Title
Film i tržište : vidovi komercijalizacije savremenog holivudskog filma
Creator
Đorđe, Đorđević P. 1977-
Copyright date
2015
Object Links
Select license
Autorstvo-Nekomercijalno-Bez prerade 3.0 Srbija (CC BY-NC-ND 3.0)
License description
Dozvoljavate samo preuzimanje i distribuciju dela, ako/dok se pravilno naznačava ime autora, bez ikakvih promena dela i bez prava komercijalnog korišćenja dela. Ova licenca je najstroža CC licenca. Osnovni opis Licence: http://creativecommons.org/licenses/by-nc-nd/3.0/rs/deed.sr_LATN. Sadržaj ugovora u celini: http://creativecommons.org/licenses/by-nc-nd/3.0/rs/legalcode.sr-Latn
Language
Serbian
Cobiss-ID
Theses Type
Doktorska disertacija
description
Datum odbrane: 25.09.2015.
Other responsibilities
mentor
Božilović, Nikola 1951-
član komisije
Kristović, Mirjana 1951-
član komisije
Janković, Aleksandar S.
Academic Expertise
Društveno-humanističke nauke
University
Univerzitet u Nišu
Faculty
Filozofski fakultet
Group
Departman za sociologiju
Alternative title
Film and market : types of commercialization of the contemporary Hollywood film
Publisher
[Đ. Đorđević]
Format
395, 8 listova
description
Filmografija: listovi 354-373
description
Sociology of Culture
Abstract (en)
In scientific literature (foreign and domestic) there is an extremely small number of
sociological papers on contemporary film commercialization. It is usually generalized
without any concrete and detailed research of this phenomenon, particularly not on a big and
relevant sample. Contemporary science is mostly dominated by film reception researches
(including all its effects on its audience), but there are no researches of the production and
types of contemporary Hollywood film commercialization. There is a lack of sociological
papers on this subject while the already written papers are usually reduced to either one or
few most evident types of commercialization of film. There is no single approach that would,
in the context of the sociocultural context of creation of Hollywood film, prove that film
commercialization does exist, what it is characterised by and what its contemporary and
former types are.
An understanding of film commercialisation in the theoretical and methodological
sense is only possible if today’s commercialization of society, culture and media is perceived
in its entirety. A social determination of spiritual life, as opposed to the immanence theory,
discusses the social aspect of the spirit, as previously discussed by Karl Mannheim. The
social elements of sociability are, perhaps more than in other forms of art, present in creative
processes on film. In recent years there have been some changes not only of contemporary
science, culture and technique, but also of the very concept of film market which have
crucially influenced the appearance of numerous completely new types of Hollywood film
commercialization. Taking into account the fact that these are new techniques of
commercialization, they have not been explored so far (the collective author of the script, the
principle of political correctness, the unexpected ending, film serials, ''extended films'', guest
stars, the strategy of ''market followers'', parodying the popular, film computerization, virtual
actors, interactive film etc). Commercialization implies a consumeristic style of perceiving
the product of culture and being guided by the profit logic. Creativity is substituted for
production, while originality and artistic creation are replaced by market demands. Serial
production replaces what was previously positively accepted by general audience. Hollywood
production is dominated by expensive blockbusters and numerous film serials which go on
for years. Such Hollywood films become a model which is immitated by smaller productions
throughout the world, trying to gain a higher viewer rating with audiences. The global film
audience in the contemporary world is the key stakeholder of film companies.
Within the conditions of transnational media corporations existence, which are at the
same time the owners of film studios, the contemporary film becomes a commodity intended
for the market, subject to its demands. A Hollywood film is not only commercialized but at
the same time it is a harbinger of the idea which will also be commercialized in numerous
respects. After the film and based on the film there will be many media and outside media
products (e.g., line of products). In this paper the socio-cultural approach is all-embracing so
that attention will also be paid to the integral phenomena of film commercialization such as
trailers, film advertisements, public relations, media film spinning, outside media aspects of
film commercialization and youth subculture of film fans, theme parks etc.
