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الگوی بین‌المللی‌شدن فیلم و سینمای ایران درجهت کسب سهم از بازارهای منطقه‌ای و بین‌المللی | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| دوره 26، شماره 1، فروردین 1400، صفحه 23-33 اصل مقاله (601.14 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfadram.2021.304757.615435 | ||
| نویسندگان | ||
| علیرضا تابش1؛ علی اکبر فرهنگی2؛ سید روح اله حسینی3؛ طهمورث شیری4 | ||
| 1دانشجوی دکترای مدیریت رسانه دانشگاه آزاد اسلامی واحد علوم و تحقیقات، تهران، ایران. | ||
| 2استاد گروه مدیریت امور فرهنگی و مدیریت رسانه‌ای، دانشکده مدیریت و اقتصاد، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران. | ||
| 3استادیار گروه مطالعات اروپا، دانشکده مطالعات جهان، دانشگاه تهران، تهران، ایران. | ||
| 4دانشیار گروه جامعه‌شناسی، دانشگاه آزاد اسلامی واحد تهران مرکز، تهران، ایران. | ||
| چکیده | ||
| آنچه باعث رشد نامتوازن سینما در کشور ما شده است، غفلت از وجوه مختلف این هنر/صنعت در چهاردهه اخیر بوده است. از مهمترین مصادیق این رشد نامتوازن را می‌توان عدم تناسب میان حجم قابل توجه جوایز کسب شده توسط سینماگران ایران و سهم اندک سینمای ایران از بازار جهانی سینما دانست. در این پژوهش تلاش شده، علل و زمینه های این عدم تناسب بر مبنای تجزیه و تحلیل مبتنی بر روش نظریهپردازی دادهبنیاد و با ابتنا به گفتگوهای روشمند با بیش از 23 صاحبنظر طی دو سال واکاوی شود. تحلیل یافتههای مبتنی بر اسناد و پژوهش‌های پیشین و مصاحبههای اشاره‌شده نشان میدهد رشد نامتوازن بین‌المللی سینمای ایران حاصل نگرش نامتوازن سیاستگذاران و سینماگران سینمای ایران در دهههای اخیر بوده است. در حالی که می‌توان با توجه یکسان به محتوای هدفمند و انتخاب آگاهانه مخاطب و بازار، این نقیصه را برطرف کرده و به توسعه و توفیقی پایدار و بهرهمند از بازارهای متنوع رسید. این رویکرد را می‌توان رویکرد جامع به صنعت سینما دانست که علاوه بر تضمین وجوه اقتصادی و تجاری سینما موجب می‌شود این رسانه نقش دیگر خود را که پیشبرد دیپلماسی سینمایی است نیز به درستی ایفا کند. | ||
| کلیدواژه‌ها | ||
| صنعت فیلم و محصولات تصویری؛ دیپلماسی سینمایی؛ تجارت و بازاریابی بین‌المللی فیلم؛ کسب سهم از بازار فیلم؛ رسانه سینما؛ صنایع خلاق | ||
| عنوان مقاله [English] | ||
| Internationalization of Iranian Films and Cinema to Gain a Share of Regional and International Markets | ||
| نویسندگان [English] | ||
| Alireza Tabesh1؛ Ali Akbar Farhangi2؛ Rouhollah Hosseini3؛ Tahmures Shiri4 | ||
| 1Ph.D. Student in Media Management, Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research Branch, Islamic Azad University, Tehran, Iran. | ||
| 2Prof., Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research branch, Islamic Azad University, Tehran, Iran. | ||
| 3Assistant Prof., Department of European Studies, Faculty of World Studies, University of Tehran, Tehran, Iran. | ||
| 4Associate Prof, Department of Sociology, Central Tehran branch, Islamic Azad University, Tehran, Iran. | ||
| چکیده [English] | ||
Iranian cinema has won remarkable success in the most prestigious film festivals and communities with more emphasis on its role as a cultural medium. The issues including the industrialization of film and cinema, and the extent to which Iran has changed its world share of the markets have also raised in the context of internationalization. However, the aforementioned have failed to enjoy success achieved as the media and cultural dimension. The research population for this research was asked to answer to the question “Why the economic share of Iranian cinema in the world markets is so small that it failed to enjoy the expected returns on capital spent?” To find answers to the question the number of 23 experts focusing on Cinema, Creative Industries and Creative Industries Economics, Film Trading and Marketing, International Marketing and Entering World Markets, Cultural Marketing and Content Marketing have been interviewed between 2018 to 2019. The data was analyzed using the Grounded theory. Findings suggests that cinema cannot only be taken as