze the consumer preference towards choice of OTT platforms, watching habits of online over the top (OTT) applications among Indian viewers. © 2023 IEEE.
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Adapting teaching methods for a digital classroom during COVID-19 presented specific challenges related to the embodied practice of film directing and working with actors. This article will discuss approaches employed by instructors at Toronto Film School in Canada to respond to these challenges. It will also describe examples of the student works produced within the physical and technological constraints of the government-mandated lockdown in Toronto during Spring 2020, a time period marked by generational civil rights activism on an international scale. By examining innovative student works in conversation with historically subversive cinematic movements, such as the French New Wave and Third Cinema, this article argues for curriculum adjustments to incorporate an augmented focus on personal and political filmmaking practices within the study of film directing. © Springer Nature Switzerland AG 2021. All rights reserved.
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This research presents an overview of the film distribution changes caused by the COVID-19 impact on Taiwan's cinema market and shows a preliminary comparison between numbers of film released, the number of theaters, screening days, tickets sold and box office and film production countries during the period. The goal of this study is to address the factors that affect the strategy to engage the present film distribution market in Taiwan. The result indicates there are significant differences between film release stage and box office. It is proposed for applying an appropriate reduction in Hollywood films' release, such as total quantity control. The result provides domestic films with opportunities to arrange a movie release schedule. This study explores further film distribution policymaking research. © 2023 Author(s).
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The paper focuses on the tools for applying artificial intelligence in the implementation of game content. The development of productive forces led to digitalization, further leading to the emergence of various goods and services via the Internet. New goods and services include computer games, music services, online cinemas, mobile applications, social services, etc. The COVID-19 pandemic and the self-isolation regime have expanded human needs for the benefits of digitalization in terms of the consumption of various Internet content, including gaming. The expansion of remote interaction under the pandemic comes into contact with objective economic realities—the introduction of elements of artificial intelligence and the spread of automation processes in the economy. Thus, science is updating the issue of studying the economic laws of the development of the game content market in the context of the introduction of artificial intelligence. © 2023, The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.
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The relevance of this study lies in the fact that the growth of the entertainment services market as an industry worldwide suggests that it will continue to develop, despite the restrictive measures introduced due to the COVID-19 pandemic. The market that provides entertainment services is considered as a complex of interrelated socio-economic, legal, and organisational relations between the consumer and producers of entertainment-related services in purchase and sale. The demand and supply are crucial and topical features of this market since they enable communication between the seller and the consumer of entertainment-related services. The need for such services is directly dependent on a number of factors, such as the availability of free time, the level of solvency of residents of the country, seasonality, consumer preferences, etc. The purpose of the study is to conduct a summary analysis of the state of the entertainment services market in the conditions of the imposed anti-covid measures and to propose recommendations that can improve the performance of the main activities of the entertainment services market. The following methods were used in the study: analysis, synthesis, comparison, and economic and statistical analysis. The results obtained allow assessing the state of the entertainment services market during the period of restrictive anti-covid measures and identifying those areas of activity of the entertainment services market that are currently the most promising in terms of subsequent development. Copyright © 2022– All Rights Reserved.
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In this work, we present a teaching experience based on emerging pedagogies and gamification to improve leadership skills and achieve efficient teamwork in scientific-technical areas of Engineering Projects. We designed the contents of a workshop and a virtual tool to create emotional contexts that improved the acquisition of soft skills. The combination of multi-sensory pedagogical strategies and hybrid inductive-deductive methodologies based on tests and team games, inspired by the story line of the classic film "The Seven Samurai” (Kurosawa, 1954), allowed us both to carry out, over a period of two academic years, an "on-the-ground” workshop-game, and a virtual tool to interact in the workshop, while under the COVID-19 restrictions. Despite the different formats and gamification elements used over the two academic years, the metrics for evaluating the efficiency of acquiring these soft skills produced very positive results and, on the whole, did not show significant differences. The cinematographic language and empathy with the story and the characters led the students to identify with and internalize the elements of efficient teamwork and leadership. Movies can provide simple but effective narrative lines on which to build games. Here, we present the contents and details of both workshops as a transferable experience, as well as making the open virtual tool available for the educative community. © 2022, International Journal of Emerging Technologies in Learning. All Rights Reserved.
