# data[].attributes.headline
Boo Junfeng's Interview on his film, "The Apprentice"

# data[].attributes.subject
Boo Junfeng's Interview on his film, "The Apprentice"

# data[].attributes.body
"The Apprentice" is a controversial film about the death penalty in Singapore. Read to find out his challenges in making this film, and what motivates Boo to continue in his art.

# data[].attributes.attachment_link.title
Up-coming Singaporean Film Director - An Interview with Boo Junfeng | Features | Japan Foundation Asia Center

# data[].attributes.attachment_link.description
Boo Junfeng is a highly recognized Singaporean director whose films have been shown in many internat

# data[].attributes.headline
How Streaming Services are Affecting Film

# data[].attributes.subject
How Streaming Services are Affecting Film

# data[].attributes.body
Do streaming platforms make it easier for film makers to get their stories told, or is the drive for viewership killing creativity and diversity?

# data[].attributes.attachment_link.readable_text
It used to be that catching your favourite programme meant cancelling your social plans and staying at home with the TV Guide to hand. Should it be a big news day, or should an important sporting event run over, your programme might get bumped from the schedule altogether and then who knew when you were going to find out what happened next on Buffy The Vampire Slayer?

And, unless you were the proud owner of a costly satellite subscription, it might be years and a DVD boxset before you found out exactly why The Sopranos was supposed to be the best thing ever made.

Streaming platforms changed all of that. When Netflix transitioned from a DVD delivery service to an online hub in 2007, it lit the fuse on a revolution in how we consume and create content. (A revolution, incidentally that would indeed be televised). At once, appointment TV was replaced with TV you could watch any time, anywhere.

Last year, Netflix counted 204 million subscribers globally, with a library of over 3,600 movies and 1,800 shows. Its revenue in 2020 was a staggering $25 billion (around £18 billion), and an ever-increasing number of streaming platforms has emerged to wrestle Netflix for dominance of your bandwidth and bank accounts: Amazon Prime (150 million subscribers), Disney Plus (87 million), HBO Max (38 million) and Apple TV Plus (10-33 million) are now just a few of the platforms demanding a share of your attention.

More platforms means more to watch, of course. But, by and large, these platforms aren't just churning out disposable content. Increasingly, content produced by streaming service studios is gaining critical recognition at the highest level. In 2021, Netflix led the pack with 16 films nominated for a total of 35 Academy Awards nominations in 2021, including Vanessa Kirby's Best Actress nomination for Pieces of a Woman, Da 5 Bloods's nomination for Best Original Score and Best Animated Short winner If Anything Happens I Love You.

And, after more than a year of pandemic-induced lockdowns, streaming platforms aren't just creating Oscar-worthy content, but serving as hosts for heavily-feted films like Nomadland, Judas And The Black Messiah and Promising Young Woman. With cinemas closed during awards season (in the UK, at least) online platforms provided the only way for audiences to see these films.

The advent of streaming has fundamentally altered how we consume entertainment. But have streaming platforms made it easier for filmmakers to get their stories told, or has the drive for endless programming had a detrimental effect on both creativity and diversity? We spoke to key figures involved in the industry to find out.

The Writer

Jeffrey Reddick grew up in the Kentucky hills in a trailer with an outhouse. In his own words, he was "poor and had no connection with the movie industry." A chance screening of A Nightmare On Elm Street fired his imagination and helped him decide on the direction he wanted his life to take.

"I had an idea for an ... Elm Street prequel so I found out who ran New Line Cinema and sent in my script," he says. "They sent it back saying they didn't take unsolicited material. I wrote a letter back like 'Look sir, I've seen three of your movies, so I think you can take five minutes to read my story.'"

The Freddy sequel didn't get optioned but Reddick did get an internship at New Line. He stayed for there for eleven years before the studio made his first film, Final Destination in 2000.

With several projects currently in development at Netflix, Reddick is brilliantly placed to contrast the old studio model with how streaming platforms currently operate. He admits that while he worked at New Line, getting Final Destination made was still a "hard sell".

"Back in the day you could actually take a pitch in to a network or a studio," he says. "I think it's a lot harder now because things have migrated to streaming services. They're almost like mini studios."

Reddick - who is currently working on two animated shows for Netflix - explains that the bigger streaming studios will require a complete package including a pilot or complete script when it comes to pitching an idea.

For one of his two animated shows, he says "We had to put together a pretty massive package with an animation company on board, writers on board. A really fleshed-out pitch with artwork" whereas with Final Destination in the late nineties, New Line bought it off an eight-page treatment.

