re: draft research synopsis. do not cite. reference only. · unformatted draft risk research...

UnformattedDraftRiskResearchIndicativeBibliography

1

Re: Draft Research Synopsis. Do Not Cite. Reference Only. Bibliography Allenbridge (2014) Report Pathé Plus Film EIS Fund Alcinii. D. (27.1.2017) Realscreen Summit: Navigating life after the sale http://realscreen.com/2017/01/27/realscreen-summit-navigating-life-after-the-sale/ http://antoncapital.com/ Asher, J.M. and Lutnick, H.W., BGC Partners, Inc., 2011. System and method for forming a financial instrument indexed to entertainment revenue. U.S. Patent 8,027,899.


2

Barraclough, L. (2017) London Calling: Phil Hunt Rocks the Casbah with Head Gear Films APRIL 22, 2017 | 01:03PM PT http://variety.com/2017/film/spotlight/head-gear-lending-indie-moviemaking-1202392998/#respond Bakker, Gerben (2015) Sunk costs and the dynamics of creative industries. In: Jones, Candace, Lorenzen, Mark and Sapsed, Jonathan, (eds.) The Oxford Handbook of Creative Industries. Oxford handbooks. Oxford University Press, Oxford, UK, pp. 351-386. ISBN 9780199603510 Bank Leumi UK. (2015) Annual Report. Barbosu, S., 2016. 'Big Data' on the Big Screen: Revealing Latent Similarity among Movies and Its Effect on Box Office Performance. Barbosu, S., 2017, January. Big Data on the Big Screen: Revealing Latent Coherence Among Movies and Its Effect on Box Office. In Academy of Management Proceedings (Vol. 2017, No. 1, p. 15719). Academy of Management. Barnett, S.B. and Cerf, M., 2017. A Ticket for Your Thoughts: Method for Predicting Movie Trailer Recall and Future Ticket Sales Using Neural Similarity among Moviegoers. Journal of Consumer Research, p.ucw083. Advance online access https://marketing.wharton.upenn.edu/wp-content/uploads/2015/04/Cerf-Moran-01-26-2017-Paper-Ticket.pdf Barnes, B. (22.3.2017) In a Surprise, the Overseas Movie Box Office Shows No Growth. The New York Times https://www.nytimes.com/2017/03/22/business/media/foreign-movie-box-office-china-mpaa.html?_r=0 Barwise, P. & Brooks, G. (2016). The Consequences of Privatising Channel 4 Bassett, ME. 8.11.2016 What 'Data Driven' means in Hollywood'? Matthew Eric, Gower Street Analytics. ANNUAL PUBLISHING CONFERENCE 2016 Publishing in a Fragmented World ME.B Presentation BCP Film Finance Scheme 2016 IM. IRELAND Benghozi, Pierre-Jean Elisa Salvador, and Jean Paul Simon. (2015) European Commission Joint Research Centre Institute for Prospective Technological Studies Bernstein, Peter L. Against the Gods: The Remarkable Story of Risk. New York: John Wiley & Sons, Inc., 1998. Bilton, C. (2015) Management in the Cultural Industries in Oakley, K. and O'Connor, J. eds., 2015. The routledge companion to the cultural industries. Routledge. Bilton, N. (2017) Why Hollywood As We Know It Is Already Over. Vanity Fair. http://www.vanityfair.com/news/2017/01/why-hollywood-as-we-know-it-is-already-over


3

Bloomberg. (19.6.2014) https://www.bloomberg.com/news/articles/2014-06-19/star-struck-bankers-return-to-hollywood-to-finance-movies Blum, J. https://16523.mc.tritondigital.com/NPR_510289/media-session/4bbbfff3-b345-4c0b-a9d9-2d4c1d39ae64/anon.npr-mp3/npr/pmoney/2017/03/20170329_pmoney_20170329_pmoney_pmpod.mp3?d=1559&e=521950763&f=510289&ft=pod&orgId=1&p=510289&story=521950763&t=podcast British Film Institute (2.2017) Response to the dcms public service contestable fund consultation British Film Institute (2015-A) Statistics Supplements – Companies A British Film Institute. 2015 Response to the Business Innovation and Skills Committee Inquiry on the Digital Economy. November B British Film Institute. CONSULTATION ON House of Lords Select Committee on Communications Inquiry into the Sustainability of Channel 4 C British Film Institute. (2016) Vision Awards 3 for 2016-18 alongside renewed commitment to UK producers - B British Film Institute. (2016) Locked Boxes Fact Sheet British Film Institute. UK Box Office in 2015. http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-uk-box-office-2015-2016-01.pdf E Brown, E. (15.6.2016) Inside the AVMSD revision. Should Netflix & Co. be worried? The Digital Post.eu. http://www.thedigitalpost.eu/2016/channel-media/should-netflix-co-be-worried Brown, N. (12.4.2016) FX Networks EVP of Research Julie Piepenkotter talks O.J. and the brave new world of data. https://blog.21cf.com/blog/2016/04/12/21cf-chats-fx-networks-research-executive-julie-piepenkotter-people-v-oj-simpson-ratings-data Brzeski, P. 12/10/2015 Alibaba Film Chief Grants First Interview: What China Can Do for Hollywood. Hollywood Reporter. http://www.hollywoodreporter.com/news/alibaba-film-chief-grants-first-846685 Booth. J. 2014 Emerging Markets in an Upside Down World: Challenging Perceptions in Asset Allocation and Investment. John Wiley & Sons: London. pp 95-118 Bi, G. and Giles, D.E., 2009. Modelling the financial risk associated with US movie box office earnings. Mathematics and Computers in Simulation, 79(9), pp.2759-2766. Brown, C. (2015) Key Considerations in Film Finance. www.Slated.com. Burrows, H. Ussher, K. 2011. Risky Business. Demos


4

BSAC (2010). Annual Conference Panel Discussion: Forget the Terminology of Survival: Success Stories. https://www.youtube.com/watch?v=15QJ2oWvtyk BTL News. (21.12.2016). FX Networks Research Releases Scripted Series Chart. http://www.btlnews.com/news/73461/


