FAVMKa070 Cinema Industry

Faculty of Arts
Spring 2024
Extent and Intensity
2/0/0. 5 credit(s). Type of Completion: zk (examination).
Teacher(s)
Mgr. Michal Večeřa, Ph.D. (lecturer)
doc. Mgr. Pavel Skopal, Ph.D. (alternate examiner)
Guaranteed by
doc. Mgr. Pavel Skopal, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Supplier department: Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Sat 9. 3. 14:00–17:40 C34, Sat 11. 5. 14:00–17:40 C34
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.
fields of study / plans the course is directly associated with
Course objectives
The Film Industry course focuses on developing and deepening knowledge of various aspects of the film industry. We will look at industrial history from a variety of perspectives, not forgetting other issues bordering on other areas - broader socio-economic issues, cultural history, star studies or aesthetic history - in addition to economic ones. In the course, students will be introduced to these various aspects of the operation of the film industries.
Learning outcomes
1) The student will be able to describe the structure and organization of the film industry market and explain how different modes of production, distribution and marketing strategies affect its functioning.
2) The student will be able to analyze the effects of socio-economic, technological and cultural factors on the historical and contemporary development of the film industry and identify key aspects of these interactions.
3) The student will be able to apply various methodological approaches to the study of the film industry, including working with archival sources, case studies and secondary literature.
4) The student will be able to formulate research questions relating to particular aspects of the film industry and conduct independent research using relevant theoretical concepts and analytical tools.
5) The student will be able to present the results of his/her research orally and in writing, argue from the findings and effectively discuss professional issues during seminar debates.
Syllabus
  • The course will include following topics:
  • 1) Industrial organization (Industrial organisation, cinema of small nation)
  • 2) Modes of production (studio system and its alternatives)
  • 3) External influences on the cinema (restrictions and subsidies)
  • 4) Techniques and Technologies (technological change and individual case studies)
  • 5) Distribution (distribution, free market and state-socialist cinema)
  • 6) Marketing and branding (stars, genres, production cycles)
  • 7) Film archives (traditional archives and arhives in digital era)
Literature
    not specified
  • Gomery, Douglas (1989) Media economics: terms of analysis. Critical Studies in Mass Communication 6, 43-60.
  • Bakker, Gerben. The Decline and Fall of the European Film Industry Sunk Costs Market Size and Market Structure 1890 1927. The Economic History Review. 2005, roč. 58, č. 2, s. 310-351.
  • Henry Bacon (2016): Introduction to the Study of Transnational Small Nation Cinema. In:Henry Bacon (ed.) - Finnish Cinema. A Transnational Enterprise. Londýn: Palgrave Macmillan, s. 1-19.
  • Klimeš, Ivan. Národní kinematografie v mnohonárodnostní monarchii In Týž. Kinematograf Věnec studií o raném filmu. Praha: Casablanca - Narodni filmovy archiv 2013, s. 10-23.
  • Bordwell, David - Staiger, Janet - Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style & Mode of Production to 1960. Londýn: Routledge,s. 89-116.
  • Thompson, Kristin (1993): Early Alternatives to the Hollywood Mode of Production: Implications for Europe's Avant-Garde. Film History 5, č. 4,, s. 386-404.
  • Kääpä, Pietari (2016): Producer-led Mode of Film Production. In: Henry Bacon (ed.) - Finnish Cinema. A Transnational Enterprise. Londýn: Palgrave Macmillan, s. 1-19.
  • Szczepanik, Petr (2013): The State-Socialist Mode of Production and the Political History of Production Culture. In Szczepanik, Petr - Vonderau, Patrick (eds.): Behind the Screen: Inside European Production Cultures. 1. vyd. New York: Palgrave Macmillan,
  • Doyle, Gillian (2002): Understanding Media Economics. Londýn: SAGE Publications Ltd. s. 161-174.
  • GRIEVESON Lee. Policing Cinema Movies and Censorship in Early.Twentieth Century America. Los Angeles: University of Columbia Press 2004, s. 11-36.
  • Loiperdinger, Martin (2013): Film Censorship in Germany: Continuity and Change through Five Political Systems. New York: palgrave macmillan, s. 81-96.
  • Jäckel, Anne (2007): Kapitola 3 - Financování výroby a koprodukční činnost. Iluminace 19, č. 1, s. 27-51.
  • Španihelová, Magda (2019): Ekosystém institucí českého dokumentárního filmu. Vzorce spolupráce a využití. Iluminace 31, č. 2, s. 7-24.
  • Allen, Robert - Gomery, Douglas (1985): Film History, Theory and Practice. s. 109-130.
