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1.
Unvarnished twentieth-century oil paintings are often sensitive to aqueous swabbing, a method routinely employed by conservators for surface cleaning. This study proposes a connection between sensitivity and the presence of magnesium sulphate heptahydrate which has been identified on the surface of some of water-sensitive paintings. The probable source of magnesium is magnesium carbonate, an additive in some twentieth-century oil paints, which has reacted with atmospheric sulphur dioxide (SO2). Films made using modern manufactured paints and formulations made in the laboratory were exposed to gaseous SO2 and raised relative humidity and examined using scanning electron microscopy with energy dispersive X-ray spectroscopy and X-ray diffraction to characterize the crystalline entities. Films containing magnesium carbonate formed magnesium sulphite and sulphate hydrates. Films containing zinc oxide were also investigated. These formed zinc and sulphur containing salts. Sensitivity to swabbing with water before and after exposure was evaluated. Films that developed salts, demonstrated increased sensitivity to aqueous swabbing after exposure to SO2. Findings suggest that increased water sensitivity may be due to a combination of the formation of hygroscopic degradation products and to weakening of the paint film due to salt-induced disruption of the surface. 相似文献
2.
《媒体管理杂志》2013,15(2):84-91
Films have become an essential asset to transnational media corporations (TNMCs) such as Sony, Time Warner, or Disney. Since the 1990s these and other corporations have utilized a strategy called event movie. The central goal of this marketing strategy is to ensure the success of a film, as well as to provide content for the many different divisions owned or controlled by TNMCs, for example home entertainment, cable, and pay-television. The event movie strategy takes advantage of the film industry's macro structure and combines established concepts (blockbuster, high-concept marketing) with new business models, turning the value chain into a value cycle. This article describes an analytical framework for the event movie strategy that is used by the world's leading TNMCs. As a conclusion, the framework of the event movie strategy can be applied to better understand the success of individual films. The concept can also be expanded to describe the individual TNMC's strategy within the field of audiovisual content. 相似文献
3.
This study investigates audience acceptance of foreign movies in an import-dominated exhibition market—Singapore. The characteristics of home cinema markets and the cultural distances of the film-exporting countries are operationalized in an empirical model to explain the highly varied demand in this import market for international films from various sources. We show that during 2002–2004 release frequencies and box-office performance for films originating in different countries are significantly accounted for by both economic and cultural factors. Films from countries with larger domestic markets and from countries culturally more similar to Singapore experience greater box-office success. Furthermore, an individual foreign film's Singapore box-office performance is explained by its box-office success in its home market and the intercountry cultural distance. 相似文献
4.
《文物保护研究》2013,58(1):95-97
AbstractAcrylic polymer dispersions, regularly used as artists' media or varnishes, were monitored for the development of yellow discoloration under natural aging conditions for a period of two years. Films of a number of water-based acrylic artists' media were kept under visible light of either moderate (150 lux) or low (50 lux) intensity (cycled on 10 hours per day) and were compared to films kept in dark storage, which have been observed to yellow. Results after two years show that exposure to visible light at 150 lux effectively prevented film discoloration in a number of products, and seemed at least to slow the rate of yellowing in others. Exposure to low-intensity (50 lux) lighting was found to be less effective in preventing this yellowing. 相似文献
5.
《Journal of Media Economics》2013,26(4):1-20
I examined the performance of motion pictures released in the United States and Canada between October 1987 and October 1989. Performance was measured by two dependent variables: domestic rentals (RENTs) and the length of run (LOR) of each film. In addition, a new independent variable designed to measure the impact of competition on motion picture performance was hypothesized. LOR was found to be a reliable proxy for RENTs in predicting performance and will allow researchers to expand the base of films that can be included in future studies. Further, the independent variable for competition was found to have a significant negative relation with RENTs as a predictor of performance. That is, as the concentration ratio for a specific film increases, the competition that film faces increases; as a result, the RENTs for that specific film decrease. 相似文献
6.