5

Cabrera Blázquez F.J., Cappello M., Grece C., Valais S., (2016) VOD, platforms and OTT: which promotion obligations for European works?, IRIS Plus, European Audiovisual Observatory, Strasbourg. Calloway, N. (29.1.2017) Are Alternative Facts Being Used In Stats About The British Film Industry? The Flickering Myth.com. https://www.flickeringmyth.com/2017/01/are-alternative-facts-being-used-in-stats-about-the-british-film-industry/ Cardon, V., 2015. This Is the Girl. Brokerage and Production in the American and French Entertainment Industries: Invisible Hands in Cultural Markets, p.153-171. In Roussel, V and Bielby, D. 2015. Brokerage and Production in the American and French Entertainment Industries: Invisible Hands in Cultural Markets. Lexington Books. Cattani, G. and Ferriani, S., 2008. A core/periphery perspective on individual creative performance: Social networks and cinematic achievements in the Hollywood film industry. Organization Science, 19(6), pp.824-844. Caves, R. E. (2000). Creative industries: Contracts between art and commerce (No. 20). Harvard University Press. Cineuropa (21.11.2016-A) European Film Forum http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=320031 Cineuropa (24.11.2016-B) EFADs believes Sat Cab Regulation will weaken cultural diversity in European productions. Cineuropa.org. http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=319967 Cochoy, F., Trompette, P. and Araujo, L., 2015. From market agencements to market agencing: an introduction. Consumption Markets & Culture, pp.1-14. Coles, A. and MacNeill, K., 2017. Policy Ecologies, Gender, Work, and Regulation Distance in Film and TV Production. In Women, Labor Segmentation and Regulation (pp. 211-231). Palgrave Macmillan US. Connor, J.D., 2015. The Sony Hack: Data and Decision in the Contemporary Studio. Media Industries Journal, 2(2). Charrier, R. (22.9.2016). Presentation – Economics of Art, Luxembourg, Head of Institutional Business Development, EIF. Chisholm, D.C., 2014. External and slate financing in motion pictures: a review of “Co-Financing Hollywood Film Productions”. Journal of Cultural Economics, 38(4), pp.385-389. Chisholm, D.C., Fernández-Blanco, V., Ravid, S.A. and Walls, W.D., 2015. Economics of motion pictures: the state of the art. Journal of Cultural Economics, 39(1), pp.1-13.


6

Clement, M., Wu, S. and Fischer, M., 2014. Empirical generalizations of demand and supply dynamics for movies. International Journal of Research in Marketing, 31(2), pp.207-223. Craft Council Response to Culture Media & Sport Select Committee Inquiry into ‘Support for the Creative Economy’ Creative England Film Enterprise Scheme 2016 Creative England iFeatures Guidelines 2016 Creative England Response to the Business Innovation and Skills Committee Inquiry on the Digital Economy. November 2015 Creative Europe (2017) Creative Europe’s Cultural & Creative Sectors’ Guarantee Facility Information Sheet https://ec.europa.eu/programmes/creative-europe/cross-sector/guarantee-facility_en.pdf https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/library/ccs-guarantee-facility_en.pdf Creative Europe (10. 2016) Creative Europe Desk UK written submission to Culture, Media and Sport Committee Inquiry: The impact of Brexit on the creative industries, tourism and the digital single market. Creative Industries Council (2014) CREATE UK Creative Industries Strategy Creative Industries Federation / ICAEW Corporate Finance Faculty (2015). Creative Industries – Routes to Finance Creative Industries Federation (4.2017) A blueprint for growth www.creativeindustriesfederation.com Creative Wealth Media Finance - Canada Creative Scotland. 2013 Response to Culture Media & Sport Select Committee Inquiry into ‘Support for the Creative Economy’. Un-numbered Webpage. Creative Scotland. (2016) Targeted Fund – Screen Funding Guidlines 2016-17 v2 (updated September 2016). S Crossick, G. and Kaszynska, P. Understanding the value of arts & culture: The AHRC Cultural Value Project Cunningham, S., Flew, T. and Swift, A., 2015. Media Economics. Palgrave Macmillan.


7

D’Souza, F. (1.3.2017) Steps the film industry should take to rejuvenate film financing by banks PWC in Forbes India / PwC India http://www.forbesindia.com/blog/business-strategy/steps-the-film-industry-should-take-to-rejuvenate-film-financing-by-banks/?utm_content=buffer13ec2&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer de Klerk, S., 2015. The creative industries: an entrepreneurial bricolage perspective. Management Decision, 53(4), pp.828-842. De Vinck S., Lindmark S. (2014) The Film Industry. In: De Prato G., Sanz E., Simon J.P. (eds) Digital Media Worlds. Palgrave Macmillan, London DE VOLDERE, I. (2017). Access to finance for European cultural and creative organizations http://www.ideaconsult.be/index.php?option=com_content&view=article&id=48&Itemid=54&projid=167 DeFillippi, R. (2015) Managing in project based organisations in creative industries. In Jones, C., Lorenzen, M. and Sapsed, J. eds., 2015. The Oxford handbook of creative industries. Oxford Handbookspp 268-284. DeFillippi, R., & Wikstrom, P. (Eds.). (2014). International perspectives on business innovation and disruption in the creative industries: Film, video and photography. Edward Elgar Publishing. De Vany, A., 2004. Hollywood economics: How extreme uncertainty shapes the film industry. Routledge. DCMS (2016) A BBC For the future: A Broadcaster of distinction. DCMS Culture White Paper Dempster, A. (2014). Risk and uncertainty in the art world. Dempster, A.M., 2006. Managing uncertainty in creative industries: lessons from Jerry Springer the Opera. Creativity and Innovation Management, 15(3), pp.224-233. Dempster, A.M., 2009. An operational risk framework for the performing arts and creative industries. Creative Industries Journal, 1(2), pp.151-170. Dempster, A.M. (2012) Maverick message: The legacy of the Creative Industries observatory, Creative Industries Journal, 5:1-2, 11-19 Digital TV Europe (29.1. 2017) VOD becoming ‘main financial support’ for European film. http://www.digitaltveurope.net/653281/vod-becoming-main-financial-support-for-european-film/ Dimson and Spaenjers in Dempster, A. (2014). Risk and uncertainty in the art world.


