International Edition No. 25 - year 2 - 17 October 2007
is a pleasure for me to announce the new edition of the Yearbook –
the sixteenth – which, reconfirming our collaboration with Eurovisioni,
is being presented in Rome.
On 18 October
the new edition of the
The publication, edited by MEDIA Salles,
the initiative supported by the European Union’s MEDIA Programme
and the Italian Government, will be presented by Piervirgilio Dastoli,
Director of the European Commission’s Representation in Italy.
Now at its sixteenth edition, the European Cinema Yearbook, a cornerstone of the information service provided on the international cinema industry by MEDIA Salles for professional players, public institutions, the press and researchers, becomes available, still in four languages, in a new, lighter and more practical online format on the website www.mediasalles.it
Thanks to this innovation, MEDIA Salles aims to make it easier and more convenient to consult what Nikolaos Sifunakis, Chairman of the Committee on Culture and Education of the European Parliament, terms in his preface, “a statistical source familiar to professionals in the cinema industry and European policy makers as well to all those who are keen on boosting the potential of European culture as a source of innovation for the future.”
Digital revolution in China, digital evolution
Will the cinema of the future be known as Fareastwood?
In terms of movie theatres, too, the prospects are such as to whet the appetite of international investors: today a Chinese citizen buys a ticket every five years. To succeed in getting him in front of the big screen even once a year would generate a market of 1.3 billion tickets (i.e. almost as many as are sold today in the U.S.A.). A vitality that spreads to various markets – China, Korea, Japan – which a privileged observer such as the Far East Film Festival of Udine, calls “Fareastwood”, the new Hollywood of the Far East.
New ideas and enormous potential audiences. But the aesthetic and economic aspects of Fareastwood are closely bound up with technical and technological ones.
(la versione in italiano è pubblicata dal Giornale dello Spettacolo N. 23/2007)
|WOMEN IN DIGITAL CINEMA
Brecht van Eyndhoven
Spread the understanding of digital cinema and reap
For some people the term ‘digital cinema’ can be confusing. But producers, exhibitors and distributors usually share a clear and ‘technical’ interpretation of the concept. The confusion starts outside of the film sets, theatres and projection booths. Many may think it has something to do with computer generated images, games or the transition from analogical material to any type of digital format that can be viewed via internet.
In my work as a teacher and researcher in digital communication and media studies, I have noticed the confusion about the interpretation of digital cinema in other, often related, sectors. I have come across all sorts of assumptions, in particular in three important domains: media education, digital communication research and local governments dealing with ‘digitalisation’. These interpretations – of an obviously very general and ‘open’ term – are not ‘wrong’, but what surprises me most is the lack of knowledge on the innovation of digital cinema as the industry understands it. This blind spot of information is not helping the understanding of digital cinema in general, and most of all, the supporting, discussing or further innovation of it.
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