醋酸胶片齿孔收缩是胶片保存过程中普遍发生的一种现象,然而对其收缩机理的研究至今没有开展过。本文选择不同温度、湿度作用于正常醋酸胶片和齿孔收缩的胶片,观察胶片齿孔距的变化,分析温度湿度对胶片长度变化的影响。实验研究得出,胶片长期保存在干燥的环境中,会发生程度不同的收缩;高湿对齿孔收缩胶片有一定的恢复作用,湿度越大,恢复程度越高;胶片长度在恢复期间,开始处理时,伸长效果明显,并非出现随着时间延长,胶片不断伸长的现象。本研究在醋酸胶片齿孔收缩的原因方面做了初步探索,对变形胶片的恢复有一定参考作用。 相似文献
7.
Ginger E. Blackstone 《Visual Communication Quarterly》2018,25(2):106-117
After the ratings success of the documentary film, Blackfish, CNN launched a new documentary initiative branded as CNN Films. Looking back at the history of the documentary genre on broadcast and cable/satellite television, one can see that the medium has had a troubled past in terms of ratings generation, although there have been notable exceptions. Unfortunately for documentary enthusiasts, a number of channels that once embraced documentary programming have since abandoned the genre and replaced it with nonfiction reality shows. Incorporating expectancy-value theory, one can assess that in order for a documentary initiative to be a successful ratings generator, the content must build a high amount of expectation among viewers and deliver a high amount of value. But it has been quite difficult for programming executives to successfully predict which documentaries will generate the solid ratings they seek. Given these factors, this article argues that the CNN Films push is a risky move by CNN President Jeff Zucker, and it is doubtful that the strategy can deliver the ratings surge the embattled network needs to beat its competition. 相似文献
8.
To date, a limited number of aqueous conditions have been tested experimentally as potential cleaning reagents on modern acrylic paint films. Those assessed have tended to extract measurable quantities of paint film components and distort the paint films physically. In this paper the results of a series of experiments designed to examine pH, conductivity, and specific ion effects of potential aqueous cleaning solutions on a series of commercial acrylic paints are reported. A three-dimensional microscopic technique was used to characterize the physical (volume and surface roughness) changes and liquid chromatography-tandem mass spectrometry was used to characterize the chemical (extracted surfactant) changes following paint film exposure to the aqueous solution. The tested paint films in this study clearly exhibit an isotonic point below which swelling and extraction is significant, and above which the swelling and extraction is diminished. Manipulation of conductivity and the ionic species in solution can reduce both the physical film changes and surfactant extraction from acrylic paint films; while pH appears to be of limited use in controlling aqueous cleaning effects. Moreover, there seems to be a specific ion effect for both swelling and de-swelling in acrylic paint films that can be rationalized through the Hofmeister Series. 相似文献
9.
《媒体管理杂志》2013,15(3):125-133
With a strong domestic film market in Korea, many foreign films are losing share, including Hollywood films that dominate the global market. In fact, Hollywood films that once dominated the Korean market with 70%–80% market share until 1998 witnessed a decrease in market share to 40% in 2005. Within 7 years, almost half of the Korean market share has decreased. The South Korean film market has been characterized by competition between domestic and Hollywood films where the combined market share exceeds 95% (KOFIC, 2005). What is the strategy of Hollywood films in competing with Korean films? What are some of the reasons why Hollywood films make up half of the top Korean market, whereas Korean films still face the challenge of reducing the huge gap between a blockbuster and failed films? This article examines the distribution strategy of Hollywood's major studios as witnessed recently in the Korean market based on the number of screens and the release date. 相似文献
10.
Yu Guoming 《媒体管理杂志》2013,15(1):51-53
The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience. Others argue that the Hollywood success is mainly due to its control of the distribution system. U.S. films account for an average of 63.4% of the European market. In return, European films represent 3.6% of the North American box office. There are around 450 active film distribution companies in Europe, the majority of them being nationally controlled firms, and only a small percentage of them belong to U.S. majors. Nevertheless, these U.S. subsidiaries are ranked among the top 10 leading film distributors in Europe according to market share. This article attempts to make a further contribution in market concentration analysis, looking at the situation of film distribution in the 5 biggest Western European countries. It also explores if the success of American companies is due to their management and marketing skills or if, by the contrary, it is the consequence of their dominant market positions. 相似文献
11.