8

Doyle, G. (2010) Why culture attracts and resists economic analysis Doyle, G. (2016- A) Creative economy and policy. European Journal of Communication, 3191) 33-45. Doyle, G., 2016 -B. Digitization and changing windowing strategies in the television industry: negotiating new windows on the world. Television & New Media, 17(7), pp.629-645. Douglas, T. (2.2017) How big are the changes in UK viewing habits that Netflix and Amazon are fostering? Television. Feb 17. Dunkley, E. October 26, 2015. Film funds offer a possible route for investors. Financial Times


9

Ebbers, J.J. and Wijnberg, N.M., 2009. Organizational memory: From expectations memory to procedural memory. British Journal of Management, 20(4), pp.478-490. Ebbers, J and Wijnberg, NM., (2012) The effects of having more than one good reputation on distributor investments in the film industry J Cult Econ 36:227–248 Ebbers, J. J., & Wijnberg, N. M. (2012- B). Nascent ventures competing for start-up capital: matching reputations and investors. Journal of Business Venturing, 27(3), 372-384 Ebert, R. (2015). Walk of Fame Remarks. https://www.rogerebert.com/rogers-journal/eberts-walk-of-fame-remarks Edge Investments. 2013. Responses to Culture Media & Sport Select Committee Inquiry into ‘Support for the Creative Economy’ EFADs (21.3.2017) EFADs’ Statement on the Geo-blocking Regulation http://www.efads.eu/news/the-inclusion-of-audiovisual-services-in-the-geo-blocking-regulation-would-mean-european-audiences-have-fewer-new-european-works-to-enjoy.html Elberse, A., 2013. Blockbusters: hit-making, risk-taking, and the big business of entertainment. Macmillan. Ellingson, A. (28.3.2017) CinemaCon 2017: Fandango dances onto 1,000 more screens. Biz Journals.com http://www.bizjournals.com/losangeles/news/2017/03/28/fandango-dances-onto-1-000-more-screens.html?ana=twt European Commission (2014a) Communication from the Commission to the European Parliament, the Council, The European Economic and Social Committee and the Committee of the Regions. European film in the digital era Bridging cultural diversity and competitiveness, COM/2014/0272 final. European Audiovisual Observatory 2015 TERRITORIALITY AND ITS IMPACT ON THE FINANCING OF AUDIOVISUAL WORKS Iris Plus European Audiovisual Observatory. (31.1.2017) Industry Report: Distribution and Exhibition - Boosting European films on VoD - what's EU law got to do with it? Cineuropa.org. http://cineuropa.org/dd.aspx?t=dossier&l=en&tid=1369&did=322318


10

Falcon investments. (2016). Anton Capital Entertainment SCA (“ACE”) http://www.falconinvestments.com/investment/anton-capital-entertainment-sca-ace/ www.fandango.com Ferrer-Roca, N., 2014. 2. Business innovation in the film industry value chain: A new zealand case study. International perspectives on business innovation and disruption in the creative industries: Film, video and photography, 18. Fernández-Manzano, Eva-Patricia; Neira, Elena; Clares-Gavilán, Judith (2016). “Data management in audiovisual business: Netflix as a case study”. El profesional de la información, v. 25, n. 4, pp. 568-576. Finch, J., Horan, C. and Reid, E., 2015. The performativity of sustainability: making a conduit a marketing device. Journal of Marketing Management, 31(1-2), pp.167-192. Fischer, T. and Wulf, I. (eds). (2013). Wissensbilanzen im Mittelstand—Kapitalmarktkommunikation, Immaterielle Werte, Lageberichterstattung, Integrated Reporting (Schaeffer-Poeschel). Film Distributors’ Association (2017) Film Distributors’ Association Yearbook 2017 FIAPF, IFTA, IVF, MPA. (2016) Press Statement: Delivering the Digital Single Market. http://www.ivf-video.org/new/public/media/FIAPF_IFTA_IVF_MPA_Statement_Feb_9_2016.pdf Forde, B. Want to rent Star Wars? May the force be with you… Could the blockchain save us from the evil empire of price gouging? https://medium.com/mit-media-lab-digital-currency-initiative/want-to-rent-star-wars-may-the-force-be-with-you-8b3200e7ad87 Foundas, S. (7.10.2014) Three Game-Changing Female Producers Make Sure Passion-Driven Films Hit the Screen. Variety. http://variety.com/2014/film/news/megan-ellison-gigi-pritzker-molly-smith-1201322765/ Fluet, C. (2016) BSAC Business Briefing. What is the Blockchain and what could it mean for the audiovisual industries2016 prepared for BSAC by Cliff Fluet, Partner, Lewis Silkin LLP, and Managing Director, Eleven Advisory and presented at the June 2016 Council Meeting Fraser, S. (2011), `Access to Finance for Creative Industry Businesses, Research Report', Prepared for the Department for Business, Innovation and Skills and Department for Culture, Media and Sport: http://www.bis.gov.uk/assets/biscore/enterprise/docs/a/11-898-access-to-finance-for-creative-industry-businesses [Government commissioned research report] Fritz, B. (26.3.2017) From Multiplex to Living Room, in 45 Days or Less. Wall St Journal. https://www.wsj.com/articles/from-multiplex-to-living-room-in-45-days-or-less-1490532001


11

GTMI (Groupe de Travail Mesure de l’immaterial). (October 2011). ‘Principles of Measurement of Intangibles: 12 Proposals for the Provision of Competitiveness and the Sustainable Development of Businesses’ http://www.theiirc.org/wp-content/uploads/2013/12/13-12-08-the-international- ir-framework-2-1.pdf. Garrett, S. (2010) How to Grow a Creative Business According to the Laws of Chance. University of Oxford. Garrahan, M. (2012,19.3) Disney in $200m writedown for ‘John Carter’. Financial Times. https://www.ft.com/content/d4e15530-720f-11e1-90b5-00144feab49a Ghiassi, M., Lio, D. and Moon, B., 2015. Pre-production forecasting of movie revenues with a dynamic artificial neural network. Expert Systems with Applications, 42(6), pp.3176-3193. Goettler, R & Leslie, P. Cofinancing to Manage Risk in the Motion Picture Industry. Journal of Economics & Management Strategy, 2005, vol. 14, issue 2, 231-261 Gomez-Uribe, C.A. and Hunt, N., 2016. The netflix recommender system: Algorithms, business value, and innovation. ACM Transactions on Management Information Systems (TMIS), 6(4), p.13. González, D. (2016-A) Europa International sets the industry trend in Tallinn. http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=319847 González, D. (24.11.2016-B) Opening up markets and leading races at the European Film Forum. Cineuropa.org. http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=320031 Glaser, A. (15.11.2016) Marc Benioff says companies buy each other for the data, and the government isn’t doing anything about it. The FTC has never challenged a merger based on the anticompetitive acquisition of data. Recode.com. https://www.recode.net/2016/11/15/13631938/benioff-salesforce-data-government-federal-trade-commission-ftc-linkedin-microsoft Grater, T. (2016-A) http://www.screendaily.com/news/bfi-uk-independent-market-share-on-the-rise-in-2015/5099487.article Grater, T. (2016-B) http://www.screendaily.com/news/45-years-producer-tristan-goligher-talks-indie-movie-challenges-ahead-of-film-summit/5111507.article Grater, T. (2016-C) A third of UK cinema releases grossed less than £10,000 in 2016. Screen Daily. http://www.screendaily.com/news/a-third-of-uk-cinema-releases-grossed-less-than-10000-in-2016/5115422.article Grater, T. (2016-D) Film Summit: UK on course to release 900 movies in 2016. Screen Daily. http://www.screendaily.com/news/uk-on-course-to-release-900-movies-in-2016/5111661.article