Commercialization of the contemporary Hollywood film today involves several
phases. It is present in the shooting preparation phase, shooting announcement and shooting
phase, shooting reporting phase, but is continued even during its ending, advertising
promotion, cinema premiere, subsequent television broadcast and the issue of the DVD –
until the next remake which will meet the film audience in several years' time, enriched by
multiple special effects or in a 3D version. Aside from the global public, the existence of new
film markets was of crucial influence on an additional commercialization of the Hollywood
film. The Hollywood production exploits combining of more different topics, motifs and
ideas but at the same time tries to find the lowest common denominators for different
audience segments.
A respect of the First and Second Amendment of the United States Constitution and
the promotion of Jefferson's pursuit of happiness constitute an important part of the American
culture of a love of freedom and the backbone of the American myth, which is reflected in the
cinematography as well. The middle class values, personal initiative and the ideal of the selfmade
man have dominated the American film for decades, while in the recent years the
principle of political correctness is also present. Even at the stage of script creation, the
collective author (creative team) transforms each Hollywood film into a commercially
payable product. The key idea is to adapt to the taste of the average individual from the
audience. On the other hand, some densely populated markets, such as the Chinese, due to a
large number of potential visitors of the cinema show, will influence what kind of films
Hollywood will vreate and how it will display certain themes that may be controversial in the
opinion of their authorities. The contemporary era at the same time allows for a number of
different ''readings'' of each film creation by different segments within the film audience. The
Hollywood film is characterised by an almost complete availability for everyone at any time,
thanking to the development of the contemporary technology.
By combining the method of empirical research of the films themselves and the
modern theoretical knowledge, this paper attempts to completely clarify the phenomenon of
the commercialization of the contemporary Hollywood film. The principle - from empirical
evidence towards theory – has been respected, but also the perception of film in the opposite
direction. The problem approach has been all-embracing and has focused not only on the
most typical types of commercialization of the Hollywood film, as it usually seems in the
theoretical literature, but also on some types which have been neglected or overlooked so far.
This paper also provides evidences and arguments on the idea of the Hollywood film as a
source of inspiration for the whole network of other commercially oriented products. The
paper analyses the complex interrelation between film and other commercial creations of the
contemporary media culture.
Answers in relation to the commercialization of the contemporary Hollywood film are
necessary inasmuch as they enable a better understanding of the film and media culture in
general, but also because the film is a means of discovering numerous key problems of the
complex social and cultural life in the contemporary world. Thanking to them, it is not also
possible to analyse the actual moment but also to perceive the possibilities for creation of
films in the future from a scientific point of view.
Authors Key words
film, kultura, masovni mediji, komercijalizacija, tržište, Holivud,
američki filmovi, filmski serijali
Authors Key words
Film, Culture, Mass Media, Commercialization, Market, Hollywood,
American movies, film serials
Classification
316.75:791.61(739.4)''19/20''
Type
Tekst
Abstract (en)
In scientific literature (foreign and domestic) there is an extremely small number of
sociological papers on contemporary film commercialization. It is usually generalized
without any concrete and detailed research of this phenomenon, particularly not on a big and
relevant sample. Contemporary science is mostly dominated by film reception researches
(including all its effects on its audience), but there are no researches of the production and
types of contemporary Hollywood film commercialization. There is a lack of sociological
papers on this subject while the already written papers are usually reduced to either one or
few most evident types of commercialization of film. There is no single approach that would,
in the context of the sociocultural context of creation of Hollywood film, prove that film
commercialization does exist, what it is characterised by and what its contemporary and
former types are.