entertainment or merely the flagship of a country’s culture, but also as an interdisciplinary field that requires diverse expertise across a value chain to transform an idea into a product that is consciously presented to the right audience. Designing this product and reaching the desired target audience in the selected market is possible only on the basis of business research, marketing and consumer behavior. On the other hand, accessibility method to the audience is also important in today’s vibrant media world; an in-depth investigation can determine which types of media provides the most appropriate platform for the right product presentation to the target audience. At the same Alireza Tabesh1, Ali Akbar Farhangi**2, Seyed Rouhollah Hosseini3, Tahmures Shiri4 1 Ph.D Student in Media Management, Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2 Professor, Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research branch, Islamic Azad University, Tehran, Iran. 3 Assistant Professor, Department of European Studies, Faculty of World Studies, University of Tehran, Tehran, Iran. 4 Associate Professor, Department of Sociology, Islamic Azad University, Central Tehran Branch, Tehran, Iran. (Received 22 Jan 2020, Accepted 6 Feb 2021) time, the income level of the product can be increased by extending its intellectual property rights to related industries, thereby prolonging product life. Cinema can become internationally sustainable and receive a share of the world market and achieve commercial success when it becomes an industry-based through meticulous planning and interdisciplinary knowledge. Of course, Iranian cinema also needs centers of innovation and acceleration to create such a product. Given the issue of a foreign trade of a product, the film business environment must be examined from a political, cultural, social, legal and economic point of view in order to properly plan and select the foreign market. A product, enjoying these features and produced based on targeted content and authentic Iranian content, relying on the creative thinking and art power of the filmmaker’s can have the power to earn foreign currency. These are aspects that, despite the overwhelming motivation to internationalize Iranian cinema, have been neglected and thus cinem has not been able to achieve a comprehensive and sustained success. Thus, various macro, reformative, educational-research based, developmental, marketing, international, legal, income based, and investment and financing strategies have been proposed. The current findings show the path taken by Iranian cinema, the present conditions it faces, and what needs to be accomplished in order to receive a share of the world’s international film market. | ||
| کلیدواژه‌ها [English] | ||
| Films and Visual Products, Cinema Diplomacy, International Film Trading and Marketing, Film as Media, Gain a Share of World's Film Markets, Creative Industries | ||
| مراجع | ||
Elsaesser, T. (2016). Film History as Media Archaeology: Tracking Digital Cinema. Amsterdam: Amsterdam University Press.
Flibbert, Andrew J. (2007). Commerce in Culture: States and Markets in the World Film Trade. USA: Palgrave Mcmillan.
Greenwald, Stephen R. & Landry, Paula. (2018). The Business Of Film. USA: Lone Eagle.
Kerrigan, F. (2017). Film Marketing. UK: Routledge.
Mcdonald, Kevin (2016). Film Theory: The Basics. New York: Routledge.
Mingant, N., Tirtaine, C., Augros, J. (2018). Film Marketing Into the Twenty-First Century. UK: The British Film Institute - Bloomsbury Publishing Plc.
Strauss, A. & Corbin J. (1998). Basics of qualitative research. Newbury Park, CT: Sage Publications.
Walmsley, B. (2019). The death of arts marketing: a paradigm shift from consumption to enrichment. Arts and the Market. Vol. 9 No. 1. pp. 32-49. | ||
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