12

Grater, T. (2016-E) Tallinn: European Film Forum hears progress of Digital Single MarketScreen Daily. http://www.screendaily.com/festivals/tallinn-digital-single-market-is-right-on-track/5111553.article Grater, T. (1.2.2017-A) IFFR: App dubbed 'Tinder for movies' wins at first Propellor tech event. Screen Daily Grater, T. (17.2.2017-B) Berlin: Propellor Film Tech Hub raises 11 calls to action. Screen Daily Grater, T. (2016-C) Barclays reveals £100m UK TV fund Screen Daily 28 MARCH, 2017 | BY TOM GRATER http://m.screendaily.com/5116304.article Grewar, M., Townley, B, Young E. (2015Tales from the Drawing Board: ICC. CREATe. Graeber, D., 2014. Debt-updated and expanded: the first 5,000 years. Melville House. Grant, J. (15.3 2011) “Plato’s Philosophy of Art”, Oxford. Grantham, B. Film Risk in US Motion Pictures In Hjort, M., 2012. Film and Risk. Wayne State University Press. Grantham. B. Producing – era of studio bank finance revolving credit & co-prod arrangements as defensive measures to avoid losing everything.


13

Hadida, A.L., 2009. Motion picture performance: A review and research agenda. International Journal of Management Reviews, 11(3), pp.297-335. Hadida. Strategic Assets and Performance Across Institutional Environments. Hadida, A . Performance in the Creative Industries. in Jones, C., Lorenzen, M., & Sapsed, J. (Eds.). (2015). The Oxford Handbook of Creative Industries. Oxford University Press, USA. Harris, M., Ravid, S.A. and Basuroy, S., Intellectual Property Contracts: Theory and Evidence from Screenplay Sales. Harris, M., Ravid, S.A. and Basuroy, S., Intellectual Property Contracts: Theory and Evidence from Screenplay Sales. Harvie, J. "Public/Private Capital: Arts Funding Cuts and Mixed Economies." In Fair Play—Art, Performance and Neoliberalism, pp. 150-191. Palgrave Macmillan UK, 20 Von Hayek, F.A., 1989. The pretence of knowledge. The American Economic Review, 79(6), pp.3-7. Hazelton, J. (30.3.2017) How Netflix, Amazon and Hulu are transforming the TV business. Screen Daily. http://www.screendaily.com/features/how-netflix-amazon-and-hulu-are-transforming-the-tv-business/5116347.article Hellier, C. & Stafford, J. (2016) Final Decision First-Tier Tax Tribunal: Ingenious Games LLP, Inside Track Productions LLP, Ingenious Film Partners 2 LLP and The Commissioners for Her Majesty’s Revenue and Customs. Crown Publishing. Hindsight Media EIS Fund Information Memorandum 2016.17 Henrici, S.(19.5.2015) Numbers don’t speak for themselves: Journeying into ideas about accounting and governance. Scottish Documentary Institute. http://blog.scottishdocinstitute.com/ideas_about_accounting Hopewell, J and Kelassy, E. (2016) http://variety.com/2013/film/global/aardman-studiocanal-team-on-shaun-the-sheep-1200414377/ House of Commons, Culture, Media and Sport Select Committee, The British Film Industry, HC 667-1, p.19. House of Lords (13.1.2017) House of Lords Library Note Leaving the European Union: Impact on the Creative Industries. Hjort, M., 2012. Film and Risk. Wayne State University Press. Hjort, M. (2012). Introduction: The film phenomenon and how risk pervades it. In M. Hjort (Ed.), Film And Risk (pp.1-30). Detroit: Wayne State University Press. International Accounting Standard (IAS) 38 - 1998. http://www.ec.europa.eu/internal_market/accounting/docs/consolidated/ias38_en.pdf.


14

Ingenious (2012) Senior Film Fund Annual Report Ingenious Media. (2015) Submission to House of Commons: Culture, Media and Sport Committee SUPPORT FOR THE CREATIVE ECONOMY – CHECK Ingenious (2017) Building our industrial strategy – Green paper submission Ingenious (2016) Shelley Media Brochure 2016-17 Johnson, R. (2005) Lawsuit of the Rings, New York Times, 27.6 2005 http://www.nytimes.com/2005/06/27/business/media/the-lawsuit-of-the-rings.html?_r=0


15

Jones, H. (25.1.2017). European films falling in UK popularity. University of York, Film and Television Department blog. https://www.york.ac.uk/news-and-events/news/2017/research/european-films-popularity/ Jones, H. (2015). The cultural and economic implications of UK/ European co-production, Transnational Cinemas, DOI: 10.1080/20403526.2016.1111662 Jones, C., Lorenzen, M., & Sapsed, J. (Eds.). (2015). The Oxford Handbook of Creative Industries. Oxford University Press, USA. Jones, C., Lorenzen, M., & Sapsed, J. Introduction. IN Jones, C., Lorenzen, M., & Sapsed, J. (Eds.). (2015). The Oxford Handbook of Creative Industries. Oxford University Press, USA. Jenkins, H. (2016) Conclusion: Imagining Possible Futures. In Taplin, J. Erin Reilly, Geoffrey Long, Francesca Marie Smith & Henry Jenkins. (2016) “The Edison Project.” iBooks. https://itun.es/gb/cTYWfb Jensen, J. (12.12.2016- A) Propellor in search of new business models for production and distribution. Cineuropa. http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=320486 Jensen, J (2.12.2016-B) Nordisk at 110: Scandinavian Giant Looks to Its Past for Future Success. Variety. http://variety.com/2016/film/spotlight/nordisk-at-110-scandinavian-giant-looks-to-its-past-for-future-success-1201931785/


