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“This study, based on a wealth of original research, analyses the production, circulation and reception of European films since 2005, considering their impact on broader cultural and social issues, notably the vexed question of what constitutes a European identity. Throughout, the author tests various theorisations and conceptual frameworks against the empirical evidence he has unearthed. His carefully considered interpretation will be widely welcomed as an important contribution to understanding European cinema.” - Andrew Spicer, Professor of Cultural Production, University of the West of England Bristol, UK This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions to explain why viewers are attracted to particular European films and genres, including action-adventures, family films, biopics, period dramas, thrillers, comedies, and romances. It also examines how these films are produced and distributed, how they represent Europe, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, and Asterix & Obelix: God Save Britannia, to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, Love Is All You Need, Intouchables, The Angels’ Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can contribute to people’s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. The book discusses what these findings mean for the European film industry, cultural policy, and scholarship on transnational and European cinema. Italso considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film. Huw D. Jones is a Lecturer in Film Studies at the University of Southampton, UK. He previously worked on ‘Mediating Cultural Encounters through European Screens’ (MeCETES), a collaborative project on European film and television drama, funded by Humanities in the European Research Area (HERA). .

Motion picture plays, European. --- Ethnology --- Culture. --- Motion picture industry. --- Television broadcasting. --- European Film and TV. --- European Culture. --- Film and Television Industry. --- Europe.

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‘Timely and wide-ranging, this is a lucid and essential read. It offers a telling account of the far-reaching impacts of the global streaming revolution on all facets of today’s European film industries, as they transition from the recent sweeping changes to a still evolving future.’ Laura Rascaroli, Professor of Film and Media at University College Cork ‘This excellent collection demonstrates how European producers, distributors and exhibitors have found various ways of engaging with the streaming platforms – oppositional, evasive or integrational. What constitutes “Europeanness” is being revised and redefined through the work of numerous important scholars in the field.’ Andrew Spicer, Professor of Cultural Production, University of the West of England This collection examines the impact of streaming platforms on European cinema. It is structured from three distinct points-of-view: the policy issues related to streaming platforms, equally at the European level and in individual countries; the impact of platforms on the circulation of European films, including some of the global players, multi-national and single-nation platforms operating in Europe; and the production activities of the platforms in the form of specific ‘original’ films. By bringing together scholars working on various national cinemas, including those of France, Spain, Britain and other countries, this collection illuminates the many ways in which the European film industry is responding to the digital revolution. Christopher Meir is Assistant Professor of Communication at the Universidad Carlos III de Madrid. Roderik Smits is Research Fellow in Film and Media Studies at the Universidad Carlos III de Madrid. Chapter 5 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Motion pictures --- Streaming technology (Telecommunications) --- Technological innovations --- Motion picture plays, European. --- Motion picture industry. --- Television broadcasting. --- European Film and TV. --- Film and Television Industry.

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Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing.

Animated films --- Film, TV & radio --- Film theory & criticism --- Animation --- Film/TV Industry --- Film Theory --- Film and Television Industry --- Visual Effects --- Live-Action Cinema --- Economics --- Mechanical Control --- Socio-Political --- Engineering --- Open Access --- Performing arts --- Film history, theory & criticism

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"This book provides a groundbreaking investigation of the subtle yet profound ways popular culture shapes societal perceptions of risk, which ultimately influence workplace culture. The author masterfully delves into the intricate relationship between media representation and real-world implications, using reality television as a case in point." — Elise G. C. Crawford, Senior Lecturer, Central Queensland University, Australia This book aims to assess the extent to which work health, safety and wellbeing (HSW) considerations are trivialised on the popular Australian reality TV programme, The Block. Reality TV as a genre plays a core feature in media and cultural studies, but there has not been any research on the impact of reality TV on safety culture, or how HSW issues are portrayed in popular media. This research remedies this deficiency and demonstrates contestants are workers on The Block who perform workplace activities. The work-related activities are concerned with construction, building and renovation work; and specifically, participants engage in what are seemingly routine or ordinary everyday life activities; namely housing construction and domestic or home dwelling renovations. It supports the argument claim that contestants on reality TV are defined as workers, and this definition of worker can be extended to other genres. The book ultimately demonstrates that reality television is trivialising HSW for the purposes of satisfying audience desire to consume popular culture, and these activities perpetuate a poor image of best safety practice. Trajce Cvetkovski is Discipline Leader and Senior Lecturer in ACU’s Faculty of Law and Business. His research interests include representation of OHS in popular culture and corporate risk in popular media. He is the author of three books: The Pop Music Idol and the Spirit of Charisma: Reality Television Talent Shows in the Digital Economy of Hope (Palgrave, 2015), Copyright and Popular Media: Liberal Villains and Technological Change (Palgrave, 2013) and The Political Economy of the Music Industry: Technological Change, Consumer Disorientation and Market Disorganisation in Popular Music (2012). Trajce is also the producer of the globally successful WhyWork Podcast.

Social medicine --- Film --- TV (televisie) --- film --- arbeidsgeneeskunde --- Asia --- Oceania with Australia --- Motion picture industry. --- Television broadcasting. --- Motion pictures. --- Australasia. --- Occupational health services. --- Film and Television Industry. --- Australasian Film and TV. --- Occupational Health.

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This book explores how television in the global South is ‘future-proofing’ its continued relevance, addressing its commercial, social and political viability in a constantly changing information ecosystem. The chapter contributions in the book are drawn from countries in East, South and West Africa, the Middle East and Latin America, specially selected for their illustrative potential of the key issues addressed in the book. Scholarly attention on television in the global South has largely been limited to studying evolving television formats with broader structural issues covered almost entirely by industry reports. Major gaps remain in terms of understanding how television in the global South is changing within the context of the significant technological developments and what this means for television’s future(s). The chapters reflect on these futures, not in the sense of predicting what these might be, but rather anticipating important areas of intellection. The contributors contend that much of the scholarship on the global South, by scholars from the South, is often stilted by a reluctance to anticipate. This failure leads to a largely reactionary scholarship, constantly oppositional, and unable to recentre conversations on the South. This volume finds intellectual incentive in this urgent need to anticipate, hence its particular focus on television futures. Taking television in the global South as an important cultural and political barometer, the book seeks to explore how television in the global South is adapting to the rampant technological changes and processes of globalisation. Dr. George Ogola works at the Department of Cultural, Media and Visual Studies, University of Nottingham, UK. Ogola has published widely on the intersection between technology, the media, politics and popular culture.

Television broadcasting. --- Motion picture industry. --- Television Studies. --- Film and Television Industry. --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Telecasting --- Television --- Television industry --- Broadcasting --- Mass media --- Globalization. --- Television broadcasting --- Technological innovations. --- Global cities --- Globalisation --- Internationalization --- International relations --- Anti-globalization movement