"For the first animated show I met with a production company that had already gone down the road a bit with Netflix on the project," he explains. "They brought some writers together and developed a full arc for the show, where it was going to go. It's based off a well-known IP which helps (it hasn't been announced yet but it's based off a New York Times bestselling book). But it still took six months (or longer) to get Netflix to sign off on it."

In other words, streaming platforms like Netflix and Amazon might commission a lot of content, but they're meticulous in what they pick up.

Another challenge in getting something commissioned, Reddick says, is that Netflix in particular is "very segmented" with different subdivisions focusing on different genres.

"And they don't cross streams," he says. "I knew when I worked at NLC, if a script came in that didn't work for the action team but could work for home video, they would send it to the TV department. There was a lot more cross-pollination. I know at some places like Netflix if it doesn't work for the one department you're going in to and you want to submit it to another department, you have to start from scratch. It's not like they're just going to hand it over to someone in another division for you."

Despite the challenges, Reddick believes platforms like Netflix are ultimately better homes for creatives, often backing projects that might not have been picked up by traditional networks, or might have been cancelled if they didn't manage to find an immediate audience.

"Another thing about streaming services is that once they get involved in a project, they'll commit to a full season of a show of maybe eight to ten episodes," he says. "With a film you'd only get them to commit to one, and in the old days with a network you might only get them to commit to a pilot. With a place like Netflix you'll get a straight-to-order season guaranteed and that was impossible before streaming services came along. You'd have to shoot a pilot, test the pilot, try to sell the pilot, then hope it became a hit. And sometimes if it wasn't a hit within two to three weeks they would just drop it. A streaming service like Netflix trusts its creative instincts enough to know that sometimes it takes an audience a bit to catch on and you have to rely on word of mouth in a way that you couldn't do in the gold old network days."

Naturally, with more opportunity comes more challenges. With everyone from Kate Winslet to Alexander Skarsgård staring in premium streaming shows, getting a project noticed among all the A-lister vehicles can be tough.

"I think now there are a lot more challenges, because streamers want to have stars attached," says Reddick. "Now you have to compete now with all the A-listers who are setting up projects. There's more competition, but also more services so ultimately I think there is a lot more opportunity for creative people."

The Documentarian

It isn't just horror films or animated series that audiences are hungry for. From Tiger King to The Battered Bastards of Baseball and endless true crime investigations, Netflix has become somewhat of an industry leader in offbeat documentaries. Naturally, then, our appetite for gripping real-life stories is at an all-time high.

Peter Meyer, a British filmmaker in his late 30s, recently produced his first documentary, The Boy From The Wild about his own experiences of growing up on a South African game reserve in the 1980s.

Meyer initially made the documentary with television in mind, taking into consideration its overall length and including obvious spaces for commercials. But, when he started speaking to distributors about getting the finished film to audiences, he was advised that online services might be a better platform for the project.

"The distributors were telling us that online is very much the way forward," says Meyer. "They weren't talking about theatrical releases unless it was for smaller festivals, and they weren't talking about TV unless it was National Geographic or BBC Wild. Most pushed it towards video on demand and online."

It was when the film was listed on IMDB that Meyer began to receive attention from streaming platforms. Amazon Prime was the first to come aboard, and now hosts the documentary in the UK and the US, while a forthcoming deal with Apple TV will offer worldwide distribution.

Not only did opting for streaming platforms potentially secure a larger audience, it made financial sense too; while a cinematic release might see the film sink without a trace, hosting it online gave audiences an indefinite amount of time to discover it.

"If you get a theatrical release you're talking about weekend box office," Meyer says. "As a documentary we're never going to do anything like that. With it being online you're talking to a wider audience. You get to have different market access. Particularly if you look at Covid, the last year cinemas have been closed, so [online] has been a great way forward."

In the traditional model, Meyer admits that a theatrical release may not even generate enough money to allow him to fund his next project. By opting for streaming, he hopes he has a chance at doing it all again. He currently has a deal with three different studios in which he receives an up-front 'buy-out' fee, plus royalties.

"We get a pay-per-view commission cut, which is almost like how actors get royalties from their shows," he says. "It does take longer, but if you're smaller online can make a massive difference from a financial impact. For smaller filmmakers that's very useful because you obviously need cash in hand to make your next film. If you don't have something upfront it can take a long time to see a return."