Yuan-Lin Hsu 《Journal of Media Economics》2016,29(3):139-152
Word-of-mouth (WOM) is informal communication between consumers about products and services. By using text mining techniques, WOM measured for volume and valence at the movie box office in Taiwan. A simultaneous regression of a panel Granger causality test for WOM and corresponding film performance was performed. The empirical results show that dynamic causality only runs from box office to WOM volume in the short run analysis, and the causality between WOM volume and box office is bidirectional in the long run analysis. Potential customers attend movies because of WOM in the short run, but in the long run, box office forms a signal and creates WOM. In WOM valence analysis, causality runs from positive critics to the box office in the short run, and it runs from negative critics to box office in the long run. WOM providers may need to develop different strategies for encouraging WOM behavior among their users. The implication for film managers and marketers is that a reliable way to affect box office is to stimulate positive critics in the short run and negative critics in the long run. 相似文献
12.
ABSTRACTThe nature of academic librarianship is changing as librarians move away from the curation of material and into research support roles. Although this creates new opportunities it can be difficult for staff to learn the skills needed. The Office of Scholarly Communication at Cambridge University seeks to address this issue with the Research Support Ambassadors Programme, an initiative which skills staff in areas such as Research Data Management and Open Access. This case study outlines the evolution of the program from its pilot through to its recently completed second run in 2016. The challenges associated with running a cross-library training program are discussed and solutions highlighted. Also discussed is the impact that the program has had on participants. This case study will be of interest to those aiming to pursue a career in this area of librarianship and those looking at preparing staff for the future of the academic library. 相似文献
13.
Does Hollywood dominate world cinema markets with American taste, culture, and values through the exportation of films produced mainly for its domestic (US and Canada) market? Or does Hollywood supply the films that world audiences demand and, because of the logistics of distribution, screen these films first in the domestic market prior to exhibition in foreign markets? In this article, the authors empirically analyzed the global market for motion pictures to provide statistical evidence that can speak to these questions. They examined data on nearly 2,000 films exhibited from 1997–2007, inclusive, in the United States and Canada, Australia, France, Germany, Mexico, Spain, and the United Kingdom—markets that today collectively account for over 75% of worldwide cinema box-office revenue. The empirical evidence provides support for the hypothesis that the supply of Hollywood films has accommodated global demand as the relative size of the U.S. domestic market has decreased. There is no evidence that box-office success in the United States creates a contagion that spreads to other film exhibition markets; however, box-office success in international markets appears to be less uncertain for films that have been successful in their U.S. releases. 相似文献
14.
Peter Miskell 《Media History》2016,22(2):174-200
The international appeal of Hollywood films through the twentieth century has been a subject of interest to economic and film historians alike. This paper employs some of the methods of the economic historian to evaluate key arguments within the film history literature explaining the global success of American films. Through careful analysis of both existing and newly constructed data sets, the paper examines the extent to which Hollywood's foreign earnings were affected by: film production costs; the extent of global distribution networks; and also the international orientation of the films themselves. The paper finds that these factors influenced foreign earnings in quite distinct ways, and that their relative importance changed over time. The evidence presented here suggests a degree of interaction between the production and distribution arms of the major US film companies in their pursuit of foreign markets that would benefit from further archival-based investigation. 相似文献
15.
Cellulose nitrate was widely used as a film base for photography, cinematography, and radiography in the first half of the twentieth century. Its stability is inherently poor and subject to environmental storage conditions. The risk of fire and the cross-infection effect on the cellulose acetate film stored at the same location necessitate that cellulose nitrate is identified within collections and stored separately. Not only medical archives, but also museums using radiography in their research may hold a sizeable amount of historical X-ray films. The Natural History Museum, London has been using film for X-radiography since before World War II. This suggests that some of the X-ray materials in its collections have a cellulose nitrate rather than ‘safety’ (cellulose acetate or polyester) film base. X-ray sheets rarely contain information related to their composition so science-based identification methods must be used. We propose the determination of nitrogen content in the film by organic elemental analysis (OEA) as a reliable method for the identification of films (X-ray, photographic, or cinematographic) with a cellulose nitrate base. Though it is a destructive method, the sample size required is small (<1?mg). This method does not require any sample preparation apart from weighing the samples and wrapping them in tin foil. OEA proved to be more accurate than the ‘float’ test in trichloroethylene and quicker and more straightforward to perform than infrared spectroscopy. 相似文献
16.