16

Kay, J. 14.2.2016 Digital backlash in Berlin as Netflix, Amazon miss out on titles Screen Daily http://www.screendaily.com/5100372.article?utm_source=newsletter&utm_medium=email&utm_campaign=Newsletter78 Kay, J. 2017 -A. Cinelytic to launch data-based platform in Cannes. Screen Daily http://www.screendaily.com/news/cinelytic-to-launch-data-based-platform-in-cannes/5117673.article?blocktitle=LATEST-FILM-NEWS-HEADLINES&contentID=44435 Kay, J. 2017 -B. What Scott Stuber's new Netflix job could mean for Hollywood. Screen Dailyhttp://m.screendaily.com/5115896.article Kaufman, J.C. and Simonton, D.K. eds., 2013. The social science of cinema. Oxford University Press. Keen, B. (1.2017) BSAC Business Briefing The Evolution of the OTT TV Market Chief Analyst and Vice President, IHS Keen, B. (4.2016) BSAC Business Briefing UK Movie Market 2016. Chief Analyst and Vice President, IHS Knight, F.H., 2012. Risk, uncertainty and profit. Courier Corporation. Knight, E. and Harvey, W., 2015. Managing exploration and exploitation paradoxes in creative organisations. Management Decision, 53(4), pp.809-827. Kohn, E. (2017) Netflix’s New Ratings System Is a Terrible Idea. Indiewire.com http://www.indiewire.com/2017/03/netflix-ratings-system-thumbs-up-down-bad-idea-1201794830/ KPMG LLP (3.2016) (“KPMG”) Film Financing and Television Programming: A Taxation Guide (the “Guide”) https://home.kpmg.com/us/en/home/insights/2016/02/film-financing-tv-programming-taxation-guide.html King, A.S., King, J.T. & Reksulak, M. J Cult Econ (2016). pp 1–25 Kretschmer, M., Klimis, G. M., & Choi, C. J. (1999). Increasing returns and social contagion in cultural industries. British Journal of Management, 10(s1), pp. 61-72. Mouritsen, J. (Ed.). (2015). Making Things Valuable. Oxford University Press, USA. Klamer, Without Uncertainty there is no art market. in Dempster, A. (2014). Risk and uncertainty in the art world. Kornberger, M., Justesen, L., Madsen, A.K. and Mouritsen, J. eds., 2015. Making things valuable. Oxford University Press, USA.


17

Kruitwagen , L. Workman , M. (2016) Workshop Summary Report DECISION MAKING UNDER RISK & UNCERTAINTY WORKSHOP 170 QUEEN’S GATE, 10-11th FEBRUARY 2016 Imperial College London Kubiak, P. (29.04.2016) A guide to investing in the film industry. Your Money.com. http://www.yourmoney.com/investing/a-quick-guide-to-investing-in-the-film-industry/ Kumb, F., Kunz, R. and Siegert, G., 2017. RESEARCH ON THE MOTION PICTURE INDUSTRY: STATE OF THE ART AND NEW DIRECTIONS OFF THE BEATEN TRACK AWAY FROM THEATRICAL RELEASE. Journal of Economic Surveys, 31(2), pp.577-601. Kwok, A. and Lau, T-Y. (2014) A case study of business model innovation and transformation in China’s film industry. In DeFillippi, R., & Wikstr, P. (Eds.). (2014). International perspectives on business innovation and disruption in the creative industries: Film, video and photography. Edward Elgar Publishing.


18

Lang, B. (27.3.2017) The Reckoning: Why the Movie Business Is in Big Trouble, Variety. http://variety.com/2017/film/features/movie-business-changing-consumer-demand-studios-exhibitors-1202016699/ Lang, B. (21.3.2017-B) Studios Flirt With Offering Movies Early in Home for $30 Variety. http://variety.com/2017/film/news/studios-premium-vod-early-1202013205/ League. T. (20.3.2017) / Leonsis, E. (2016) Tim League Refutes Netflix’s Reed Hastings On Movie Theater Innovation. Indiewire. http://www.indiewire.com/2017/03/tim-league-netflix-reed-hastings-response-1201795232/ Lemercier, F (2016). An innovative export plan for "a strategic shift" http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=320035 La Torre, M., 2014. The Economics of the Audiovisual Industry: Financing TV, Film and Web. Palgrave Macmillan. Lewin, K. (1943). Psychology and the process of group living. Journal of Social Psychology, 17, 113–131. Reprinted in The complete social scientist: A Kurt Lewin reader, (Gold, Martin, Ed) (1999) (pp. 333–345). Reprinted (in part) in Cartwright, 1951, Chapter 7. Lin, D. (2016) Adam Fogelson: Building a Film Studio for STX Entertainment. East West Bank Bull Session blog. https://www.eastwestbank.com/ReachFurther/News/Article/Adam-Fogelson-Building-a-New-Movie-Studio-for-STX-Entertainment Lodderhose, D. (21.2016.2016) Europe’s Digital Single Market: What You Need To Know & How It Could Kill The Indie Biz. Deadline.com. http://deadline.com/2016/11/europe-digital-single-market-what-you-need-to-know-how-it-could-kill-the-indie-business-1201857973/ Lodderhose, D. and Tartigleone, N. (30.12.2016) Brexit & Beyond: What’s On Deck For Industry In 2017’s Shape-Shifting Europe?. Dealine.com http://deadline.com/2016/12/brexit-europe-media-outlook-deals-terrorism-2017-1201875905/


