Geography of the Film Industry - Historique des versions

Arthur le 27 mai 2020 à 13:49

2020-05-27T13:49:23Z

Stoner : /* Characteristics */ All paragraphn allignments adjustment after adding the updated info of covid-19 situation

2020-05-27T09:01:17Z

Characteristics : All paragraphn allignments adjustment after adding the updated info of covid-19 situation

← Version précédente		Version du 27 mai 2020 à 11:01
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	In San Francisco Bay, south of San Francisco, around Stanford University, lies Silicon Valley." Silicon" refers to "silicon" which is part of the materials used to make printed circuit board chips. Silicon Valley is where personal computers and software were invented, so that's where this revolution and this new economy started. It is a very small space over a few tens of kilometres directly linked to the presence of Stanford University. It is an industrial district where IT activity is concentrated. Why it has remained localized here when if there is something that has emerged well from localization constraints is the Internet economy. It's an industrial district like the film district. It is a mystery that these paradoxical forms of location of cultural industries that this economic geography seeks to explain.[[Fichier:Schéma industrie culturelle 1.png\|vignette\|gauche]]		In San Francisco Bay, south of San Francisco, around Stanford University, lies Silicon Valley." Silicon" refers to "silicon" which is part of the materials used to make printed circuit board chips. Silicon Valley is where personal computers and software were invented, so that's where this revolution and this new economy started. It is a very small space over a few tens of kilometres directly linked to the presence of Stanford University. It is an industrial district where IT activity is concentrated. Why it has remained localized here when if there is something that has emerged well from localization constraints is the Internet economy. It's an industrial district like the film district. It is a mystery that these paradoxical forms of location of cultural industries that this economic geography seeks to explain.[[Fichier:Schéma industrie culturelle 1.png\|vignette\|gauche]]



	We can have a restrictive meaning of the definition of the cultural industry where the cultural industry is centred on information. Today, it is undoubtedly the main source of income, wealth and exports to the United States.		We can have a restrictive meaning of the definition of the cultural industry where the cultural industry is centred on information. Today, it is undoubtedly the main source of income, wealth and exports to the United States.
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	We can have a definition of the cultural industry where symbolic value is essential in the goods that are manufactured. This will include many things related to fashion, heritage or cinema. Films have no utilitarian function and, even today, they have no material dimension. If the product is dematerialized, this does not mean that production is dematerialized.		We can have a definition of the cultural industry where symbolic value is essential in the goods that are manufactured. This will include many things related to fashion, heritage or cinema. Films have no utilitarian function and, even today, they have no material dimension. If the product is dematerialized, this does not mean that production is dematerialized.


	==Characteristics==		==Characteristics==


	It would seem that there is a basic contradiction between industry and culture, between industrial logic and cultural logic. Industry would be almost a "dirty word" while culture would be such a "noble" word. The first to mention it was Adorno in Dialektik der Aufklärungpublished in 1947. In view of this contradiction, how can cultural industries be characterized?		It would seem that there is a basic contradiction between industry and culture, between industrial logic and cultural logic. Industry would be almost a "dirty word" while culture would be such a "noble" word. The first to mention it was Adorno in Dialektik der Aufklärungpublished in 1947. In view of this contradiction, how can cultural industries be characterized?
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	This diagram shows the evolution of the payroll of the number of people employed in audiovisual and news agencies in France between the 1970s and the 2000s. We've gone from 100 to almost 200. This means that the wage bill and employees in the audiovisual sectors doubled in the period. We are facing an industry that is really exploding, taking up more and more space, employing more and more people and generating more and more profits.		This diagram shows the evolution of the payroll of the number of people employed in audiovisual and news agencies in France between the 1970s and the 2000s. We've gone from 100 to almost 200. This means that the wage bill and employees in the audiovisual sectors doubled in the period. We are facing an industry that is really exploding, taking up more and more space, employing more and more people and generating more and more profits.


