It opportunities ?re yet at st?ke. Thus, the

      It is clear that, in these modern times,
film and TV industry h?s experienced
a huge transformation. The global media landscape was completely reshaped,
since the r?pid increase of c?ble and s?tellite television and online n?tworks, empowered by progressively
developed digital technologies ?nd the rising access of inexpensive
communic?tion s?tellites. Moreover, digital glob?lization has assured that media
content is delivered instantly and bro?dly available in a homogeneous form?t – in the form of sound, text,
motionless and moving pictures and databases. The glob?lization of the economy h?s h?d a major imp?ct on all cultur?s.
?ccording to UNCT?D (2008) glob?l film market,
is estimated to be worth $60 billion annually and is dominated by ?merican film
products. The importance to understand that industry h?s changed during the y?ars
may se?m obvious, though it’s not
e?sy to ?dapt and create a new potenti?l strategy, which will take a young
filmm?ker into the field. That is to say, nowadays m?ny young and talented
filmm?kers, who have a gre?t desire to enter and prosp?r in the film industry,
often forget ?bout common hurdles laying ahead. Th?y often sh?re a f?w common qu?lities – insecurity and
fe?r of rej?ction. Unfortunately, it’s not ?n option for those who wish to work
in the industry. ?bilities, which will le?d to progr?ssion, l?y ?t the opposite
side – le?rning, underst?nding and knowing how. So, it is essenti?l to perceive
the nature of change in the film and TV industry, as it might help to d?cid? which strategies could succ?ed.
Subsequently, the convergence of digitalization ?nd glob?lization signifies that
some ?lterations in str?tegies must be reassessed, keeping in mind that we are
the very early ph?ses of this phenomenon, increased opportunities ?re yet at
st?ke. Thus, the new er? of glob?lization also cre?tes ch?llenges, which most likely tend to
restrain creativity. In this ?ssay I will present several
difficulties and opportunities, which are relevant for ambitious filmmakers and
discuss both sides of the arguments.


     First of all, the glob?lization process
has become a f?st-paced phenomenon, which h?s opened new perspectives for
internation?l filmm?kers. Nowadays, it’s far easier for filmmakers to find
and enter markets. This is
because the number of d?t? being transmitted through borders h?s rose
significantly, and that made a huge impact on nations, individuals and
companies to connect more deeply. The market growth rises every year because fast
internet access is available in most of the countries. According to World B?nk
(2006), the number of highly educated professionals, who left their slowly
developing countries to developed ones, h?s doubled in the decade from
1990-2000. These professionals gained new skills and still, maintained links
with their native countries, kept transferring their knowledge and ideas. As an
IBM report envisaged: “Between now and 2010, the increasing affordability,
saturation, transmission speed and massive data storage capacity of emerging
digital technologies will enable new formats and functionalities, multiplying
and deepening the connectivity of users around the globe” (IBM, 2004).
Furthermore, the internet usage has grown at the speed of light: from just 3
percent of the world’s population in 1995 to more than 15 percent of the global
population in 2005 – almost one billion people. The greatest number of internet
users – nearly 330 million, was registered in Asia in 2004, followed by 243
million users in Europe and 185 million in the US. In 2000, just 25 percent of
internet users in the world was reported by developing countries. Though, this
figure rose up to 40 percent by 2005. By 2004, the mobile networks were
accessed by 77 percent of the world’s population (UNCTAD, 2005). Such changes
in technology have created an increase in transnational movement in media
products. The major media corporations, such as Time Warner, Disney, News
Corporation, Columbia Pictures, Paramount, which operate multiple networks and
influence media content, have benefited from this process. According to Lewis
(2012), these studios had dominance not only over mainstream commercial
marketplace, but also over independent film sphere. Though, independent
filmmakers can directly take part in globalization by forming their own transnational
connections. Digital platforms, for example, Vimeo, Google Play, Netflix, Hulu,
Amazon Video, iTunes, allow filmmakers to find the audience and distribute
their films. It’s a great chance