The benefit wasn't just choosing a streaming platform, but choosing the right platform. Had Meyer's film signed with Netflix it might have got lost in its content slate. By signing with the emerging Apple TV, Meyer believes his film has a better chance of being seen.

"Apple TV was a good thing for us because they're small but they're growing rapidly. At Amazon I'm not even plankton, but at Apple I'm more of a bigger fish, which means you might get better visibility, better viewing time and more financial results as well."

The Distributors

As Meyer explained, it is a distributor's job to work with producers to help a film find the best home possible, be that a streaming platform or a traditional theatrical release. Naturally, the aim is not only to connect with a wide audience, but to help the project develop as much revenue as possible in the process with DVD, streaming or video on demand.

Dana Webber is the CEO of Legacy Distribution, a worldwide distribution company. Having begun her career with Studios USA (now NBC Universal) and Warner Bros before setting up Legacy Distribution in 2009 she is well placed to explain how the business has evolved.

"When I started my career, I was 100% focused on US syndication, then, it evolved into cable. Today over 60% of our business is streaming," Webber explains. "Broadcast and cable are [still] vital to the industry but streaming has brought so many new opportunities for producers that they may not have had before."

Alan D'Escargnolle is the CEO of another distributor, Filmhub. With a background in start-ups, D'Escargnolle and was able to bring an innovative marriage of tech and business to the film industry.

He says that with platforms like Netflix and Amazon Studios now making their own content instead of simply hosting content made by others, the system is continually evolving.

"Until a few years ago distributors relied on selling 'upfront licenses' to streaming services," he says. "They might sell a title's upfront licence to Netflix for anywhere from $25,000 (£18,000) to millions of dollars, depending on elements such as cast. Now, with streamers such as Netflix, Hulu, etc., becoming their own studios and producing their own content, these up-front deals are very hard to come by."

Instead, D'Escargnolle says distribution companies must now focus on revenue share agreements which don't offer guaranteed upfront money, but do allow distributors to share in a film's success, if it becomes a hit.

D'Escargnolle also laments the fact that platforms like Netflix have disproportionately adjusted consumers' sense of monetary value. With many films now available for 'free' as part of subscription services, he believes audiences are less likely to pay to purchase or rent an individual film online.

"This has particularly hurt smaller, independent movies that do not have big-name actors or marketing budgets," he explains. "As a consumer, if you can watch a Brad Pitt film for 'free' on Netflix (as part of your subscription) or 'pay to rent' it on Apple TV/iTunes, which are you going to pick?"

"More often than not," he adds, "filmmakers are left to market their projects on minimal resources and goodwill in the independent film world."

For Meyer, who also raised the concern of online piracy detracting from the earnings of smaller projects like his own, this adds a further level of uncertainty.

The Actor

While streaming may have complicated things for filmmakers, some actors have found the advent of streaming platforms means more opportunity - especially when it comes to telling stories from under represented groups.

JD Hunt is an actor whose credits include the film Adulting and the upcoming TV series The Underground. As a black British actor from a working class background he believes streaming services have not only given more chances to actors from similar backgrounds, but has created a home for less mainstream projects.

"Streaming was something that really blew up after I had entered the industry but is now very much seen as something in the forefront of it, and a place where a lot more diverse and riskier content lives and flourishes," he says, pointing to the ways platforms like Netflix and HBO Max have encouraged long-form programmes.

"I can't imagine much of that content existing outside of those platforms without being heavily censored or diluted," Hunt says. "It gives actors the opportunity to be apart of much bolder content, and writers the opportunity to tell the story that speak to them and wider audiences."

The Script Doctor

Saurav Dutt is an Indian-born British author and screenwriter who has also occasionally worked as a script doctor. He agrees with Hunt that streaming platforms have changed what type of stories are told, with more focus being put on the writer, due in part to the larger budgets platforms like Netflix can offer - something he calls a "welcome power shift".

"The streaming format amplifies the importance of the writer as the backbone of a show," he says. "The episodic format means you're at the head of the table in terms of creative vision because you're given far more many tools to work with, such as having your writer's room better staffed."

Dutt believes the pandemic also shifted the power further towards writers; with everyone stuck at home streaming platforms raced for new, fresh content to keep their captive audiences entertained, and it was the writers who came up with these ideas.

"The uptick in demand means you are fighting against many writers, but it's easier in the sense that the industry cannot be cliquish and inward looking as it traditionally known to be," he explains. "Platforms will keep a bank of talent they can tap into, but if one platform rejects you, a writer can work on the script before pitching the show to another platform."