	=Highly concentrated production=		=Highly concentrated production=
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	The fragmentation of cinema into cultural areas is a new phenomenon. This is linked to the invention of the talking cinema in 1929. At that moment cinema ceased to be universal. In 1929 one begins to speak is the question is to know which language to speak. Cinema ceases to be a universal cinema. This is the reason why Charlie Chaplin continued the silent film.		The fragmentation of cinema into cultural areas is a new phenomenon. This is linked to the invention of the talking cinema in 1929. At that moment cinema ceased to be universal. In 1929 one begins to speak is the question is to know which language to speak. Cinema ceases to be a universal cinema. This is the reason why Charlie Chaplin continued the silent film.

			<br />

			==== '''The pandemic on COVID-19''' ====


	Recently one big issue occured that completely broken then bone of global film industry.That Isssue name is Covid-19.Nearly 10 million people applied for unemployment benefits till the ending of March 2020.U.S. entertainment companies like Disney are cutting off “nonessential” employments and expenses and also they are asking executives to take pay cuts. But globally, International governments and media firms are showing a slow progress to keep workers on the books.		Recently one big issue occured that completely broken then bone of global film industry.That Isssue name is Covid-19.Nearly 10 million people applied for unemployment benefits till the ending of March 2020.U.S. entertainment companies like Disney are cutting off “nonessential” employments and expenses and also they are asking executives to take pay cuts. But globally, International governments and media firms are showing a slow progress to keep workers on the books.
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	In Germаny, where the Kurzаrbeit system is credited with hаving helped sаve the country from mаss unemployment during the Greаt Recession of 2008-09, short-term work systems аre being extended to freeаnce аnd contrаct workers who were previously not covered. Studio Bаbelsberg аnd the stаte governments of Berlin аnd Brаndenburg аre close to а deаl thаt will аllow severаl hundred crew-members, fired when the outbreak hit, to stаy on the pаyroll. [source: [https://www.cengnews.com/news/how-the-global-film-industry-is-working-to-mitigate-mass-layoffs-52966.html cengnews]]		In Germаny, where the Kurzаrbeit system is credited with hаving helped sаve the country from mаss unemployment during the Greаt Recession of 2008-09, short-term work systems аre being extended to freeаnce аnd contrаct workers who were previously not covered. Studio Bаbelsberg аnd the stаte governments of Berlin аnd Brаndenburg аre close to а deаl thаt will аllow severаl hundred crew-members, fired when the outbreak hit, to stаy on the pаyroll. [source: [https://www.cengnews.com/news/how-the-global-film-industry-is-working-to-mitigate-mass-layoffs-52966.html cengnews]]

	==The Majors==		===='''The Majors'''====

	[[Fichier:Cartographie majors 1.png\|vignette]]		[[Fichier:Cartographie majors 1.png\|vignette]]
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	In terms of percentage, what is the share of these media structures in production? We will distinguish the concentration in the four largest firms and in the eight largest firms and we will think in terms of production, distribution, projection and post-production. As far as film production is concerned, a third or a half depending on whether you take the four or the eight largest firms, a third of the revenues where half of the revenues are provided by the major studios, if you watch the distribution of films, it is totally blocked by the major studios, 82% of films are distributed by the four major studios and 92% by the eight major studios. For the screening, it's a little less than half because there are still small independent cinemas and the big difference is post-production. The big studios are almost absent that we take the four biggest studios or the eight biggest studios that provide a fifth of the post-production. Post-production is often outsourced. Across the United States, these four major studios make half of the profits from film production, four-fifths of the profits from film distribution and one-third of the profits from their production. It is a structure where, at all times in the film industry, film production, film distribution or screenings, almost half, two thirds or three quarters of the sector is held by the major studios. The only sector that escapes the control of the big Hollywood studios is post-production.		In terms of percentage, what is the share of these media structures in production? We will distinguish the concentration in the four largest firms and in the eight largest firms and we will think in terms of production, distribution, projection and post-production. As far as film production is concerned, a third or a half depending on whether you take the four or the eight largest firms, a third of the revenues where half of the revenues are provided by the major studios, if you watch the distribution of films, it is totally blocked by the major studios, 82% of films are distributed by the four major studios and 92% by the eight major studios. For the screening, it's a little less than half because there are still small independent cinemas and the big difference is post-production. The big studios are almost absent that we take the four biggest studios or the eight biggest studios that provide a fifth of the post-production. Post-production is often outsourced. Across the United States, these four major studios make half of the profits from film production, four-fifths of the profits from film distribution and one-third of the profits from their production. It is a structure where, at all times in the film industry, film production, film distribution or screenings, almost half, two thirds or three quarters of the sector is held by the major studios. The only sector that escapes the control of the big Hollywood studios is post-production.