     On the other hand, Western culture is
making a huge influence on young people and it causes serious consequences. In
other words, cultural diversity is at risk, because the US has an ultimate
control and dominance of the market. Developing countries have, to a large
extent, experienced an enormous impact by Western culture, since it started to
spread like a virus. This is because, Western nations – states imputed their
own values on weaker countries by their cultural products export (Kraidy,
2002). The United States has a market of more than 300 million people, as well
as a global market, which consists of 2 billion English speakers („America’s
Cultural Role in the World Today”, 2008). This means that plenty of tv programmes and films
can be produced and then exported at very low prices. This is the only country,
which has such an advantage in terms of language and numbers. For instance, 64% of all films featured in EU
countries in 2006 were American. In comparison, just 3% of the films featured in the US were from
Europe. This makes 22% of movies imports worldwide (America’s Cultural Role in
the World Today, 2008). In addition, films that earned the greatest amount
of money worldwide in the same year were American. Analogical trend prevails
with global television programming. These trends have particularly affected
youth in developing economies. To illustrate this point, Arab traditional
culture came across a gap among older generations and young people, who were
influenced to extremely appealing Western domination. The result of this is, the
destruction of old traditions and cultural heritage changing them with modern
alternatives (Global Policy Forum, 2000). The influence of Western movies constantly affects the outlook of those
it reaches. In general, the worldwide film market is overloaded with Hollywood
productions. Gemunden claims that American culture is fully accepted and
incorporated by young German people and national cinemas, which causes serious
issues. This is because, U.S. film production is still quite capitalist, and it
impacts transnational film industries in a destructive way (2002). As revealed
by El – Tayeb and Maccarone (1999), they experienced what it means to be
controlled by U.S. film industry forces, when they had to eliminate the original
title of their film – Hakuna Matata, because it was anticipated by the release
of Disney’s The Lion. Therefore, Hollywood is a part of almost every national
film industry, as it powerfully immerses into almost every production
and dictates its own rules. As a result, traditional culture is in danger
since the United States productions may contribute to the disappearance of
individual cultures. Pursuing this further, another big challenge a young
filmmaker has to face – audience is mostly attracted to films with visual
effects, otherwise they’re bored. The rise of digital effects has begun with tremendous
advancements in technology. Lewis (2012) interpreted this instant digital
modernization as globalization’s companion, since analog switched to digital. The
main focus was on computer-generated imagery to imitate fascinating fiction
universe. Ryu (2007, p.223) points out that “the distinction
between live-action footage and effects-added footage has gradually
disappeared, thanks to the invisibility of contemporary visual effects”. Hence, before stepping into the field, a
young filmmaker has to comprehend, that broad imagination is not enough in the
industry. The combination of creativity and film’s production budget represents
what’s truly relevant at the present moment. This is because the use of digital
effects depends on the satisfaction of both creators and their imagination and
production budgets. Additionally, digital effects became so complex, that
audience isn’t able anymore to recognize the scenes and how they were made. This
is why a vast amount of “making-of” videos have been uploaded on social media
platforms in recent years. In short, an aspiring film director has to understand
that digital effects are a tool, which attracts a large audience.
Furthermore, post-production takes way more time, than scriptwriting or the
actual shooting. In other words, technology has taken film very seriously and
it’s going to last as long as technological innovations will have space to
progress. Sometimes that means the loss of naturality of moving images. As
Dixon (2002, p.359) claims “the veracity of the moving image has been hopelessly compromised;
the demarcation line between the real and the engineered (both aurally and
visually) has been obliterated”. Indeed, this digital era has developed to a
certain limit, where both the audience and film producers consider what else
more they can accomplish in terms of computer-engineered images. Opportunities
seem limitless  oints out that in Korea, national blockbuster
films must to represent spectacular scenes, including the heavy use of special
effects on purpose to make it look like Hollywood style films. As aforementioned
above, U.S. still remains the dominant culture and force in Asia as well as in other
parts of the world. In addition, an Indian director’s Rakesh Roshan’s film Krrish
(2006) has been considered to be the first Bollywood film made by following
Hollywood trends and has earned $30 000 000 in 4 weeks after being released. To clarify, it was made using special effects
and adding traditional Indian dancing and singing. The result of this –
Bollywood created a new globalized vision by changing the structure of their
films (Ryu, 2007).