And with many streaming platforms providing a global reach, there is more chance than ever for a writer to cater their work to a specific audience, thereby increasing their chances of having a project picked up.

"Netflix India differentiates itself from the Bollywood product," Dutt explains. "India in particular likes multi-season ideas over miniseries, so you have to tailor your writing that way and be truly original."

The Commissioners

But what about the people who actually commission these stories? Detractors say that streaming studios like Netflix put too much emphasis on content over quality (how else to explain Adam Sandler's six picture deal there?). But how do the gatekeepers at large streaming services decide what gets made, or cancelled?

Representatives from Netflix, HBO Max and Amazon Prime all declined to speak to Esquire for this story so it's difficult to get an exact appreciation of what commissioners do look for, and whether this differs between the platforms.

But while Dutt and Hunt have praised streaming platforms for an emphasis on diverse story telling, not everyone believes this to be the case. Franklin Leonard is an American film executive known and founder of the Black List, a compilation of the best un-produced films in a given year. Argo, Spotlight and Slumdog Millionaire all began life on the list before going on to huge success.

Leonard has pointed out that while streaming platforms often start out as champions of under-represented voices, once they have an established audience they tend to adjust their programming to cater to a white, middle class audience. He cites the example that Netflix's first four major Oscar campaigns were for films created by filmmakers of colour while its 2019 campaign focused on Martin Scorsese' The Irishman, a more conservative - and white - prospect. Likewise, Netflix's 2021 Best Picture-nominated Mank - the David Fincher-directed epic about Old Hollywood staring Gary Oldman as the screenwriter behind Citizen Kane - very much fit this profile too.

Leonard believes these decisions aren't driven by morals, but by analysis of its user data, of which Netflix - which famously is said to cancel shows based on its internal algorithms - reportedly relies heavily on. This in turn raises the question of whether streaming platforms have an obligation to to pander to our cultural biases with cookie cutter content, or actively try to challenge them.

That said, in December 2020 Netflix did publicly pledge to diversify its content, announcing partnerships with Stormzy, strategist Akua Agyemfra, and writer Bisha K Ali in an attempt to amplify British voices of colour.

Meanwhile, streaming platforms are working to elevate women within their corporate structures. Netflix recently promoted Bela Bajaria, formerly head of local-language programming, to head of global TV, while Rebecca Campbell recently became head of global streaming at Disney and HBO Max appointed Christina Sulebakk in charge of Europe, the Middle East and Africa.

Of course, the simple (and long overdue) act of placing women in positions of power does not deserve a round of applause, especially so considering Amazon Studios is the only major platform to have a female CEO in the form of Jennifer Salke. But these recent promotions do - in theory at least - signify a desire for inclusion at the major streaming platforms, an inclusion that should be reflected in their programming.

The DIY Creator

Of course, not all filmmakers feel welcomed by the traditional studio model or streaming platforms. And while some creatives try to adapt their talents to fit the ever-changing new frontier of streaming platforms, some, like director and composer Nicole Russin-McFarland, have been thinking outside of the box for a while. Without traditional studio backing, Russin-McFarland branched out, posting her content to Amazon and YouTube as a way of maximising her audience.

"I consider myself a film director and film score composer as my primary descriptives," she says. "I still want to star as the lead in a science fiction movie and be up for acting roles in work made by other directors. Putting myself into acting roles in my own animated work helps me get there."

This year saw the release an animated feature film titled The Homework's Revenge: Esther in Wonderland. Not only did Russin-McFarland create the project, she also wrote the soundtrack using the music of Peer Gynt. It has currently had two million streams online.

"Animating my own work is me trying to defy stereotypes," she says. "The regular female director or female producer stereotype is always about women not wanting to learn skills like men do... not knowing how the lighting works, how animation is made, how CGI is made. The masks, the makeup, nothing. Self animating my no-budget film work proves I am serious about this occupation and ideally, worthy of financing."

This indie spirit celebrates Russin-McFarland's determination to succeed under her own terms. And while she believes that the internet has democratised whose stories get told, she argues that Hollywood largely only embraces stories from women, the LGBTQ community and people of colour if they fit rigid stereotypes.

"Realistically, I know that right now, medium and larger budget movies made by women have to meet certain criteria. Look at Little Women by Greta Gerwig, or the abortion road trip comedy Unpregnant. Do I fit into that at all? No way. I want to be Peter Jackson, swapping between animation and epic blockbusters."