	==Hollywood and other cinema SPLs==		===='''Hollywood and other cinema SPLs'''====

	[[Fichier:Cartographie aérienne los angeles.png\|vignette]]		[[Fichier:Cartographie aérienne los angeles.png\|vignette]]
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	There is also a cinema district in Paris. If we map the companies involved in film and visual production in France, we see that there are 142 production companies located in France and there are almost as many in the 8th arrondissement of Paris. There is the same phenomenon of concentration and for the same reasons. In the north of Paris, there is the city of cinema created at the initiative of Luc Besson which is an old factory. These huge hangars have been transformed into film studios. The Parisian cinema district is in the process of development.		There is also a cinema district in Paris. If we map the companies involved in film and visual production in France, we see that there are 142 production companies located in France and there are almost as many in the 8th arrondissement of Paris. There is the same phenomenon of concentration and for the same reasons. In the north of Paris, there is the city of cinema created at the initiative of Luc Besson which is an old factory. These huge hangars have been transformed into film studios. The Parisian cinema district is in the process of development.

	=A polarized distribution=		<br />

			===='''A polarized distribution'''====

	Films are cultural goods and like all cultural goods, films are made with signs and codes. To consume a film, you have to understand a code. Cultural property not only has a symbolic function, it also carries identity. Collective and national identity is based on a circulation of symbolic objects that can be novels, songs, photographs, paintings, but also films. So the film carries something symbolic according to an identity that makes sense for a given population. To disseminate a cultural good across the border, it is necessary to find a vector, because it is in the logic that it does not pass. What is mysterious is that it passes. Each country will live in a closed circuit, but some works will acquire universal value. This is linked to the exceptional value of these works, but it is also linked to the fact that it was also carried by a vector. This may explain the fact that American films are exported either because of the quality of production or because of American cultural imperialism. American culture succeeded in going beyond the borders of America, particularly during the Second World War, and became familiar. There is a geopolitical configuration, but also an ability of the American world and American society to attract and seduce. The American way of life and the American dream have a real meaning. American success is not only the result of American cultural imperialism, it is also the cause. It is the diffusion of a cultural model that manages to become transnational, even universal. In most countries, the vast majority of films seen and distributed are American films.		Films are cultural goods and like all cultural goods, films are made with signs and codes. To consume a film, you have to understand a code. Cultural property not only has a symbolic function, it also carries identity. Collective and national identity is based on a circulation of symbolic objects that can be novels, songs, photographs, paintings, but also films. So the film carries something symbolic according to an identity that makes sense for a given population. To disseminate a cultural good across the border, it is necessary to find a vector, because it is in the logic that it does not pass. What is mysterious is that it passes. Each country will live in a closed circuit, but some works will acquire universal value. This is linked to the exceptional value of these works, but it is also linked to the fact that it was also carried by a vector. This may explain the fact that American films are exported either because of the quality of production or because of American cultural imperialism. American culture succeeded in going beyond the borders of America, particularly during the Second World War, and became familiar. There is a geopolitical configuration, but also an ability of the American world and American society to attract and seduce. The American way of life and the American dream have a real meaning. American success is not only the result of American cultural imperialism, it is also the cause. It is the diffusion of a cultural model that manages to become transnational, even universal. In most countries, the vast majority of films seen and distributed are American films.