19

Ma, L., Montgomery, A. and Smith, M.D., 2016. The Dual Impact of Movie Piracy on Box-Office Revenue: Cannibalization and Promotion. Macnab, G. (9.5.2016) UK Private Financiers: Adventure Capital. Screen Daily. Macnab, G. (2.1.2016) Are much shorter theatrical windows around the corner? Screen Daily. http://www.screendaily.com/features/are-much-shorter-theatrical-windows-around-the-corner/5112398.article Mann, D. (3.2017) UX Design and the Rise of the Platforms -UCLA Professor and PI, Havas 18 Digital Incubator and Think Tank (DIT) https://18pillowtalks.io/ux-design-and-the-rise-of-the-platforms-6b522512e99a Markey , T. Gary J. Valeriano; Carleton R. Burch, Esq. (2003) ADVENTURES IN THE MOVIE BUSINESS. FIDELITY AND SURETY IN HOLLYWOOD. CNA FINANCIAL INSURANCE , ANDERSON, McPHARLIN & CONNERS LLP. EASTERN BOND CLAIMS MEETING - MAY 19, 2003 FAIRMOUNT COUNTRY CLUB Chatham, NJ 07928 Masters, K. (14.9.2016) The Netflix Backlash: Why Hollywood Fears a Content Monopoly. The Hollywood Reporter. http://www.hollywoodreporter.com/features/netflix-backlash-why-hollywood-fears-928428 Mueller, M. (2016) Film4 Eyes “bigger plays”, Screen International. http://www.screendaily.com/features/film4-eyes-bigger-plays/5101856.article McClintock, P. (1.5.2017). Box Office: 'Captain America: Civil War' Leads 2016 With $1.15B. The Hollywood Reporter.com. http://www.hollywoodreporter.com/lists/top-grossing-movies-2016-20-best-box-office-earners-960788 McDonald P. (2013), Introduction, Cinema Journal, Volume 52, Number 3, Spring 2013, pp. 145-149 McDonald, P., Carman, E., Hoyt, E. and Drake, P. eds., 2015. Hollywood and the Law. Palgrave Macmillan. McFall, L., Deville, J. and Cochoy, F., (2017) Introduction. Markets and the Arts of Attachment. Cochoy, F., Deville, J. & McFall, L., Markets and the Art of Attachment, London: Routledge. McKenzie, J. and Smirnov, V., 2017. Blockbusters and market expansion: evidence from the motion picture industry. Journal of Cultural Economics, pp.1-12. McMullen, W.J. and Varma, R., 2012. „Ex-post returns, project choice, and the movie industry‟. Journal of Accounting, Finance and Economics, 2, pp.18-30.


20

Merikhi, E and Zwikael, O. (2017) Customizing Modern Portfolio Theory for the Project Portfolio Selection Problem. ACAD MANAGE PROC January 2017 2017 (Meeting Abstract Supplement) 13178 Operations and Supply Chain Management Moore, M. 2.2.2016. Flexible cinema seat pricing may be a force to be reckoned with. Financial Times. https://www.ft.com/content/7d2841f8-9030-11e5-bd82-c1fb87bef7af Monclus, R.P., 2015. Public banking for the cultural sector: financial instruments and the new financial intermediaries. International Review of Social Research, 5(2), pp.88-101. Morgan, A. (2017). Netflix Demonstrates Big Data Analytics Infrastructure, Infoq.com. https://www.infoq.com/news/2017/03/netflix-big-data-analytics Mouritsen, J. (Ed.). (2015). Making Things Valuable. Oxford University Press, USA. MPA Europe (2016). Greenberg Traurig: Digital Single Market – The State of Play for the Film Industry Remarks by Senator Chris Dodd, Chairman and CEO, MPA Berlin, Germany February 15, 2016 As Prepared for Delivery. http://mpaeurope.org/wp-content/uploads/2016/02/Digital-Single-Market-The-State-of-Play-for-the-Film-Industry-Remarks-by-Senator-Chris-Dodd.pdf MPA (2015) Response to the Business Innovation and Skills Committee Inquiry on the Digital Economy. November 2015 MPAA 2016 Theatrical Market Statistics Report. MPAA. (2017) The Economic Contribution of the Motion Picture & Television Industry to the United States. Jan 2017. The Economic Contribution of the Motion Picture & Television Industry to the United States Prepared in January 2017 based on latest data available. Bureau of Labor Statistics (BLS) releases the necessary year-end data from the prior year in October. Motion Picture Association of America, Inc.1600 Eye Street, NWWDC 20006 www.mpaa.org


21

Napoli, P.M., 2013. The Algorithm as Institution: Toward a Theoretical Framework for Automated Media Production and Consumption. Fordham University McGannon Center Working Paper Series. 26. http://fordham.bepress.com/mcgannon_working_papers/26 Natividad, G., 2013-A. Multidivisional strategy and investment returns. Journal of Economics & Management Strategy, 22(3), pp.594-616. Natividad, G., 2013-B. Financial slack, strategy, and competition in movie distribution. Organization Science, 24(3), pp.846-864. Neelands, J., Easton, E., & Robles, T. (2015) How public investment in arts contributes to growth in the creative industries. Creative Industries Federation. Neff, G. (2012) Venture Labor: Work and the Burden of Risk in Innovative Industries. Nesta. New Art of Finance Northern Alliance. (2009). The Corporate Finance of SMEs in the UK Film Industry. UK Film Council. http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-analysis-of-the-corporate-finance-of-smes-in-the-uk-film-industry.pdf Northern Alliance. (2015). The Corporate Finance of SMEs in the UK Film Industry.


22

Oakley, K. and O'Connor, J. eds., 2015. The routledge companion to the cultural industries. Routledge. O'Brien, D. (2016) What price evidence? The ethics of office and the ethics of social science in British cultural policy, Journal of Cultural Economy, 9:2, 127-140 O’Dell, E. 2015. How the blockchain could unblock the resale of digital goods CEARTA.IE. http://www.cearta.ie/2015/11/how-the-blockchain-could-unblock-the-resale-of-digital-goods/ OFCOM Response to the Business Innovation and Skills Committee Inquiry on the Digital Economy. November 2015 Olsberg SPI (2012) Building sustainable film businesses: the challenges for industry and government. Olsberg SPI 2015 Economic Contribution of the UK’s Screen Sectors Olsberg SPI, (2017) The State of the UK Independent Film Sector. Pact. Oosterlinck, K., 2015. Anna M. Dempster (ed.): Risk and uncertainty in the art world. Journal of Cultural Economy, 39, 397-400 Oxera and O&O. May 2016. The impact of cross-border access to audiovisual content on EU consumers Ow. M. Dynamic Movie Pricing. Projections Presentations. AOL Build. 19.5.15