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In the post-COVID19 era, a new paradigm shift in the film market has become ev-ident. The regional film model has been relegated to very specific circles, but with the current situation this could change. The aim of this paper is to study the Ugandan regional action film model, known as "Wakaliwood", together with a case in Spain whose proposal shares a similar approach to that used by Wakaliwood. The results indicate that a new iteration of the regional film model versus the classical production model can be successfully exported to the international market. © GKA Ediciones, authors.
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This introduction situates the topic of film exhibition in Chinese and Sinophone cinema studies in relation to the approaches of new cinema history and the crisis of traditional cinematic institutions brought about by digitization and the COVID-19 pandemic. It gives an overview of the contributions by drawing several broad conclusions, highlighting problems of infrastructure, educational cinema, the relationship between what is on and off screen, and the contextualization of film exhibition in cultural history.
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In Australia, the most visible film festivals are clustered around urban centres, yet there is a flourishing network of film festivals outside of major cities. In the state of Queensland, the festivals in regional and rural areas provide crucial visibility for the industry, local community and emerging filmmakers. Following the growth in film festival scholarship, and research on global digital distribution, the impetus for this research was to examine why so many film festivals continue to operate in Queensland. Using a broader mapping project as context, this article examines how the specificity of place shapes the identity of two case study festivals, their audience, and connection to community. The research identifies three key concerns: the distinctions between regional and metropolitan festivals;the duality of these festivals as both inward and outward facing events;and the challenges of viability that face the future of Queensland’s festival sector. In 2020, the COVID-19 global pandemic caused further disruption to the national and international screen industries. While this upheaval continues to affect the screen industry, it is important to understand the role that film festivals already play in cultivating and sustaining local audiences and communities, and consider strategies to support their ongoing viability. © 2022 Informa UK Limited, trading as Taylor & Francis Group.
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This article examines the concepts of ‘zoom gaze’ and ‘zoom fatigue’ as two recently theorised consequences of the Covid-19 pandemic. It considers how the dramatic shift in people’s social and professional interactions, from face-to-face communication to virtual interaction via videoconferencing software such as Zoom, produces new ways of reading, understanding, surveilling, and performing through, and with the face. It argues that these myriad changes necessitate a return to prior theories of the close-up, the cinematic face, and even the face of literature and portraiture to better understand the long-term implications of videoconferencing at a personal and collective level. It considers the affective and cognitive processes that are engaged during moments of cinematic ‘close-up’ to ask whether existing theories of the facial close-up in artistic fields might shed light on the psychological and psychosocial effects of seeing oneself and others’ faces for extended periods in the digital milieu. The article also attends to self-surveillance as a constitutive element of the ‘zoom gaze’ to consider how we might resist the extractive control imposed by videoconferencing software as a now ubiquitous and arguably essential component of life during and after the pandemic. [ FROM AUTHOR] Copyright of Journal of Intercultural Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
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Short films have always been there but in the last few years, the craving for the format has increased. The main reason for its popularity is the variety for the audience and a learning experience for the filmmakers. Platforms like Netflix and Vimeo are the most influential participants in the business, catering to movie makers across the world. For millennials, short films are a way to learn and for the experts, it is a way to explore. OTT platforms have emerged stronger than ever since 2020 and that is because of the freedom it provides for filmmakers to explore global genres bypassing the commercially burdensome processes of the industry. The audience is looking to explore new, woke and informed content, they are tapping into global industries to connect with the contents, characters, and the ideas that hold a mirror to the society. The short film industry provides a myriad of genres and ideas that are focused on connecting with the audience and keeping them engaged for twenty to forty minutes. This article explores the impact of the OTT platforms on the short film categories and the opportunities, and value it has created in the industry. It will also discuss the importance of OTT platforms, their regulations and the growing demand for the new content. We will also look at some global industry data and analyse investment trends in the OTT space.