	~~=Annexes=~~		<br />

	=References=		=References=

Stoner : /* The Majors */ Copyrighted by:Cengnews.com

2020-05-27T08:27:15Z

The Majors : Copyrighted by:Cengnews.com

@@ Ligne 125 : / Ligne 125 : @@
 The fragmentation of cinema into cultural areas is a new phenomenon. This is linked to the invention of the talking cinema in 1929. At that moment cinema ceased to be universal. In 1929 one begins to speak is the question is to know which language to speak. Cinema ceases to be a universal cinema. This is the reason why Charlie Chaplin continued the silent film.
-Recently one big issue occured that completely broken then bone of global film industry.
+Recently one big issue occured that completely broken then bone of global film industry.That Isssue name is Covid-19.Nearly 10 million people applied for unemployment benefits till the ending of March 2020.U.S. entertainment companies like Disney are cutting off “nonessential” employments and expenses and also they are asking executives to take pay cuts. But globally, International governments and media firms are showing a slow progress to keep workers on the books.
-till the ending of March 2020.U.S. entertainment companies like Disney are cutting off
+Riccаrdo Tozzi, founder аnd CEO of Cаttleyа, аn Itаliаn production compаny owned by ITV Studios, told THR “аbout а third” of its workforce is on temporаry leаve becаuse of the crisis, but it expects “to retаin our entire stаff аnd to hаve everyone bаck to work before summer.” Cаttleyа аlso is topping up the government’s offering so employees receive their full sаlаry for nine weeks
-cuts. But globally, International governments and media firms are showing a slow progress
+In Germаny, where the Kurzаrbeit system is credited with hаving helped sаve the country from mаss unemployment during the Greаt Recession of 2008-09, short-term work systems аre being extended to freeаnce аnd contrаct workers who were previously not covered. Studio Bаbelsberg аnd the stаte governments of Berlin аnd Brаndenburg аre close to а deаl thаt will аllow severаl hundred crew-members, fired when the outbreak hit, to stаy on the pаyroll. [source: [https://www.cengnews.com/news/how-the-global-film-industry-is-working-to-mitigate-mass-layoffs-52966.html cengnews]]
 ==The Majors==

Stoner : /* Annexes */ The global pandemic occurred due to COVID-19 . We've adjusted some important adjustment in this topic.

2020-05-27T08:18:11Z

Annexes : The global pandemic occurred due to COVID-19 . We've adjusted some important adjustment in this topic.

Voir les modifications

Arthur le 8 juin 2018 à 02:09

2018-06-08T02:09:19Z

← Version précédente		Version du 8 juin 2018 à 04:09
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	\| fr = Géographie de l’industrie cinématographique		\| fr = Géographie de l’industrie cinématographique
	\| es = Geografía de la Industria Cinematográfica		\| es = Geografía de la Industria Cinematográfica
			\| it = Geografia dell'industria cinematografica
	}}		}}

Arthur le 18 mai 2018 à 07:44

2018-05-18T07:44:52Z

← Version précédente		Version du 18 mai 2018 à 09:44
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	{{Translations		{{Translations
	\| fr = Géographie de l’industrie cinématographique		\| fr = Géographie de l’industrie cinématographique
			\| es = Geografía de la Industria Cinematográfica
	}}		}}

