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Film Policy is the first comprehensive overview of the workings of the international film industry. The authors examine film cultures and film policy across the world, explaining why Hollywood cinema dominates the global film market, and the effects of the rise of television and video on the international industry. In a series of case studies drawn from North America, Europe, Latin America, Asia and Australia, the authors explore the relationship between Hollywood cinema product and national film cultures, and trace the development of international and national film policies, looking at issues of financing, regulation, protectionism and censorship.
Reconceptualising Film Policies by Nolwenn Mingant,Cecilia Tirtaine Pdf
This volume explores and interrogates the shifts and changes in both government and industry-based screen policies over the past 30 years. It covers a diverse range of film industries from different parts of the world, along with the interrelationship between different localities, policy regimes and technologies/media. Featuring in-depth case studies and interviews with practitioners and policy-makers, this book provides a timely overview of government and industry’s responses to the changing landscape of the production, distribution, and consumption of screen media.
Film Policy in a Globalised Cultural Economy by John Hill,Nobuko Kawashima Pdf
The past two decades have witnessed major changes in film industries worldwide in response to both economic globalisation and technological developments. The dominant position of Hollywood movies in the global film market has remained largely uncontested, but Hollywood itself has become increasingly international in its operations whilst ‘regional’ screen industries such as those in East Asia and in the Indian subcontinent have (re-)emerged and developed new forms of collaboration. The advent of digital technologies has also transformed the content of films and the ways in which they are made and consumed. Such changes, in turn, have posed new economic and cultural challenges for policy-makers around the world and led to a degree of rethinking of how film policy objectives are to be conceived, defined and implemented. This collection brings together a range of international scholars from the USA, Europe and Asia to consider how film policy has responded to the various economic, technological and political shifts shaping the global film industry; and to identify the many tensions between global and local, economic and cultural, and public and private policy objectives that have been the result of these changes. This book was originally published as a special issue of the International Journal of Cultural Policy.
Spanish Film Policies and Gender by Jara Fernández Meneses Pdf
This book provides a comprehensive cultural and historical account of the key film policies put into place by the Spanish state between 1980 and 2010 through a gendered lens, framing these policies within the wider context of European film legislation. Departing from the belief that there is no such thing as an objective and value-neutral approach to policy analysis because our society is organised around gender, this volume builds upon Pierre Bourdieu’s theory of field to propose that film policies do not emerge in a vacuum because they respond to different demands from those agents involved in the field of the Spanish cinema. By so doing, it critically assesses how these policies have come into being, by whom, in response to what interests, how they have shaped the Spanish film industry, and how far and in what ways they have tackled gender inequality in the Spanish film industry. This book will be of great interest to scholars and students of Spanish cinema, gender studies, film industry studies, film policy, and feminist film studies.
The State and New Cinema in Contemporary India by Sudha Tiwari Pdf
This book examines the relationship between the newly independent Indian state and its New Cinema movement. It looks at state formative practices articulating themselves as cultural policy. It presents an institutional history of the Film Finance Corporation (FFC), later the National Film Development Corporation (NFDC), and their patronage of the New Cinema in India, from the 1960s to the 1990s, bringing into focus an extraordinary but neglected cultural moment in Indian film history and in the history of contemporary India. The chapters not only document the artistic pursuit of cinema, but also the emergence of a larger field where the market, political inclinations of the Indian state, and the more complex determinants of culture intersect — how the New Cinema movement faced external challenges from the industrial lobby and politicians, as well as experienced deep rifts from within. It also shows how the Emergency, the Janata Party regime, economic liberalization, and the opening of airwaves all left their impact on the New Cinema. The volume will be of great interest to scholars and researchers of film studies, politics and public policy, especially cultural policy, media and culture studies, and South Asian studies.
Rise and Fall of the UK Film Council by Gillian Doyle Pdf
Drawing on interviews with leading film executives, politicians and industry stakeholders, including Alan Parker, Stewart Till and Tim Bevan, this book provides an empirically grounded analysis of the rise and unexpected fall of the UK Film Council, the key strategic body responsible for supporting film in the UK for over a decade. As well as offering a critical overview of the political, policy and technological contexts which framed the organisation's creation, existence and eventual demise, the book provides a probing analysis of the tensions between national and global interests in an increasingly transnational film industry, not least underlining how both US and EU interests and pressures have played themselves out. It therefore provides a timely and significant investigation into the contemporary policy environment for film in the 21st century.
Managing in the Media by William Houseley,Tom Nicholls,Ron Southwell Pdf
Managing in the Media has been devised for a broad audience. It is based upon the perceived need for a text that amalgamates cultural theories, film and television analysis, management theories and media production practice into one volume. There are many books on film and cultural studies. Similarly, there are copious numbers of texts written on management. To date little has been written that analyses the management of the audiovisual industry set against the backdrop of the cultural and economic environment within which the media manager operates. Managing in the Media is divided into three sections that take the reader from the global to the specific, from the strategic to the tactical. Each chapter discusses specific topics that can be read in isolation yet contribute to the theme within each part. Taken as a whole, the book provides the potential professional media manager and current practising media manager with a framework of issues that will give them an awareness of the range of knowledge needed by the successful media manager. This book does not try to be a manual to success. The media industry is awash with successful individuals none of whom needed textbooks to set them on their chosen career paths. Yet these exceptional people prove the rule; that in the main, most media practitioners would benefit from some additional support and guidance. The aim of this book is to present to them some of the management issues that have, or will have, an impact upon their working careers. The accompanying website www.mediaops.net (which can also be accessed via www.focalpress.com) features: - Tutor notes and reader activities - Updated list of further reading - Additional support material such as production templates - Interviews with the authors - A discussion forum - Industry and education links - Media News
This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.
Author : Michael Dorland Publisher : University of Toronto Press Page : 218 pages File Size : 53,9 Mb Release : 1998-01-01 Category : Performing Arts ISBN : 080208043X
Examines the formation of feature film policy in the Canadian context of the 1950s through to the present, paying special attention to the role played by producers, filmmakers and government agencies.
This wide-ranging book explores the impact of marketization on the creative industries. With critical perspectives from a variety of disciplines and global experts, numerous examples from international cultural institutions are employed to illuminate the topic. Culture and business have become increasingly intertwined, and cultural institutions need to be aware of their place in the market. Commercial awareness, which was previously disparaged, is now seen as a legitimate and necessary response to increased competition, enhancing experience, increasing accessibility, broadening inclusivity and sustainable futures with diminishing funding. The contributions to this book highlight that marketing, public relations, sponsorship and fundraising have become integral to the survival of many museums, galleries and events. Of interest to students and scholars across topics such as arts marketing, arts administration, heritage marketing and museum studies, the book is also insightful for reflective practitioners in the creative sector.
Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of "government realism" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production.
Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of "government realism" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production.
European Film and Television Co-production by Julia Hammett-Jamart,Petar Mitric,Eva Novrup Redvall Pdf
This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions—Eurimages, the European Audiovisual Observatory and the European Commission—and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.