当前,媒体融合成为文化经济发展中的新常态。影视与出版这两大文化行业之间的合作,逐渐从图书影视化进阶到影视图书化的新阶段,这一转变彰显了影视对出版创新的反哺作用。从媒介视角看,影视反哺是媒体融合时代的一种文化互利;从受众视角看,影视反哺现象的盛行离不开粉丝型受众的参与,粉丝们在情感逻辑的支配下演绎多样化的趣缘传播行为,以强大的传播力和消费力推动影视向图书顺利转化;从产业视角看,影视反哺现象彰显了 IP 经济的发展潜能,出版行业应围绕图书 IP 进行多维度的产业开发,建设以出版文化为基础的产业融合生态,致力于全民阅读的复兴与书香社会的建设。 相似文献
17.
W. Wayne Fu 《Journal of Media Economics》2013,26(2):59-80
This article empirically examines the effects of vertical integration and horizontal control on the exhibition of films at competing theaters in a market in which some theater owners are integrated into film distribution and others are not. It analyzes the duration of the exhibition runs of movies released by distributors who owned no theaters in Singapore during 2002 and 2003 through a survival model. The estimation shows that films released by these distributors are exhibited for shorter periods in distributor-owned theaters than in independently owned (i.e., unintegrated) theaters, and in theaters that belong to large theater chains than in the theaters of small theater chains. A spatial aspect of competition among theaters with different owners is revealed in the finding that a film is more likely to stay on at the theater at a given time when an adjacent rival theater still runs the same title. The increase in the probability of screen survival due to the spatial rivalry is greater the nearer the competing theater. These results are found when both film and theater-specific variations are controlled for. 相似文献
18.
AbstractThe Hong Kong Library Association (HKLA) has been the core organization serving the library and information science (LIS) community in Hong Kong since its establishment 62?years ago. It organizes activities and events continually to enrich professional knowledge of LIS professionals in Hong Kong. It has been observed that the number of student members has risen constantly in recent few years. In view of the pressing demand for better support to student members, the HKLA launched the Mentoring Program in 2013 to enhance informal communication between student members and other members of the Association. The Mentoring Program received an overall positive feedback from the local LIS community and made a positive impact to participants, especially mentees. Apart from the successful experience of this program, there are issues that can be improved in sustaining this program in long term. This paper summarizes the experience of implementing the Mentoring Program in the first two years and identifies the challenges and opportunities ahead. The finding indicates that the Mentoring Program was a well-received professional development program for the student members of the Association. However, this program can be further enhanced in terms of mentor solicitation, mentor-mentee eligibility, mentor-mentee relationship, knowledge-based interaction, and program sustainability. The Program Committee may consider collaborating with other LIS agencies to solicit more potential mentors. In view of the population of the potential mentors, it makes very good sense for the past mentees to serve as peer-to-peer partners for non-degree student members. More incentive should be devised to encourage the mentoring pairs in joining library events in addition to the activities related to the Mentoring Program. To facilitate communication and experience sharing among program participants and HKLA members, it is desirable to set up an online discussion platform to address the increasing demand for more opportunities on this. Lastly, it is vital to improve communication among the Program Committee, HKLA Council members and HKLA members. Besides reviewing the operation and management of the Mentoring Program, the Program Committee should also study the feasibility of sustaining this program in the long run. This paper can be served as an empirical study on the implementation of library and information science mentoring programs in one of the major cities in Asian region. The results of the study can be referenced by the LIS community not only locally but also internationally. 相似文献
19.
20.
《Public Library Quarterly》2013,32(4):399-414
There are audiences for experimental films among the clients of public library film collections, the audiences are not presently large for certain titles and in certain communities. There is, however, some indication that audiences can be developed if administrators are knowledgeable about and committed to promoting their kind of film. One must also consider whether there might not be potential users among segments of the community that do not presently use film services and also among present users who have not had exposure to experimental films or who need guidance in their use. 相似文献