Distributing Films Online

Smits, Roderik; Higson, Andrew; Mateer, John; Jones, Huw David; D’Ippolito, Beatrice

doi:10.3366/jbctv.2018.0419

Cited by 6 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Berbeda dengan era sebelumnya yang lebih mengedepankan tahap produksi, saat ini tahap paska produksi, yaitu distribusi dan eksibisi menjadi faktor penentu keberhasilan suatu film. Distribusi diperlukan untuk memperluas pasar dan menghubungkan tahap produksi dengan konsumsi atau menghubungkan pembuat film dengan penontonnya (Smits et al, 2018). Ini artinya pelaku usaha film dan pemerintah perlu segera mengambil langkah strategis dan menempatkan tahap paska produksi sebagai bagian penting dalam upaya pengembangan industri film nasional.…”

Section: Pendahuluanunclassified

“…Strategi ini efektif untuk mengenalkan film dan mendapatkan publikasi dan perbincangan luas dari media dan publik. Eksibisi film melalui bioskop penting untuk menciptakan pengetahuan khalayak mengenai film sebelum diputar secara digital (Smits et al, 2018). Pemutaran film di bioskop juga dapat dimanfaatkan sebagai event resmi peluncuran film.…”

Section: Hasil Penemuan Dan Diskusi Distribusi Dan Eksibisi Film Secara Konvensionalunclassified

See 1 more Smart Citation

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

Iswahyuningtyas

Hidayat

2021

J. Komun.

View full text Add to dashboard Cite

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.

show abstract

Section: Pendahuluanunclassified

Section: Hasil Penemuan Dan Diskusi Distribusi Dan Eksibisi Film Secara Konvensionalunclassified

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

Iswahyuningtyas

Hidayat

2021

J. Komun.

View full text Add to dashboard Cite

show abstract

“…Questions of funding, production, distribution, exhibition and other forms of film dissemination all act as gatekeeping processes that set the parameters for film viewing. To that extent, they are central to the relationship between films and film audiences and play an important mediating role between producers and audiences (Smits et al, 2018).…”

Section: Policy and Industry Perspectivesmentioning

confidence: 99%

Developing a computational ontology to understand the relational aspects of audience formation

Hanchard,

Merrington,

Wessels

et al. 2020

EOR

Self Cite

View full text Add to dashboard Cite

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

show abstract

“…Our analysis focussed on how funding is channelled through production, distribution and exhibition to reach audiences in different ways. In doing so, it examined how public investment is directed towards supporting intermediary roles between producers and consumers (Smits, Higson, Mateer, Jones, & D'Ippolito, 2018). During the period covered by our analysis, the UKFC was created and closed, with the BFI subsequently being awarded greater resources and responsibilities.…”

Section: Policy Analysismentioning

confidence: 99%

Using mixed-methods, a data model and a computational ontology in film audience research

et al. 2019

Self Cite

View full text Add to dashboard Cite

This paper discusses a methodology that seeks to address one of the challenges in working with a range of data in mixed-methods audience research, which is how to sort, order and categorise different data so that they can be systematically combined and interrogated. The methodology was developed as part of the "Beyond the Multiplex: audiences for specialised films in English regions" (BtM) project. This project required a mixed methods approach using surveys, interviews, focus groups and document analysis to explore the richness of audience experiences and trends in the context of regional film policy. This required a mixed methods approach using surveys, interviews, focus groups and document analysis. The project utilised a data model approach that uses the principles of a computational ontology in order to sort, order and categorise data for systematic interrogation. The paper discusses methods, data, coding, and the use of a data model to support data analysis. We argue that this approach enables the cross referencing of data that provides a rich, multilayered and relational understanding of film audiences but requires time and attention to data management and coding. Although, additionally it also forms the basis of an open access data resource for future research.

show abstract

Distributing Films Online

Cited by 6 publications

References 0 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

Developing a computational ontology to understand the relational aspects of audience formation

Using mixed-methods, a data model and a computational ontology in film audience research

Contact Info

Product

Resources

About