An understanding of film commercialisation in the theoretical and methodological
sense is only possible if today’s commercialization of society, culture and media is perceived
in its entirety. A social determination of spiritual life, as opposed to the immanence theory,
discusses the social aspect of the spirit, as previously discussed by Karl Mannheim. The
social elements of sociability are, perhaps more than in other forms of art, present in creative
processes on film. In recent years there have been some changes not only of contemporary
science, culture and technique, but also of the very concept of film market which have
crucially influenced the appearance of numerous completely new types of Hollywood film
commercialization. Taking into account the fact that these are new techniques of
commercialization, they have not been explored so far (the collective author of the script, the
principle of political correctness, the unexpected ending, film serials, ''extended films'', guest
stars, the strategy of ''market followers'', parodying the popular, film computerization, virtual
actors, interactive film etc). Commercialization implies a consumeristic style of perceiving
the product of culture and being guided by the profit logic. Creativity is substituted for
production, while originality and artistic creation are replaced by market demands. Serial
production replaces what was previously positively accepted by general audience. Hollywood
production is dominated by expensive blockbusters and numerous film serials which go on
for years. Such Hollywood films become a model which is immitated by smaller productions
throughout the world, trying to gain a higher viewer rating with audiences. The global film
audience in the contemporary world is the key stakeholder of film companies.
Within the conditions of transnational media corporations existence, which are at the
same time the owners of film studios, the contemporary film becomes a commodity intended
for the market, subject to its demands. A Hollywood film is not only commercialized but at
the same time it is a harbinger of the idea which will also be commercialized in numerous
respects. After the film and based on the film there will be many media and outside media
products (e.g., line of products). In this paper the socio-cultural approach is all-embracing so
that attention will also be paid to the integral phenomena of film commercialization such as
trailers, film advertisements, public relations, media film spinning, outside media aspects of
film commercialization and youth subculture of film fans, theme parks etc.
Commercialization of the contemporary Hollywood film today involves several
phases. It is present in the shooting preparation phase, shooting announcement and shooting
phase, shooting reporting phase, but is continued even during its ending, advertising
promotion, cinema premiere, subsequent television broadcast and the issue of the DVD –
until the next remake which will meet the film audience in several years' time, enriched by
multiple special effects or in a 3D version. Aside from the global public, the existence of new
film markets was of crucial influence on an additional commercialization of the Hollywood
film. The Hollywood production exploits combining of more different topics, motifs and
ideas but at the same time tries to find the lowest common denominators for different
audience segments.
A respect of the First and Second Amendment of the United States Constitution and
the promotion of Jefferson's pursuit of happiness constitute an important part of the American
culture of a love of freedom and the backbone of the American myth, which is reflected in the
cinematography as well. The middle class values, personal initiative and the ideal of the selfmade
man have dominated the American film for decades, while in the recent years the
principle of political correctness is also present. Even at the stage of script creation, the
collective author (creative team) transforms each Hollywood film into a commercially
payable product. The key idea is to adapt to the taste of the average individual from the
audience. On the other hand, some densely populated markets, such as the Chinese, due to a
large number of potential visitors of the cinema show, will influence what kind of films
Hollywood will vreate and how it will display certain themes that may be controversial in the
opinion of their authorities. The contemporary era at the same time allows for a number of
different ''readings'' of each film creation by different segments within the film audience. The
Hollywood film is characterised by an almost complete availability for everyone at any time,
thanking to the development of the contemporary technology.
By combining the method of empirical research of the films themselves and the
modern theoretical knowledge, this paper attempts to completely clarify the phenomenon of
the commercialization of the contemporary Hollywood film. The principle - from empirical
evidence towards theory – has been respected, but also the perception of film in the opposite
direction. The problem approach has been all-embracing and has focused not only on the
most typical types of commercialization of the Hollywood film, as it usually seems in the
theoretical literature, but also on some types which have been neglected or overlooked so far.
This paper also provides evidences and arguments on the idea of the Hollywood film as a
source of inspiration for the whole network of other commercially oriented products. The
paper analyses the complex interrelation between film and other commercial creations of the
contemporary media culture.
Answers in relation to the commercialization of the contemporary Hollywood film are
necessary inasmuch as they enable a better understanding of the film and media culture in
general, but also because the film is a means of discovering numerous key problems of the
complex social and cultural life in the contemporary world. Thanking to them, it is not also
possible to analyse the actual moment but also to perceive the possibilities for creation of
films in the future from a scientific point of view.
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