23

Paterson, R. (February 2017). The competition discourse in British broadcasting policy. CREATe Working Paper 2017/02 Patrik & DeFillippi, Robert (Eds.) International Perspectives on Business Innovation and Disruption in the Creative Industries: Film, Video and Photography. Edward Elgar, Cheltenham, pp. 66-87. Penman, S. Financial Forecasting, Risk, and Valuation: Accounting for the Future. Columbia. Pham, A. (8.12.2016) INTERVIEW / TV “Pinewood Television can come in with up to 40% of a budget”. http://www.nordiskfilmogtvfond.com/news/interview/pinewood-television-can-come-in-with-up-to-40-of-a-budget PHILLIPS, R (2004). The Global Export of Risk: Finance and the Film Business Competition & Change Vol. 8, No. 2, 105–136, June 2004 Piccadilly Pictures. What we do. Piccadilly Pictures.com 2017/ Pick, D., Weber, P., Connell, J., & Geneste, L. A. (2015). Theorising creative industry management: rebooting the woolly mammoth. Management Decision, 53(4), 754-762. Peltoniemi, M., 2015. Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics. International Journal of Management Reviews, 17(1), pp.41-68. http://www.propellorfilmtech.com/


24

Quattrone, P Cristiano Busco Robert W Scapens Elena Giovannoni.(2016) DEALING WITH THE UNKNOWN: Leading in uncertain times by rethinking the design of management accounting and reporting systems. CIMA Chartered Institute of Management Accountants Academic Research Paper Volume 12 Issue 14


25

Rainey, J and Lang, B. (2016) http://variety.com/2016/film/news/relativity-media-100-million-pledge-1201693672/ Radio Independents Group (2013) Responses to Culture Media & Sport Select Committee Inquiry into ‘Support for the Creative Economy’ Ramsbottom, P. (2017 Chief Executive of The Wolfson Foundation. Foundations and Risk: The Wolfson Foundation 25 April 2017 http://www.acf.org.uk/news/foundations-and-risk-the-wolfson-foundation Reilly, E. (2016) The New Metrics and Measurement in Taplin, J. Erin Reilly, Geoffrey Long, Francesca Marie Smith & Henry Jenkins. (2016) “The Edison Project.” iBooks. https://itun.es/gb/cTYWfb Rodriguez, A.(27.12.2016) How Netflix (NFLX) determines what to pay for shows and films. Quartz.com http://qz.com/872909/netflix-nflx-has-algorithms-that-determine-what-it-pays-for-shows-and-movies-like-stranger-things-and-the-crown/?utm_content=bufferc4586&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer Roettgers, J. (2017-A). Netflix Replacing Star Ratings With Thumbs Ups and Thumbs Downs. Variety.com. http://variety.com/2017/digital/news/netflix-thumbs-vs-stars-1202010492/ Roettgers, J. (2017-B). How Netflix Wants to Rule the World: A Behind-the-Scenes Look at a Global TV Network. Variety.com. http://variety.com/2017/digital/news/netflix-lab-day-behind-the-scenes-1202011105/ Rovnick, N. November 13, 2015. Rare tax reliefs — the last of the loopholes. Financial Times Rozentale, I., & Lavanga, M. (2014) The ‘‘universal” characteristics of creative industries revisited: The case of Riga. City, Culture and Society, http://dx.doi.org/10.1016/j.ccs.2014.05.006 Roxborough, S. (28.11.2016) Alibaba Pictures Buys into 'Mermaid' Financier Hehe Pictures. The Hollywood Reporter. http://www.hollywoodreporter.com/news/alibaba-pictures-buys-mermaid-financier-hehe-pictures-950659 Roxborough, S. and Szalai, G. (28.12.2017) Why 2017 Will Be Crunch Year for the Global Ambitions of Netflix and Amazon. The Hollywood Reporter. http://www.hollywoodreporter.com/news/2017-will-be-crunch-year-global-ambitions-netflix-amazon-958783


26

Sarai, P Kraft Pascal Back Jan Oliver Lampe Andreas Bausch. (2017) Overconfidence and Risk Behavior: The Mediating Role of Risk Propensity and Risk Perception. ACAD MANAGE PROC January 2017 (Meeting Abstract Supplement) 15137 Salmon, J. (6.2.2016). RBS dodged paying £1bn of its tax bill by investing in hit films such as Harry Potter and Batman Begins. This is Money.co.uk http://www.thisismoney.co.uk/money/markets/article-3449896/RBS-dodged-paying-1bn-tax-bill-investing-hit-films-Harry-Potter-Batman-Begins.html Screen Staff (26.12. 2016-A) The BFI's five biggest distribution awards Screen Daily http://www.screendaily.com/news/distribution/the-bfis-five-biggest-distribution-awards-of-2016/5112178.article Screen Staff (28.12. 2016-) The BFI's 10 biggest production awards of 2016. Screen Daily http://www.screendaily.com/news/production/the-bfis-10-biggest-production-awards-of-2016/5112022.article Searle, N and Brassell, M. (2016). Economic Approaches to Intellectual Property: How IP influences markets and society. Oxford University Press. Oxford. Seo, H., 2016, January. Discriminating against Explorative Failure: Evidence from Investments in Film Production. In Academy of Management Proceedings (Vol. 2016, No. 1, p. 18115). Academy of Management. Shinecock Partners L.P. (2016) Investment Opportunities in Film Finance. http://www.shinnecock.com/articles/alt_lending/Investment%20Opportunities%20in%20Film%20Finance%202016-09.pdf Soda, G. and Bizzi, L., 2012. Think different? An investigation of network antecedents and performance consequences of creativity as deviation. Strategic Organization, 10(2), pp.99-127. Sorrell, M. (22.11.2016) Think Long Term and Take Risks. The Economist. The world in 2017. Smith, M. (2014) Submission to the Warwick Commission on the Future of Cultural Value: 1st August 2014: Some key challenges facing the UK film industry: an investor perspective Smith, M. 2010 The world’s creative hub or “bullshit Britain”? The future of the UK’s creative economy 12th October 2010 Smith, F. (2016) The New Screens. In Taplin, J. Erin Reilly, Geoffrey Long, Francesca Marie Smith & Henry Jenkins. (2016) “The Edison Project.” iBooks. https://itun.es/gb/cTYWfb Steele, D., 2015. Rethinking the focus of UK film support: Is subsidising US studios a safe strategy for UK film production in the coming decade?. Cultural Trends, 24(1), pp.74-79.


