Chapain, C., & Stachowiak, K. (2017). Innovation dynamic in the film industry: The case of the Soho cluster in London. In Creative Industries in Europe . Springer, Cham. 65-94
The authors analyze a shift in the film industry towards innovations skills and economic contributions. The article utilizes two essential strands to evaluate the research: spatial and sectoral perspective, and these perspectives assist in the innovation performance and dynamic both at regional and national levels. The authors used data from the Soho film cluster in London to evaluate the level of innovation. They found that the film industry is continuously becoming innovative, and the highest degree depends on geographical proximity.
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https://link.springer.com/chapter/10.1007/978-3-319-56497-5_4
Spicer, A., & Presence, S. (2016). Autonomy and dependency in two successful UK film and television companies: An analysis of RED Production Company and Warp Films. Film Studies , 14 (1), 5-31.
The study assesses the development of two film and TV organizations in the UK, the RED invention as well as Warp films. It discusses the organizations` developments and identities, objectives and philosophy, in-house strategies, and the network of external relations. The authors argue that workplace values should not be imposed on the company's workers to thrive in the film industry. The companies should encourage empowerment so that these workers can take creative risks. For instance, taking the example of RED and Warp, there are dominant organizations in the film industry that has managed to organize and structure their values to create autonomy as much as possible.
https://books.google.com/books?hl=en&lr=&id=KC4lDwAAQBAJ&oi=fnd&pg=PA37&dq=Convergence+in+the+film+industry&ots=-DR52zC8HZ&sig=-mz-2kJytEki32a_u3GR7qSnDMQ
Bridges, L. E. (2018). Flexible as freedom? The dynamics of creative industry work and the case study of the editor in publishing. New Media &Society , 20 (4), 1303-1319.
The authors state that the film industry has received maximum attention from neoliberal policymakers and these policies offer future economic development. However, these sectors are often developed in precarious working conditions that hinder flexibility and discourages maximum work production. The author has utilized a mixed-technique strategy to evaluate the extent of precarious work in the film industry from multiple authors' experiences. The information gathered demonstrates that freelance workers tend to have higher satisfaction levels than full-time employees. They utilized editors as a case study to assess the flexibility of work in the film industry. They concluded that they should be an excellent workplace environment for all workers in the film industry.
https://journals.sagepub.com/doi/abs/10.1177/0018726715596803
Hennekam, S., & Syed, J. (2018). Institutional racism in the film industry: a multilevel perspective. Equality, Diversity and Inclusion: An International Journal .
The research's core aim is to evaluate racial discrimination in the organization such as governmental agencies, academic companies, and the court of law to insist on the relevant variables that touch the film industry. The authors analyze multiple factors that lead to institutional racism in the film industry. They gather data from extensive interviews with people in the film industry. They found that power structures contribute to racism in the sector.
https://www.emerald.com/insight/content/doi/10.1108/EDI-05-2017-0108/full/html
Tonkiss, F. (2018). Between markets, firms and networks: constituting the cultural economy. In Market relations and the competitive process . Manchester University Press.
The author argues that cultural and film industries are fundamental areas that contribute to regional and national development. It changes the cultural character of economic procedures and restructures the market dimension. According to the author, the film industry has contributed to the highest level of innovations, which, in turn, have shaped economic development and exchanges.
https://library.oapen.org/bitstream/handle/20.500.12657/35035/Market%20relations%20and%20the%20competitive%20process.pdf?sequence=1#page=123
Hassink, R., & Lee, Y. S. (2018). Exploring international film festivals from a co-evolutionary perspective: the cases of Berlin and Busan compared. European Planning Studies , 26 (5), 933-949.
The authors found that in the past 20 years, the number of global film events has improved tremendously. However, these events still get minimum attention from studies such as economic geography and regional studies. The article examines the institutional history and its effect on economic growth based on the study in famous film festivals: Berlin and Busan. The authors utilized qualitative empirical fieldwork, and they found that institutional dimensions have unique ways of success.
https://www.tandfonline.com/doi/abs/10.1080/09654313.2018.1446912
Primorac, J. (2020). Film globally, work locally: factors influencing the production incentive program's effectiveness in the Croatian audio-visual industry. Cultural Trends , 1-15.
The author states that incoming film production has demonstrated the complicated aspect of transnational power relations between multiple institutions such as government, media organization, and precarious employees' global networks. The author used a case of the Productive Incentive (PI) program in the audio-visual structure in Croatia. The article demonstrates the impact of policy instruments, especially in socio-economic development, such as volatility of politics and the work relationships with other organizations within the film industry. The author found that the PI program has both positive and negative implications in the film industry.
https://www.tandfonline.com/doi/abs/10.1080/09548963.2020.1823820
Scott, S. (2019). Fake geek girls: Fandom, gender, and the convergence culture industry. NYU Press.