Russin-McFarland's determination to do things her own way may be influenced by the fact that she has been discriminated against throughout her career in everything from her age to weight to not having children. She also cites countless and relentless instances of sexual harassment (including being offered prostitution jobs in the guise of 'modelling') something which the #MeToo movement highlighted is only too prevalent in the studio system.

"I was also often offered prostitution gigs as "modelling" by assorted people who said it was 'just you going to dinner' with people like UN diplomats," she says. "And when I said no, I was denied lots of auditions."

Streaming platforms, however, are providing Russin-McFarland with a way to tell the stories she wants to on her own terms.

"With streaming, if you are a woman who wants to direct a movie about glow in the dark female vampire pirates, you can make that movie as long as you fundraise for it. Women are so accustomed to harassment and doubt, they don't see themselves as businesswoman who happen to be filmmakers. They resign themselves to thinking it can't be done, but it can!"

The Cinema Owner

An unexpected bonus of Russin-McFarland's DIY-approach to filmmaking meant that while traditional studios and streaming platforms needed time to readjust to the new normal during the Covid pandemic, she was able to continue working as she had never been beholden to the corporate model in the first place.

Likewise, many cinema chains had to adapt to Covid-imposed restrictions. While most shut down entirely, some independent venues like the Riverside cinema in Woodbridge - one of the UK's oldest cinemas - looked for innovative solutions, in some instances creative their own streaming platforms.

"We are a single screen cinema and achieved just over 73,000 visitors in 2019 and over 17,000 visitors in the first two months of 2020 before lockdown," explains the cinema's project manager Neil McGlone.

"When the pandemic hit in Marc, film lovers turned to streaming platforms in large numbers as that was their only available outlet," he continues. "However a number of independent cinemas (us included) set up our own virtual cinemas on our website in collaboration with some independent film distributors to enable us to make films available to our own audiences whilst also receiving 50% of the rental fee to help support us."

McGlone does not see streaming platforms as a threat to cinema and says that in his six years at the Riverside streaming has had "little to no effect on our audience numbers" pointing out that global box office receipts in 2019 hit a record high, surpassing $42.5 billion at a time when streaming was very thriving too.

What's more, McGlone is confident about cinema's continued role in the entertainment landscape, pointing to recent underperforming, streaming-only Disney Plus releases such as Mulan and Raya And The Last Dragon as signs that people prefer to watch films in cinemas if possible.

"On the streaming vs. cinema point, it's always been the case that those who stream the most film content (legally!) are also the biggest cinema-goers," he says. "They make a judgement on what they choose to see in the home or on the big screen. And of course the fact that the overwhelming majority of key titles have been held back for initial release in the cinema rather than on streaming platforms is a major vote of confidence in the business from the major studios."

Whether cinemas will suffer or flourish as Covid restrictions ease up, and whether independent filmmakers will become swallowed up by the streaming studio system or find a place within it, remains to be seen.

Streaming in the time of pandemic taught us that there is a lot of great stuff to watch out there. It also taught us that it's really nice to go outside every once in a while, too.

What is vital is that we challenge our own viewing habits so that different stories find their way to new audiences. Streaming services are here to stay. By challenging their algorithms and supporting the work of innovative and interesting filmmakers to float to the top, your subscription fee might just be worth something far more valuable.

# data[].attributes.attachment_link.title
How Has the Unstoppable Rise of Streaming Platforms Impacted Film? We Asked the Experts

# data[].attributes.attachment_link.description
It used to be that catching your favourite programme meant cancelling your social plans and staying at home with the TV Guide to hand. Should it be a big news day, or should an important sporting event run over, your programme might get bumped from the schedule altogether and then who knew when you were going to find out what happened next on Buffy The Vampire Slayer?

# data[].attributes.headline
BBC News Report on the Banning of "The Kite Runner" in Afghanistan 

# data[].attributes.subject
BBC News Report on the Banning of "The Kite Runner" in Afghanistan 

# data[].attributes.body
The BBC reports that the film was banned in Afghanistan because of a homosexual 🤬 scene depicted in the film.

# data[].attributes.attachment_link.readable_text
Actor Ahmad Khan left Kabul in December.

The Kite Runner has been banned from cinemas and DVD shops in Afghanistan because it could incite violence.
Any shops found selling the film would be closed, the country's culture minister said.

The Kite Runner is based on the 2003 best-selling novel by Afghan-American writer Khaled Hosseini.

Its four child stars were flown out of Afghanistan last month amid worries for their safety over a homosexual rape scene in the film.

The Kite Runner explores Afghan society over three decades, from before the Soviet invasion through the rise of the Taliban.

