Estudio sistemático de la financiación, tanto en forma de ayuda pública como en otras modalidades de inversión privada, de la industria cinematográfica y audiovisual de Europa. Se revisa el contexto político e institucional, el estado, los presupuestos y misiones de las agencias de apoyo, la definición de criterios de igualdad y la cooperación cultural. Se analiza además, la intervención de los organismos, los parámetros macroeconómicos y el desarrollo jurídico reciente.
This publication contains a comparative analysis of direct public funding mechanisms for film and audiovisual works in 35 European countries. About 1.3 billion EUR is given in support for films across Europe, with some 170 support bodies and around 600 different other aid programmes in existence. These differences stem from the individual histories of the European states themselves, but also such diversity acts as a way of underpinning a countrys cultural heritage. This report also sets out the European context of the funding and how this area has developed since 1963 up to the present. The report looks at reform of Euroimages, and at new laws introduced in Germany and Italy, along with an analysis of the role of private investors.
L'Europe fait du cinéma, beaucoup et bien. Pourtant elle ne sait ni le vendre, ni le faire circuler, ni même le protéger. Ce livre veut répondre à ces questions, fournir des définitions, examiner son histoire, étudier des cas nationaux exemplaires, analyser les aides européennes, explorer le futur et offrir quelques tableaux révélateurs.
La mise en perspective historique que propose ce livre permet de cerner l'évolution des réflexions sur le soutien européen au cinéma depuis les années 1950. Le cinéma est un enjeu considérable autant culturel qu'industriel qui participe du processus d'intégration européenne. Aujourd'hui, les objectifs de ces soutiens européens ont-ils été atteints ? Permettent-ils la mise en place d'un espace cinématographique européen solidaire, homogène, concurrentiel tout en restant riche de sa diversité ? Et existe-t-il indépendamment des Etats-Unis ?
Le présent ouvrage s'attache à décrire et à expliquer le fonctionnement et les transformations de l'industrie cinématographique en Europe. Comprendre le fonctionnement du cinéma en Europe, c'est d'abord saisir les rouages d'un système complexe à travers une analyse en terme de filière. C'est ensuite, au vu des difficultés rencontrées par la production, la distribution et l'exploitation de longs métrages, mieux percevoir les motivations d'un financement public massif et souvent critiqué. C'est enfin répertorier et analyser les nouveaux financements.
In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.
Vivre Ici analyzes a diverse selection of contemporary French documentaries about spaces and places in France. Integrating film theory, eco-criticism and cultural history, Levine investigates documentary cinema as experience. The book reveals a collage-like, fragmented vision of France as seen through documentary cameras and explores the social and political consequences of these “films that matter.”