The researcher argues that over the past 10 years, fan and geek culture has shifted from the margins to the mainstream. The fan industry has changed into formal business as well as the development of a new franchise. Scott (2019) points out that men's rights activists and the antifeminist movement campaigned against social justice warriors, which have led to the development of fan fiction and cosplay. https://books.google.com/books?hl=en&lr=&id=f1ZxDwAAQBAJ&oi=fnd&pg=PA1&dq=Convergence+in+the+film+industry&ots=ji2qpr5tD5&sig=LVbrFL3902ZcBErdsx611WN3V6k
Mohammed, W. W. (2019). DAGBANLI films: a political economic analysis of the convergence of orality and film in Northern Ghana (Doctoral dissertation, Pennsylvania State University).
The author investigates indigenous language film industry in the Northern Ghana, especially on film production, distribution, and reception. During the study, the author considered postcolonial film production, sociopolitical and economic communication methods, and learning the institution of indigenous knowledge structure. The data was collected through the process of epistemologies across Northern Ghana. https://etda.libraries.psu.edu/catalog/16689ffm5032
Ibrus, I. (2016). Micro-studios Meet Convergence Culture: Crossmedia, Clustering, Dialogues, Auto-communication. Media Convergence Handbook-Vol. 2. Springer. 155-173.
In the article, the author develops an evolutionary method of film transformation to assess the current Northern European instance. It tries to interpret how audio-visual language is challenging the convergence film-philosophy and how the innovations can be applied in the principles of storytelling and cross-media approaches. The author found that there will be maximum support from multiple divergent procedures in the film culture when there is a high degree of freedom for small organizations.
https://link.springer.com/chapter/10.1007/978-3-642-54487-3_9
Gordon, I., & Lim, S. S. (2016). Introduction to the special issue “Cultural industries and transmedia in a time of convergence: Modes of engagement and participation”. Springer.
The authors investigate issues about the erosion of technological barriers. They argue that eliminating technological barriers has prevented medium divisions. It has enabled the content to command a maximum presence in multiple platforms such as film, TV, raid, social media, and many more. The authors found that frequent engagement of consumers in the film industry will boost the media presence in the greater public.
https://www.tandfonline.com/doi/abs/10.1080/01972243.2016.1212614
References
Bridges, L. E. (2018). Flexible as freedom? The dynamics of creative industry work and the case study of the editor in publishing. new media & society , 20 (4), 1303-1319. https://journals.sagepub.com/doi/abs/10.1177/0018726715596803
Chapain, C., & Stachowiak, K. (2017). Innovation dynamic in the film industry: The case of the Soho cluster in London. In Creative Industries in Europe. Springer, Cham. 65-94 https://link.springer.com/chapter/10.1007/978-3-319-56497-5_4
Gordon, I., & Lim, S. S. (2016). Introduction to the special issue “Cultural industries and transmedia in a time of convergence: Modes of engagement and participation”. https://www.tandfonline.com/doi/abs/10.1080/01972243.2016.1212614
Hassink, R., & Lee, Y. S. (2018). Exploring international film festivals from a co-evolutionary perspective: the cases of Berlin and Busan compared. European Planning Studies , 26 (5), 933-949. https://www.tandfonline.com/doi/abs/10.1080/09654313.2018.1446912
Hennekam, S., & Syed, J. (2018). Institutional racism in the film industry: a multilevel perspective. Equality, Diversity and Inclusion : An International Journal . https://www.emerald.com/insight/content/doi/10.1108/EDI-05-2017-0108/full/html
Ibrus, I. (2016). Micro-studios meet convergence culture: Crossmedia, clustering, dialogues, auto-communication. In Media Convergence Handbook-Vol. 2. Springer. 155-173 https://link.springer.com/chapter/10.1007/978-3-642-54487-3_9
Mohammed, W. W. (2019). DAGBANLI films: a political economic analysis of the convergence of orality and film in Northern Ghana (Doctoral dissertation, Pennsylvania State University). https://etda.libraries.psu.edu/catalog/16689ffm5032
Primorac, J. (2020). Film globally, work locally: factors influencing the effectiveness of the production incentive programme in the Croatian audio-visual industry. Cultural Trends , 1-15. https://www.tandfonline.com/doi/abs/10.1080/09548963.2020.1823820
Scott, S. (2019). Fake geek girls: Fandom, gender, and the convergence culture industry . NYU Press. https://books.google.com/books?hl=en&lr=&id=f1ZxDwAAQBAJ&oi=fnd&pg=PA1&dq=Convergence+in+the+film+industry&ots=ji2qpr5tD5&sig=LVbrFL3902ZcBErdsx611WN3V6k
Spicer, A., & Presence, S. (2016). Autonomy and dependency in two successful UK film and television companies: An analysis of RED Production Company and Warp Films. Film Studies , 14 (1), 5-31. https://books.google.com/books?hl=en&lr=&id=KC4lDwAAQBAJ&oi=fnd&pg=PA37&dq=Convergence+in+the+film+industry&ots=-DR52zC8HZ&sig=-mz-2kJytEki32a_u3GR7qSnDMQ
Tonkiss, F. (2018). Between markets, firms and networks: constituting the cultural economy. In Market relations and the competitive process. Manchester University Press . https://library.oapen.org/bitstream/handle/20.500.12657/35035/Market%20relations%20and%20the%20competitive%20process.pdf?sequence=1#page=123