In the story, the main character witnesses the rape of his ethnic Hazara friend by an ethnic Pashtun. The two groups fought bitterly during the country's 1990s civil war.

'Difficulties'

"It showed the ethnic groups of Afghanistan in a bad light," deputy culture minister Din Mohammad Rashed Mubarez said.

"We respect freedom of speech, we support freedom of speech, but unfortunately we have difficulties in Afghan society, and if this film is shown in the cinemas, it is humiliating for one of our ethnic groups."

Officials also fear that pirated DVDs of the film will reach Kabul and some residents could react violently to the controversial scenes.

Pirated DVDs are a booming business in Afghanistan, with new releases frequently available the same week movies are released in the United States.

# data[].attributes.attachment_link.title
BBC NEWS | Entertainment | Kite Runner banned in Afghanistan

# data[].attributes.attachment_link.description
Actor Ahmad Khan left Kabul in December. The Kite Runner has been banned from cinemas and DVD shops in Afghanistan because it could incite violence. Any shops found selling the film would be closed, the country's culture minister said. The Kite Runner is based on the 2003 best-selling novel by Afghan-American writer Khaled Hosseini.

# data[].attributes.headline
Human Centipede II allowed back on Screens in Australia after Distributors cut 30 seconds from it. 

# data[].attributes.subject
Human Centipede II allowed back on Screens in Australia after Distributors cut 30 seconds from it. 

# data[].attributes.body
Human Centipede II, the sequel to the cult hit Human Centipede I, debuted at the Brisbane International Film Festival in early November, and was touring capital cities around the country when it was abruptly pulled from cinemas on November 28 2011, after complaints from Christian lobby groups.

# data[].attributes.headline
List of Banned Films according to Wikipedia

# data[].attributes.subject
List of Banned Films according to Wikipedia

# data[].attributes.body
Read to find out the films that were banned during different periods by different countries, and their reasons for doing so.

# data[].attributes.attachment_link.readable_text
This is a list of banned films.

For nearly the entire history of film production, certain films have been banned by film censorship or review organizations for political or moral reasons or for controversial content, such as racism. Censorship standards vary widely by country, and can vary within an individual country over time due to political or moral change.

Many countries have government-appointed or private commissions to censor and rate productions for film and television exhibition. While it is common for films to be edited to fall into certain rating classifications, this list includes only films that have been explicitly prohibited from public screening.

Note that for some countries films are banned on a wide scale and are not listed in this table.

1996-2001; 2021-Present

All

During the five-year reign of the Islamic Emirate government in Afghanistan, Western technology and art was prohibited and this included all films. The ban was resumed in 2021 upon the return of the Islamic Emirate.

1967-1990

Banned during the Communist era for criticizing the communist leaders during World War II. After Bulgaria became a democratic nation again, in 1990, the ban was lifted.

1977

Ceddo

Banned for its presentation of the conflicts between Islamic and Christian religions and ethnic and traditional beliefs. According to another account reported in The New York Times in 1978, the banning was not "because of any religious sensitivity, but because Mr. Sembene insists on spelling 'ceddo' with two d's while the Senegalese Government insists it be spelled with one."

# data[].attributes.attachment_link.description
This is a list of banned films. For nearly the entire history of film production, certain films have been banned by film censorship or review organizations for political or moral reasons or for controversial content, such as racism. Censorship standards vary widely by country, and can vary within an individual country over time due to political or moral change.

# data[].attributes.headline
The Saudi Arabian government is actively wooing the movie industry

# data[].attributes.subject
The Saudi Arabian government is actively wooing the movie industry

# data[].attributes.headline
A 13 min Explanation of how Product Placements Work

# data[].attributes.subject
A 13 min Explanation of how Product Placements Work

# data[].attributes.attachment_link.title
Netflix Shows Are Full of Brands — But Is It Product Placement? | Movies Insider

# data[].attributes.body
Some governments might feel that films are more harmful than beneficial because films may create controversy on subjects of racism.
Some government might also feel films are more harmful than beneficial due to some inciting violence in the society

Mulan
The abundant controversies that had dogged “Mulan” over its gestation — false rumors that Disney was casting a white lead actress, calls for a boycott after its star expressed support for the Hong Kong police — had largely dissipated by Sept. 4, when the film arrived online
Shyam
Teng Guan

# data[].attributes.body
Parents of young children do not want their children to be influenced by violence and the usage of drugs as shown in blockbuster movies or be traumatised by gory and
inappropriate scenes

# data[].attributes.body
Some parents might feel that films are more harmful than beneficial because they feel that it is a waste of time and should used to do condusive work. Parents also find that movies are a bad habit as it influences us which can be bad as it can cause the use of violence to solve problems. For example John Wick is a movie that portrays a man using the form of killing to avenge for the death of his pet dog that was passed down by his deceased wife. This would cause people to learn from him causing there to have more violence in our society

# data[].attributes.body
Some parents will feel that fims are more harmful as they think it is distracting and uneducational, due to inappropriate scenes like bloods and knives.

