cefUP | Centro de Economia e Finanças da UP

NEWS

Hugo de Almeida Vilares published in Journal of Econometrics the following article

Addison, J. T., Pedro Portugal and Hugo de Almeida Vilares (2023); “Union membership density and wages: The role of worker, firm, and job-title heterogeneity“, Journal of Econometrics, 233(2), pp. 612-632.

Joana Resende published in Management Science the following article

Laussel, D. and Joana Resende (2022); “When Is Product Personalization Profit-Enhancing? A Behavior-Based Discrimination Model“, Management Science, 68(12), pp. 8872-8888.

The following article by Elvira Silva has been published in the European Journal of Operational Research

Silva, E. and M. Magalhães (2022); “Environmental Efficiency, Irreversibility and the Shadow Price of Emissions“, European Journal of Operational Research, 306(2), pp. 955-967.

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CALENDAR

march, 2023

28mar13:0014:00ECO-MaR Seminar/Webinar - Christopher Mathieu

Event Details

CEF.UP – ECO- MaR Seminar/Webinar

Tuesday – March 28^th, 2023, at 1:00 p.m. | Room 305| Online

“The logics of non-commerciality in the cinematic ecosystem”

Christopher Mathieu – Lund University

Abstract:

“Film is one of the most expensive and commercially oriented art forms. It is estimated that the average cost of producing a Hollywood (American major studio) feature film is USD 65-75m, with approximately half as much again (about USD 35m) spent on marketing (Studiobinder 2013). The sums are high, and the ratio of marketing budget to production cost is indicative of a high commercial interest and effort. The sums are lower for non-Hollywood films, but the commercial orientation is in most cases similar. However, non-commercial films (defined here as film projects and products that neither have an intention or demand to generate profit or even recoup financial investment) and logics of non-commerciality exist and play various roles in the wider cinematic ecosystem. Several distinct non-commercial subsystems exist within the wider cinematic ecosystem. Some have virtually no interaction with the dominant commercial systems, often meeting other contemporary societal goals (Miller 2016; Kerr 1993), while others play direct and specific roles for the commercial mainstream (Fox 2022; Brown 2014; Cuzner 2009). Focusing on live-action fiction as opposed to documentary or animation film, and production as opposed to non-commercial exhibition (Santos & Miranda 2022) this article maps: the various logics behind non-commercial filmmaking; the various values realised by non-commercial film in different contexts; past, current, and potential future relationships with the commercial domain; and the managerial challenges and possibilities afforded by non-commercial film production.”