  • Gaudreault, André - Marion Philippe (2004): Médium se rodí vždycky dvakrát. In: Szczepanik, Petr (ed.) Nová filmová historie. Praha: Herrmann & synové. s. 439-451.
  • PINCH, Trevor J. a Wiebe E. BIJKER. The Social Construction of Facts and Artifacts: Or How the Sociology of Science and the Sociology of Technology Might Benefit Each Other. In: Wiebe E. Bijker, Thomas P. Hughes a Trevor J. Pinch (eds.). The Social Const
  • BROOKEY, Robert Allan. The Format Wars: Drawing the Battle Lines for the Next DVD. Convergence: The International Journal of Research into New Media Technologies. 2007, roč. 13, č. 2, s. 199–211.
  • FRODLOVÁ, Tereza. V barvách Agfacoloru. Zavádění barevného filmu v československé kinematografii čtyřicátých a padesátých let. In: Lucie Česálková (ed.). Zpět k českému filmu. Praha: Národní filmový archiv, 2017, s. 262–285.
  • ELIASHBERG, Jehoshua. The Film Exhibition Business: Critical Issues, Practice, and Research. In: Charles C. Moul (ed.). A Concise Handbook of Movie Industry. New York: Cambridge University Press, 2005, s. 138–162.
  • LOBATO, Ramon. Netflix Nations. The Geography of Digital Distribution. New York: New York University Press, 2019, s. 1–17.
  • LEHTISALO, Anneli. Exporting Finnish Films. In: Henry Bacon (ed.). Finnish Cinema. A Transnational Enterprise. London: Palgrave macmillan, 2016, s. 115–138.
  • SKOPAL, Pavel. Za "vysokou ideovou úroveň", a/nebo za vyšší tržby? Filmová distribuce v českých zemích z hlediska konfliktu ideologických a hospodářských cílů (1945–1968). Soudobé dějiny. 2010, č. 4, s. 641–666.
  • BAKKER, Gerben. Stars and Stories. How films became branded products. In: John Sedgwick a Michael Pokorny (eds.). An Economic History of Film. New York: Routledge, 2004, s. 48–85.
  • NEALE, Steve. Genre and Hollywood. London – New York: Routledge, 2000, s. 226–255.
  • GARNCARZ, Joseph. Hvězdný systém ve výmarské kinematografii. Iluminace. 2012, roč. 24, č. 1, s. 31–44.
  • KLIMEŠ, Ivan. Czech Historical Film and Historical Traditions: The Merry Wives (1938). Dorota Ostrowska, Zsuzsanna Varga a Francesco Pitassio (eds.). Popular Cinemas in East Central Europe. London – New York: I. B. Tauris, 2017, s. 31–46.
  • ENTICKNAP, Leo. Moving Image Technology. From Zoetrope to Digital. London: Wallflower Press, 2005, s. 202–231.
  • FOSSATI, Giovanna. Od zrn k pixelům. Digitální technologie a filmový archiv. Iluminace. 2005, roč. 17, č. 3, s. 5–20.
  • SZCZEPANIK, Petr, Pavel ZAHRÁDKA a Jakub MACEK. Introduction: Theorizing Digital Peripheries. In: Petr Szczepanik, Pavel Zahrádka; Jakub Macek a Paul Stepan. Digital Peripheries: The Online Circulation of Audiovisual Content from the Small Market Perspec
  • BATISTOVÁ, Anna. Zpráva o digitálním restaurování. In: Týž (ed.): Hoří, má panenko. Praha: Národní filmový archiv, 2012, s. 16–32.
Teaching methods
The primary prerequisites for successful completion of the course are 1) active participation in the seminar discussion and 2) attendance. Excuses from the seminar are governed by the rules set forth in the current Study and Examination Regulations. The prerequisite for admission to the final examination is the submission of all 7 midterm assignments.
The final exam, on the basis of which the student will receive the final lock, will be oral, the student will be tested successively on 3 of the 7 strands; 1 can be chosen at his/her own discretion, the other two will be randomly drawn. The exam dates will be open to 2 students at the same time, in case only 1 examinee participates, an audiovisual recording will be made of the exam to confirm the progress.
Assessment methods
Partial assignments, presence, oral exam.
Language of instruction
Czech
Study support
https://is.muni.cz/auth/el/phil/jaro2024/FAVMKa070/index.qwarp
Further Comments
Study Materials
The course is taught once in two years.
The course is also listed under the following terms Spring 2020, Spring 2022.
  • Enrolment Statistics (recent)
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