# data[].attributes.body
Parents might think that films are both beneficial and harmful depending on what type of film you are watching.There are too many genres of films to watch thats its too simple to simplify it to a black and white issue.

For example some asian parents may think that watching chinese films may improve one's chinese.

On the other hand,films may be thought as harmful by parents when the films are too violent,sexual or gory.

# data[].attributes.body
Films can be beneficial to film distributors as a way to attract customers. When a popular film is released to a film distributors, it is a great chance and advantage over other film distributors to advertise for their own establishment, ultimately attracting more customers and generating more income.

# data[].attributes.body
Most consumers may argue that films are more beneficial than harmful as they themselves are the ones who choose to watch these films, be it for educational or entertainment purposes. Films like Avengers, for example are made mainly for entertainment of the general public, hence most consumers and viewers go in to watch these films with no intension of the film being more harmful than beneficial. Thus most consumers may feel that films are more beneficial than harmful as they have to first watch the films themselves to have their own judgement on weather they feel if it is more harmful or beneficial.

# data[].attributes.body
Films are more harmful than beneficial as it influences the viewers or society which causes damage to the society. This could lead to citizens of the country not abiding by the law. For example, protesting, rioting and e cigarettes.

Yumi,Tze Inn

# data[].attributes.body
Some parents feel that films are more harmful than beneficial since more horror films are getting released and are increasingly more grotesque. This would then give the children a bad impression of the world and of their childhood. At the same time, horror movies may cause anxiety issues for them. Hence films are often more harmful than beneficial in a parent’s point of view.

# data[].attributes.body
Some consumers may feel that films are more harmful than beneficial as they have threatened the racial stability for example consumers may think that after residents of the country watch the films, they will start having stereotypes and discriminate others due to how the films depicted the other community.

However, some consumers might also think it is Beneficial because through films they are able to see the other side that the govt is trying to “hide”. An example is Albania. From 1980-1990 the movie named Pas Vdekjes ( after death) is banned by the govt as the movie had communist ideas which Albania doesn’t support. Despite this movie being banned In cinemas citizens will still be able to watch it on illegal website and get the other side of the story.In addition, watching films helps us consumers to gain learning points through watching other’s experiences. It can also be a platform where people can relate to and feel for.

# data[].attributes.headline
Some government will ban Movies for censorship as the morals of the film may not coincide with that of their country and may be harmful as a result to the mental health  and wellbeing of the individuals.

# data[].attributes.subject
Some government will ban Movies for censorship as the morals of the film may not coincide with that of their country and may be harmful as a result to the mental health  and wellbeing of the individuals.

# data[].attributes.body
Some film distributors may argue that films are more beneficial than harmful as these distributors are profit driven. Even if some films may actually be harmful in the eyes of the public, they may still not care weather if it is harmful or not since these distributors or companies have all eyes on the profit, even if the film may be negative or receive backlash for example.

# data[].attributes.body
"Miyazaki does not underestimate the intelligence of children, or their powers of understanding. Characters in films like Castle in the Sky are not protected from the horrors of life – they experience loss and sadness as well as joy, despair as well as hope, in a way that is relatable for both children and adults.
Similarly, Miyazaki does not shy away from addressing adult themes like militarism and environmentalism. He believes that children should be exposed to such ideas and will understand them if they are presented correctly.
Miyazaki draws heavily on Japanese landscapes and culture, although the humanism of his films means they can be appreciated by international viewers."

https://www.scmp.com/lifestyle/entertainment/article/3104354/hayao-miyazaki-beginners-who-studio-ghibli-founder-and

# data[].attributes.attachment_link.title
My Neighbor Totoro - Celebrate Studio Ghibli - Official Trailer

# data[].attributes.headline
Realist films sometimes can shine a light on the marginalised segments of society. 

# data[].attributes.subject
Realist films sometimes can shine a light on the marginalised segments of society. 

# data[].attributes.attachment_link.readable_text
"You don't work for us. You work with us."

That's the pitch Ricky Turner (Kris Hitchen) swallows at the beginning of Sorry We Missed You, a lacerating social drama that proceeds to demolish the current corporate line on "gig work." It's not an equal partnership, explains the longtime team of director Ken Loach and writer Paul Laverty, but something a lot more feudal.