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Spain experiments an excellent period regarding the production of large motion-picture works. not only films but also television series. Nevertheless, the consequences of the COVID-19 pandemic present difficulties to recover the level of activity experimented before March 2020. All in all, besides the evolution of the health situation, the industry is showing proof enough of its ability to recover and adapt to the new circumstances.
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Contagion is a function of the properties of the pathogen, social interactions, and personal relationships in the society it attacks. Filmmakers in the horror genre were inspired by the idea of rabies as a virus that could mutate into something more dangerous. Fictional epidemics of scavenging undead were often attributed to encephalitis caused by rabies or a mutated rabies virus. During the early months of the SARS-COV-2 pandemic, there was a spike in streaming of Contagion that portrays a viral infectious disease modeled after a bat virus that spreads at an alarming rate, unleashing a global public panic and a clueless governmental response. We wanted to trace how filmmakers used rabies pathology as source material for their plots. We searched internet film databases and reviewed fictional films that utilized this plot device. Many dystopic, rabies-induced pandemic scenarios - mostly from the zombie genre - reveal parallels to the COVID-19 pandemic. Many zombie films, despite their absurd premise, anticipated the realities of future pandemics.
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O texto que segue foi escrito em 2015, logo apos eu sair da sessão do filme na 39ª Mostra Internacional de Cinema de São Paulo, em 2015. Não é um texto que respeita o cânone do gênero literario ‘artigo acadêmico’, mas tampouco é tão arbitrario que não possa ser qualificado de cientifico. Na verdade, penso que sua qualificação cientifica apenas tornou-se mais evidente de la para ca. Se isso não o afasta totalmente de uma critica de cinema, ao menos o aproxima de uma critica do olhar, pela tentativa de explicitação de alguns pressupostos do olhar do filme. Cronologicamente, de 2015 para ca não são tantos anos passados. Todavia, apos dois anos de pandemia de COVID-19, atos antes corriqueiros como ir ao cinema parecem pertencer a uma realidade cada vez mais distante. Talvez seja mais correto afirmar que esses anos de pandemia escancararam a realidade e a falsidade de certos simulacros que antes ainda passavam despercebidos. É certo que a hegemonia de novas formas menos coletivas e mais privatizadas de ver ja se anunciava antes da pandemia, mas nada se compara ao que vimos acontecer de 2020 para ca. A agudização destrutiva do processo colonizador – ao qual são submetidos os ecossistemas do planeta – potencializa a experiência de transmutação ou estranhamento que o filme pode suscitar. A continuar esse passo, em breve, o único fluxo que a pos-humanidade chegara a conhecer sera o das transfusões de sangue artificial para alimentar cérebros vegetativos.
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Entertainment and cinema are among the sectors most affected by the COVID-19 pandemic. Since the beginning of the pandemic, almost all movie theaters have closed, the employees of these halls have been unemployed, and the owners have gone bankrupt. In addition, the screening of the films was postponed, or the new films were never made. All these negative conditions have led viewers to alternative venues outside movie theaters to watch movies, and directors to find new ways to produce. One of these directors is Reha Erdem, who shot Hey There! [Seni Buldum Ya!] (2021) via entirely Zoom application. Reha Erdem produced this film under quarantine conditions and released it for the first time on a digital platform (MUBI) outside the movie theater. The subject of this chapter is Hey There!, and the new film style that the film brings to the world of cinema in the post-pandemic period. This film, which Reha Erdem shot approximately all of the movie without himself out of his home, is analyzed within the framework of the basic elements, including narration, cinematography, mise-en-scene, editing, sound, and make up the style. The new narrative language developed by digital cinema after COVID-19 is examined. © Peter Lang GmbH Internationaler Verlag der Wissenschaften Berlin 2022. All rights reserved.