27

Stepan, Paul. Ch35 in Handbook on the Digital Creative Economy, Towse, Sweney, M. (4.3.2017) Creative sector fills UK coffers as money pours into film and TV production. Mark, The Observer https://www.theguardian.com/business/2017/mar/04/creative-industry-fills-uk-coffers-tv-film-music


28

Teti, E., 2013. The dark side of the movie. The difficult balance between risk and return. Management Decision, 51(4), pp.730-741. Tiendrebeogo, T. (2010) Risk Perception and Management Methods in the Funding of Cultural Activity Sectors. Union Internationale Des Cinemas. (2016) Innovation and the Big Screen. Taplin, J. Erin Reilly, Geoffrey Long, Francesca Marie Smith & Henry Jenkins. (2016) “The Edison Project.” iBooks. https://itun.es/gb/cTYWfb.l Taplin, J.and Bedi, A. (2016) The New Funding and Business Models: Business Strategies for a Shifting Media Landscape. in Taplin, J. Erin Reilly, Geoffrey Long, Francesca Marie Smith & Henry Jenkins. (2016) “The Edison Project.” iBooks. https://itun.es/gb/cTYWfb.l Taplin, J. (2017) Move Fast and Break Things. Tomaselli A. (2017). THE ROLE OF INFORMATION SIGNALS IN VENTURE INVESTMENTS AND PERFORMANCE . (2016 PhD thesis) Tomaselli, A Salvatore Torrisi Joris Ebbers Intermediaries’ Commitment in Investments and Performance of Project- based Ventures. ACAD MANAGE PROC January 2017 (Meeting Abstract Supplement) 17626 Entrepreneurship. Treverton, G. (June 2007). Risks and Riddles The Soviet Union was a puzzle. Al Qaeda is a mystery. Why we need to know the difference. Smithsonian Magazine https://www.smithsonianmag.com/history/risks-and-riddles-154744750/ DiCola, P. (2013) Copyright Law and royalty contracts. In Towse, R., & Handka, C. (Eds.). (2013). Handbook on the digital creative economy. Edward Elgar Publishing.


29

Vinodrai and Keddy: Projects and Project Ecologies in Creative Industries. In Jones, C., Lorenzen, M., & Sapsed, J. (Eds.). (2015). The Oxford Handbook of Creative Industries. Oxford University Press, USA. Vogel, H. L. (2010). Entertainment industry economics: A guide for financial analysis. Cambridge University Press. Von Sychowski, P. (2.2.2017). CJ + UNIC Cinema Innovation – Interview with VP European Commission Andrus Ansip and UKCA/UNIC’s Phil Clapp. Celluloid Junkie https://celluloidjunkie.com/2017/02/02/cj-unic-cinema-innovation-interview-with-vp-european-commission-andrus-ansip-and-ukcaunics-phil-clapp/ Von Rimscha, M.B., 2009. Managing risk in motion picture project development. Journal of Media Business Studies, 6(4), pp.75-101. Von Rimscha, M. B., Wikström, P., & Naldi, L. (2014). European audio-visual production companies adapting to strategic challenges. In Wikstrom, Vonderau, P., 2015. The politics of content aggregation. Television & New Media, 16(8), pp.717-733


30

Wallace, B. (2016) http://www.vulture.com/2016/01/relativity-media-ryan-kavanaugh-c-v-r.html?utm_content=buffer2f985&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer Wallenstein, A. (6.1.2017) Home Entertainment 2016 Figures: Streaming Eclipses Disc Sales for the First Time. Variety.com. http://variety.com/2017/digital/news/home-entertainment-2016-figures-streaming-eclipses-disc-sales-for-the-first-time-1201954154/ Warwick Commission (2015). Final Report Wakabayashi, N., Yamada, J. I., & Yamashita, M. (2014). The Power of Japanese Film Production Consortia: The Evolution of Inter-Firm Alliance Networks and the Revival of the Japanese Film Industry. Available at SSRN 2498822. Wenta, B. EUROPEAN PARLIAMENT Committee on Culture and Education DRAFT REPORT on European film in the digital era (2014/2148(INI)) Committee on Culture and Education Wei, Y. (2015) Product Similarity Network in the Motion Picture Industry. R&R at Management Science. Wealth Club. SEIS Review Offer, Goldfinch. https://www.wealthclub.co.uk/seed-enterprise-investment-scheme/seed-enterprise-investment-scheme-offers/goldfinch-seis/ Welsh Independent Producers (2013) Responses to Culture Media & Sport Select Committee Inquiry into ‘Support for the Creative Economy’ Whitlow. C. Quantified Film Tool. Projections Presentations. AOL Build. 19.5.15 Wiley on GAAP 2011 Wiley (2011): US Financial Accounting Standards Board - ASC 926. Wiseman, A. (13.2.2016- A). HanWay Films: a year to remember. Screen Daily. http://www.screendaily.com/features/hanway-films-a-year-to-remember/5100304.article Wiseman, A. (24.11.2016 -B). Film Summit: 'The Crown' producer lifts lid on Netflix, Amazon collaborations. Screen Daily. http://www.screendaily.com/the-crown-producer-lifts-lid-on-netflix-amazon-collaborations/5111683.article Wiseman, A. (7.3.2016- C). UK distributor Metrodome seeks buyer. Screen Daily. https://www.screendaily.com/news/distribution/uk-distributor-metrodome-seeks-buyer/5101152.article#.Vt2SQwGQSO0.twitter Wiseman, A. (24.3.2017- A) 'British films need more support', says Lionsgate UK CEO. Screen Daily. http://www.screendaily.com/news/distribution/british-films-need-more-support-says-lionsgate-uk-ceo/5116197.article


31

Wiseman, A. (7.2.2017- B) Lionsgate UK talks 'La La Land', bold 'Valerian' plan and ways to boost UK film Screen Daily. http://www.screendaily.com/features/lionsgate-uk-talks-la-la-land-bold-valerian-plan-and-ways-to-boost-uk-film/5114491.article Wissot, L. (29.3.2017) Propellor Film Tech Hub Brings Business Innovation to CPH:DOX. documentary.org. http://www.documentary.org/blog/propellor-film-tech-hub-brings-business-innovation-cphdox World Economic Forum (2015) The Business of Creativity


32

Young, Gong, Van der Stede (2008). Value Creation and the Possibilities for Management Accounting Research in the Entertainment Sector: the United States Motion Picture Industry Handbook of Management Accounting Research Volume 3, 2008, Pages 1337–1352

re: draft research synopsis. do not cite. reference only. · unformatted draft risk research...

Documents