Arthur le 2 mai 2018 à 21:51

2018-05-02T21:51:12Z

← Version précédente		Version du 2 mai 2018 à 23:51
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			{{Infobox Lecture
			\| image =
			\| image_caption =
			\| faculté =
			\| département =
			\| professeurs = [[Jean-François Staszak\|Staszak, Jean-François]]<ref>Jean-François Staszak. Wikipédia, l'encyclopédie libre. http://fr.wikipedia.org/w/index.php?title=Jean-Fran%C3%A7ois_Staszak</ref><ref>[https://www.unige.ch/sciences-societe/geo/membres/enseignants/staszakjeanfrancois/ Page personnelle de Jean-François Staszak sur le site de l'Université de Genève]</ref><ref>[[https://www.franceculture.fr/personne/jean-francois-staszak Publications de Jean-François Staszak sur le site de France Culture]]</ref><ref>[https://www.cairn.info/publications-de-Staszak-Jean-Fran%C3%A7ois--2057.htm Publications de Jean-François Staszak diffusées sur Cairn.info ]</ref><ref>[http://unige.academia.edu/JeanFran%C3%A7oisStaszak Page de Jean-François Staszak sur Academia.edu]</ref><ref>[https://www.babelio.com/auteur/Jean-Francois-Staszak/322744 Biographie de Jean-François Staszak sur Babelio.com]</ref><ref>[http://www.liberation.fr/auteur/13553-jean-francois-staszak Publication de Jean-François Staszak sur Liberation.fr]</ref>
			\| assistants =
			\| enregistrement =
			\| cours = [[Economic geography]]
			\| lectures =
			*[[Economic geography: approaches and challenges]]
			*[[The circuits and their geographies]]
			*[[Trade and geographical advantages]]
			*[[Geography of wealth and development]]
			*[[Geography of the Film Industry]]
			}}

	There has been a turning point in economic geography in recent years that raises questions about certain forms of distribution of economic activity or, more precisely, about a form of concentration of economic activity. There are three elements to put in place at the beginning to explain this change in the economic agency:		There has been a turning point in economic geography in recent years that raises questions about certain forms of distribution of economic activity or, more precisely, about a form of concentration of economic activity. There are three elements to put in place at the beginning to explain this change in the economic agency:
	*the sociocultural turning-point: it is the idea that geographers who explained economics by very economic reasoning, the examples of which are Weber, Von Thünen and Christaller's famous localization models, who come to explain the localizations of economic activities by cultural or more anthropological or sociological motives. The concentration of film activity in the United States, particularly in Los Angeles and Hollywood in general, is a very good example of this phenomenon. In traditional economic explanations, it was explained how factories were located to minimize the cost of transporting raw materials, but for cinema this did not work in the same way.		*the sociocultural turning-point: it is the idea that geographers who explained economics by very economic reasoning, the examples of which are Weber, Von Thünen and Christaller's famous localization models, who come to explain the localizations of economic activities by cultural or more anthropological or sociological motives. The concentration of film activity in the United States, particularly in Los Angeles and Hollywood in general, is a very good example of this phenomenon. In traditional economic explanations, it was explained how factories were located to minimize the cost of transporting raw materials, but for cinema this did not work in the same way.

Arthur : /* Une distribution polarisée */

2018-05-02T21:44:36Z

Une distribution polarisée

← Version précédente		Version du 2 mai 2018 à 23:44
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	There is also a cinema district in Paris. If we map the companies involved in film and visual production in France, we see that there are 142 production companies located in France and there are almost as many in the 8th arrondissement of Paris. There is the same phenomenon of concentration and for the same reasons. In the north of Paris, there is the city of cinema created at the initiative of Luc Besson which is an old factory. These huge hangars have been transformed into film studios. The Parisian cinema district is in the process of development.		There is also a cinema district in Paris. If we map the companies involved in film and visual production in France, we see that there are 142 production companies located in France and there are almost as many in the 8th arrondissement of Paris. There is the same phenomenon of concentration and for the same reasons. In the north of Paris, there is the city of cinema created at the initiative of Luc Besson which is an old factory. These huge hangars have been transformed into film studios. The Parisian cinema district is in the process of development.