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The history of medicine and the events surrounding epidemics and pandemics should allow us to learn from previous experiences in such difficult times. The 10 largest pandemics in history prior to the coro-navirus 2019 pandemic have left us a series of lessons with four main characters: earliest of all, Yers-inia pestis, and then three viruses: smallpox, influenza and coronavirus. Filmmaking allow us to travel from reality to fiction, which we confirmed by reviewing 27 films about epidemics and pandemics throughout the history of the seventh art. Of these, six plot films can be “prescribed”: Arrowsmith (John Ford, 1931), Philadelphia (Jonathan Demme, 1993), Outbreak (Wolfgang Petersen, 1995), 22 ángeles (Miguel Bardem, 2016), 93 days (Steve Gukas, 2016) and, especially, Contagion (Steven Soderbergh, 2011). In this journey from Hippocrates to Hollywood (from science to art) in the context of epidemics and pandemics, there are lessons to be gained: 1) History evinces two facts from previous epidemics and pandemics: that they are severe and that they recur over time;2) Film shows us two future assumptions about epidemics and pandemics: an apocalyptic vision and a hardly positive perspective as reflected on the big screen. And this is how film acts as a vaccine, by exposing us in small and repeated doses to the emotions and reflections that epidemics and pandemics elicit in us, in pursuit of knowledge, prudence and resilience against these diseases. © 2022, Spanish Association of Primary Care Pediatrics. All rights reserved.
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The article analyses the centrality of new media platforms in the everyday life of contemporary India. It claims that the representations of everyday life saturated with media technology in films and web series helps us to understand the ways new media has become central to the life experience in India over a rather short period. By engaging with philosophical and sociological theories, and by approaching the question and the theory through several cinematic examples, the article shall probe the ways in which we have become digital beings, and to which extent this has been mediated by neoliberal capitalism, as the platforms are lucrative business ventures of different global media corporations. The article claims that COVID-19 pandemic and subsequent lockdowns in 2020 and 2021 resulted in many different attempts to articulate the centrality of technology to our everyday life. Various films and web series released during the pandemic and commenting on the effect of the pandemic on our everyday life, attempt to demonstrate, at least in part, the creative power of technology in India and shows ways how technology helps forge an alternative sociality under the regime of social distancing. However, the article takes a critical stance in demonstrating that media technologies, their impact on our everyday life and the logic that govern them are far more problematic than it seems.
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BACKGROUND: Several subjects affected by cancer experience a significant level of multidimensional disease. This longitudinal study aims to evaluate the effectiveness of psycho-oncological support using Cinema as an emotional mediator and to promote perceived well-being by personalized psychological treatment. METHODS: Thirty women diagnosed with gynecological cancer watched 12 movies and participated in a psychotherapy group co-conducted by two psychotherapists. Patients completed nine questionnaires at T0 (baseline), T1 (3 months) and T2 (6 months). RESULTS: Patients observed significant improvements (CORE-OM: p < 0.001) in psychological well-being. The results showed statistically significant differences, even in several other dimensions, such as Anxiety (STAY-Y1-2: p < 0.001), Empathy (BEES, p < 0.001), Coping (COPE: p < 0.001), QoL (QLQ-C30, p: 0.026), couple relationship (DAS, Satisfaction: p: 0.013; Cohesion: p: 0.004) and alexithymia (TAS-20, Difficulty Identifying Feeling: p: 0.002; Externally-Oriented Thinking: p: 0.003). CONCLUSIONS: The data show that cinema, as an innovative psychological approach, could be a valid instrument to support patients in oncological pathways as well as facilitating the process of recognizing themselves in other patients and communicating about their own feelings.