Film Distribution in the Digital Age: Pirates and Professionals
- Submitting institution
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Coventry University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 11680504
- Type
- A - Authored book
- DOI
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10.1057/9781137406613
- Publisher
- Palgrave Macmillan UK
- ISBN
- 978-1-137-40660-6
- Open access status
- -
- Month of publication
- October
- Year of publication
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This monograph presents research on the diverse ecology of film distribution, viewing it from the perspective of oppositional positions, and in particular piracy and established industrial distributors.
The research challenges the dominant academic narrative focused on mainstream, globalized distributors, principally in Hollywood, by arguing that the interlocking ecosystem(s) of media dissemination must be considered holistically and culturally if we are to truly understand the transnational flows of cultural texts. The research therefore brings in the study of independent distribution, as well as file-sharing and other forms of ‘piracy’.
Although distribution takes many forms (formal and informal) and although these methods of dissemination are inextricably connected, there is a lack of research that directly examines the nature of the relationship between professional film distribution and film piracy. Whilst existing literature has focused on professional distribution and piracy as distinct phenomena, this research considers both in conjunction with each other and in doing so uncovers the distinctly social contexts of each environment.
The research concludes that while gatekeeping power largely still resides in the hands of traditional formal distribution companies, the ‘pirates’ and ‘disruptive innovators’ are undoubtedly augmenting the ways that films reach audiences. Nonetheless, such changes do not translate into universal and unlimited access for film spectators, and it is dangerous to assume that piracy and disruption (as neoliberal a means to economic ends) is ultimately beneficial. The book has been influential in film studies and economics in a trans-national context.
- Author contribution statement
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- Non-English
- No
- English abstract
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