‘BLOODY PIRATES!!!* shakes fist*’: Reimagining East Asian film distribution and reception through online filesharing networks

Crisp, Virginia

doi:10.1386/jjkc.3.1.65_1

Cited by 4 publications

(3 citation statements)

References 12 publications

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“…Selain itu, promosi film melalui media sosial juga dapat dilakukan melalui Forum Sharing. Forum ini penting dalam promosi film karena melalui forum tersebut film dicari, diinterpretasi, disebarkan, dipromosikan, direkomendasikan dan diulas oleh banyak orang (Crisp, 2012).…”

Section: Distribusi Dan Eksibisi Film Secara Digitalunclassified

Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia

Iswahyuningtyas

Hidayat

2021

J. Komun.

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Today, media distribution and consumption can occur anytime, anywhere, anything, both conventional and digital. The change in media consumption behavior has brought many challenges for the Indonesian film industry, particularly distribution and exhibition. Film distribution should not just rely on the domestic market and film exhibitions through cinemas. The number of Indonesian cinemas and screens is not ideal, still concentrated in big cities, has low moviegoers, is dominated by foreign films, and lacks support from the government. This study intended to identify challenges and strategies for conventional and digital distribution and exhibition. Answer to that question, this study was carried qualitatively by conducting a literature review through meta-analysis related to history, experiences, and situations in some countries. Research findings indicate film distribution and exhibition need to run simultaneously conventional and digital. Digital distribution is urgent for expanding market size and cinemas revenue. The conventional distribution needs to be maintained because the highest film revenue still comes from cinemas exhibitions. Therefore, filmmakers should begin to organize their distribution strategy and expand cooperation with digital film providers. The government needs to build distribution infrastructures such as global film festivals and distribution agencies, also create policies related to exhibition incentives and tax rebates, especially for films with small audiences. Distribusi dan konsumsi media dewasa ini dapat dilakukan kapanpun, dimanapun, apapun, baik secara konvensional maupun digital. Perubahan perilaku konsumsi media membawa banyak tantangan bagi industri film di Indonesia, khususnya terkait aspek distribusi dan eksibisi. Distribusi film tidak boleh hanya bergantung pada pasar domestik dan mengandalkan eksibisi film melalui bioskop. Hal ini karena jumlah bioskop dan layar yang tersedia di Indonesia belum ideal, masih terpusat di kota besar, memiliki sedikit penonton, berada dalam dominasi film asing dan kurang mendapatkan dukungan dari pemerintah. Kajian ini dimaksudkan untuk mengetahui tantangan dan strategi dalam distribusi dan eksibisi film secara konvensional dan digital. Untuk menjawab pertanyaan tersebut kajian ini dilakukan secara kualitatif dengan melakukan kajian pustaka melalui analisis meta terkait sejarah, pengalaman, situasi yang terjadi di beberapa negara. Temuan penelitian menunjukkan bahwa distribusi dan eksibisi film perlu dilakukan secara simultan. Distribusi digital penting untuk memperluas pasar dan meningkatkan pendapatan. Distribusi konvensional perlu dipertahankan karena pendapatan film terbesar masih berasal dari distribusi melalui jalur bioskop. Oleh karena itu, pembuat film harus mulai mengatur sendiri strategi distribusinya dan meningkatkan kerjasama dengan provider film digital. Pemerintah perlu membangun infrastruktur distribusi seperti festival film dan agensi distribusi di tingkat global, dan membuat kebijakan terkait pemberian insentif eksibisi dan potongan pajak, khususnya bagi film dengan sedikit penonton.

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Section: Distribusi Dan Eksibisi Film Secara Digitalunclassified

Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia

Iswahyuningtyas

Hidayat

2021

J. Komun.

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“…General research on Korean entertainment products focuses mainly on analysing texts or examining case studies. Nonetheless, a few earlier studies have sought to understand fans' reception of the Korean Wave through the representation and distribution of Korean entertainment products (Crisp 2012;Hübinette 2012;Kim, Mayasari & Oh 2013;Schulze 2013). The present article attempts to supplement these studies and fill a major lacuna in the literature by analysing audiences' reception of the Korean film Miss Granny (2014) and the official Korean-Chinese remake 20 Once Again (2015) by utilising data drawn from the Chinese social networking site (SNS) Douban (豆瓣).…”

Section: The Hallyu Effect In Chinamentioning

confidence: 99%

Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road

Soh

Yecies

2017

Global Media and China

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Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences' reception of the Korean film Miss Granny (2014) and the most successful Korean-Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the 'inconspicuous' impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about 'Korean' and 'Chinese' styles of storytelling.

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“…All references ibid. 3 For an example of site name abbreviations see CWS, "Courier Weektop ScoreCard 001 (cws001.txt), "February 9, 1998, DeFacto2; TWH, "The Wolves House Topsite (TWH-the.wolves.house.1999.12.30.nfo), " December, DeFacto2, warez.scene.nfo.collection.v1.0.24351.shroo.ms.zip. 4 SLR, "The Cellar Topsite (SLR-the.cellar.1998, "November 8, 1998, DeFacto2, warez.scene.nfo.collection.v1.0.24351.shroo.ms.zip.…”

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confidence: 99%

Warez: The Infrastructure and Aesthetics of Piracy

Eve¹

2021

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When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age.

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‘BLOODY PIRATES!!!* shakes fist*’: Reimagining East Asian film distribution and reception through online filesharing networks

Cited by 4 publications

References 12 publications

Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia

Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia

Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road

Warez: The Infrastructure and Aesthetics of Piracy

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