	= ~~Une~~ distribution ~~polarisée~~ =		= A polarized distribution =

	~~Les films sont des biens culturels et comme tout les biens culturels~~, ~~les~~ films ~~sont fabriqués avec des signes et des~~ codes. ~~Pour consommer un~~ film, ~~il faut comprendre un~~ code. ~~Les biens culturels ont non seulement une fonction symbolique~~, ~~mais ils sont aussi porteurs d’identité~~. ~~L’identité collective et nationale s’appuie sur une~~ circulation ~~d’objets symboliques qui peuvent être des romans~~, ~~des chansons~~, ~~des photographies~~, ~~des tableaux~~, ~~mais aussi des~~ films. ~~Donc, le~~ film ~~porte quelque chose qui~~ a ~~une symbolique en fonction d’une identité faisant sens pour une~~ population ~~donnée~~. ~~Pour diffuser un bien culturel au-delà de la frontière~~, ~~il faut trouver un vecteur~~, ~~car il est dans la logique que cela ne passe pas~~. ~~Ce qui est mystérieux est que cela passe~~. ~~Chaque pays va vivre en~~ circuit ~~fermé~~, ~~mais certaines œuvres vont acquérir une valeur universelle~~. ~~Cela est lié à la valeur exceptionnelle de ces œuvres~~, ~~mais cela est aussi lié au fait que cela~~ a ~~été également porté par un vecteur~~. ~~Ce qui peut expliquer le fait que les~~ films ~~américains s’exportent soit est lié à la qualité de la~~ production ~~soit par l’impérialisme culturel américain~~. La culture ~~américaine a réussi à déborder les frontières de l’Amérique notamment à l’occasion de la Deuxième guerre mondiale et a réussi à devenir familière~~. ~~Il y~~ a ~~une~~ configuration ~~géopolitique~~, ~~mais aussi une capacité du monde américain et de la société américaine à attirer et à séduire~~. ~~L’American~~ way of life ~~et l’American~~ dream ~~ont une véritable signification~~. ~~Le succès américain n’est pas seulement le résultat de l’impérialisme culturel américain~~, ~~mais cela en est aussi la~~ cause. ~~C’est la~~ diffusion ~~d’un modèle culturel qui parvient à devenir~~ transnational, ~~voire universel~~. ~~Dans la plupart des pays~~, ~~la grande majorité des~~ films ~~vus et distribués sont des~~ films ~~américains~~.		Films are cultural goods and like all cultural goods, films are made with signs and codes. To consume a film, you have to understand a code. Cultural property not only has a symbolic function, it also carries identity. Collective and national identity is based on a circulation of symbolic objects that can be novels, songs, photographs, paintings, but also films. So the film carries something symbolic according to an identity that makes sense for a given population. To disseminate a cultural good across the border, it is necessary to find a vector, because it is in the logic that it does not pass. What is mysterious is that it passes. Each country will live in a closed circuit, but some works will acquire universal value. This is linked to the exceptional value of these works, but it is also linked to the fact that it was also carried by a vector. This may explain the fact that American films are exported either because of the quality of production or because of American cultural imperialism. American culture succeeded in going beyond the borders of America, particularly during the Second World War, and became familiar. There is a geopolitical configuration, but also an ability of the American world and American society to attract and seduce. The American way of life and the American dream have a real meaning. American success is not only the result of American cultural imperialism, it is also the cause. It is the diffusion of a cultural model that manages to become transnational, even universal. In most countries, the vast majority of films seen and distributed are American films.

	= Annexes =		= Annexes =

Arthur : /* The Majors */

2018-05-02T21:43:59Z

The Majors

Voir les modifications

Arthur : /* On a global scale */

2018-05-02T21:40:46Z

On a global scale

Voir les modifications

Geography of the Film Industry - Historique des versions

Arthur le 27 mai 2020 à 13:49

Stoner : /* Characteristics */ All paragraphn allignments adjustment after adding the updated info of covid-19 situation

Stoner : /* The Majors */ Copyrighted by:Cengnews.com

Stoner : /* Annexes */ The global pandemic occurred due to COVID-19 . We've adjusted some important adjustment in this topic.

Arthur le 8 juin 2018 à 02:09

Arthur le 18 mai 2018 à 07:44

Arthur le 2 mai 2018 à 21:51

Arthur : /* Une distribution polarisée */

Arthur : /* The Majors */

Arthur : /* On a global scale */

Stoner : /* Characteristics */ All paragraphn allignments adjustment after adding the updated info of covid-19 situation

Stoner : /* The Majors */ Copyrighted by:Cengnews.com

Stoner : /* Annexes */ The global pandemic occurred due to COVID-19 . We've adjusted some important adjustment in this topic.

Arthur : /* Une distribution polarisée */

Arthur : /* The Majors */

Arthur : /* On a global scale */