Sorry We Missed You might be described as Loach and Laverty's return to Newcastle, the site of their previous I, Daniel Blake. Except that they never really left. The new movie was inspired by the earlier one's scenes at a real food bank, where the filmmakers were surprised to learn how many of the clients were not unemployed. They were members of the working poor.

That category includes quick-tempered Ricky and his compassionate spouse, Abby (Debbie Honeywood), a home-care nurse. Still recovering from the 2008 financial crash in which they lost their house, the Turners are raising gentle 11-year-old Lisa Jane (Katie Proctor) and sullen 15-year-old Seb (Rhys Stone). They're all close, so everyone suffers when Dad does.

Ricky's new job - or, officially, collaboration - is with the fictional PDF, a company that delivers small parcels. The first choice Ricky must make is between buying a van or leasing one from PDF at a rate that would likely eat all his profit. He buys, but can afford to do so only by getting Abby to sell her car. That forces her to visit clients via an unreliable bus system, meaning that both she and her husband will spend less time at home with the kids.

That's the first miscalculation, but there are many more. Ricky does reasonably well initially, even if he is essentially enslaved by the "gun," a handheld computer that monitors his deliveries. Then Ricky's luck turns, and he discovers that his wages - or, officially, fees - can be wiped out by penalties.

The script has many brutal incidents, probably drawn from Laverty's interviews with delivery drivers, but what's most devastating is how the company punishes innocent behavior. Ricky takes Lisa Jane to work with him one weekend, and they have a good time. Then his supervisor, a self-proclaimed "nasty bastard" (Ross Brewster), informs Ricky that the outing was against the rules. It seems that the "self-employed" driver works for PDF, not with it.

Loach's detractors call the 83-year-old director's films didactic, and sometimes they are. But, aside from a few of Abby's remarks, Sorry We Missed You goes easy on political speeches. (No one even utters the word "Amazon.") Still, the script's pileup of workplace misfortunes seems excessive. The story would be more persuasive if, rather than dump all the calamities on Ricky, it spread them among the coworkers we barely get to know.

In this scenario, however, the ensemble that matters is the family. The parents and children's personalities are sharply drawn, and the roles are convincingly played by a cast that includes several nonprofessionals. (This is the first movie for all the principals except Hitchen, a former plumber.) Loach shot the film in chronological order, as he usually does, so that emotions and relationships develop naturally.

Ricky would have to be a saint to abide all the indignities of his non-job job, which doesn't even allow him bathroom breaks. To their credit, Loach and Laverty never present him as anything so simple or virtuous. Sorry We Missed You has some thoughts about political economy, but it's primarily about human nature.

# data[].attributes.attachment_link.title
'Sorry We Missed You': Ken Loach's Characters Gag On The Gig Economy

# data[].attributes.attachment_link.description
"You don't work for us. You work with us." That's the pitch Ricky Turner (Kris Hitchen) swallows at the beginning of Sorry We Missed You, a lacerating social drama that proceeds to demolish the current corporate line on "gig work."

# data[].attributes.body
https://www.vanityfair.com/hollywood/2017/04/religious-movies-controversyamp

Makina movie about a religion can lead to a lot of controversy because some may think that it is disrespectful to talk about their religion in movies. Some of the movies were mocking the religion. One example is the Life of Brian where they made jokes abt Jesus

# data[].attributes.attachment_link.readable_text
Making a movie about religion is a surefire way to court controversy. It's a sensitive subject, one that must be handled delicately, lest a filmmaker incite the fury of millions of believers all over the world. Some are able to handle it with ease, while others handle it with the grace of, say, Sean Spicer invoking Hitler during Passover. Here's a look back at some of the films that quickly managed to stoke religious ire, from comedies like Monty Python's Life of Brian to the Hindu drama Water.

# data[].attributes.attachment_link.title
11 Films That Caused Major Religious Controversy

# data[].attributes.attachment_link.description
Making a movie about religion is a surefire way to court controversy. It's a sensitive subject, one that must be handled delicately, lest a filmmaker incite the fury of millions of believers all over the world. Some are able to handle it with ease, while others handle it with the grace of, say, Sean Spicer invoking Hitler during Passover.