Changing movie ! Film Commissions as drivers for creative film industries: the Apulia Case (original) (raw)
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This themed issue of the journal includes the results of some of the research that was conducted in the course of a large AHRC-sponsored research project on 'Producers and Production Practices in the History of Italian Cinema, 1949-1975'. 1 Though research into it has hardly been exhaustive, the Italian film industry has often aroused interest because of its capacity to reconcile a number of opposites: prestigious art films and routine genre productions, national specificity and international plots and settings, fragmented production system and bigbudget operations, a limited domestic market and worldwide distribution, heavy state intervention and private ownership. These tensions have meant that the industry has rarely been stable. It has been beset by repeated crisis deriving from many different sources, though the most frequent were problems in winning and maintaining a share of the internal market, especially in the face of American competition, and changes or interruptions in the system of state support and regulation. The film industry in the postwar period was never dominated by large studios, although some companies, notably Lux and Titanus, both with long histories of involvement in the distribution sector, engaged in continuous film production at several levels of the market. During the heyday of Italian cinema, in the 1950s and 1960s, several medium-sized companies also played a significant role, with Franco Cristaldi's Vides company producing many art films and systematically pursuing a policy of co-production. By contrast, a plethora of small production companies, such as Italo Zingarelli's West Film, were specialised in genre productions, relying on advances on distribution and state support in order to quickly satisfy the needs of regional and national markets.
Il Capitale Culturale: Studies on the Value of Cultural Heritage, 2016
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Theatre Provision and Decentralization in a Region of Southern Italy
"New Theatre Quarterly", Volume 29, Issue 01, February 2013, pp 61-75. DOI: http://dx.doi.org/10.1017/S0266464X13000067; ISSN: 0266-464X; EISSN: 1474-0613, 2013
Since the mid-twentieth century, urban cultural policies have tended to broaden citizens’ access to cultural and arts facilities in most European cities. Italy saw its theatre infrastructure being enhanced by the teatri stabili which have emerged since the late 1940s, in developed urban contexts, and the decentralization of theatre activities during the 1970s, in the suburbs of cities as well as in small regional towns. This changed the distribution of theatregoing accessibility, but not sufficiently to make opportunities equal across the country's different geographical areas. In the present article Marco Serino discusses the decentralization of theatre in Italy, in particular as it has affected the southern Campania region, basing his argument on his own census of the venues in existence in southern Campania in 2008. Social, economic, and political issues are involved in the discussion since these always influence theatre policy and practice.
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What are the real and potential boundaries of cultural enterprise? How can we restore economic value and, at the same time, cultural value through the definition of a sector that seems to have no fixed borders? This paper intends to open up a reflection on the boundaries of the cultural industry, the nature of the chosen business and how the sector can become the hub in the dynamics of local development, innovation and competitiveness within the territory of reference. The concentric circles model will be the basis for a strategic mapping of the cultural and creative sector, realized starting from the funding calls for the sector in the Italian Veneto region. The Throsby’s model is derived from the principle that cultural content is free from incorporating creative ideas into the production of goods, and that such ideas arise from the primary arts (music, theatre, dance, visual arts and literature). These make up the heart of the cultural industries, while the surrounding circles represent the ideas and influences that these creative activities radiate. The results of the strategic mapping will be put into dialogue with a new idea of entrepreneurship, which in part excludes the Core creative arts, i.e. the primary arts. Keywords: Cultural and creative industries, , mapping, management of art, text mining, entrepreneurship, competitiveness.
Business Tourism Aspects of Film Tourism: The Case of Budapest
Although the research field of film tourism has become increasingly popular, the business tourism related aspects of film tourism have received less academic attention. The aim of the present paper is to investigate the tourism related aspects of film productions in a certain location. The focus is on the case of Budapest, a Central European city that has hosted numerous international film productions in the last two decades. The findings of the paper show that filmmakers and above-the-line-crew members are long-stay business travellers who constitute an important segment of the city's tourism and hospitality sector. The case of Budapest evidences that the institutional and policy support through tax credits and incentives aimed to enhance co-productions and to attract international productions offer benefits for the local film industry as well as for the tourism sector. Although the policy support is narrowly focusing on the immediate economic benefits of foreign film productions without constructing a long-term strategy to boost local film industry and to reinforce Hungary's visibility through the wide media exposure. Key words: tax credit, co-productions, tourism consumption, filmmakers. ABSTRACT L'area di ricerca sul cineturismo è diventata molto popolare tra gli studiosi di turismo, ma gli aspetti legati al turismo di affari del cinema e delle produzioni cinematografiche non sono stati analizzati dettagliatamente. L'articolo si focalizza su Budapest, la capitale ungherese che negli ultimi due decenni ha ospitato varie produzioni cinematografiche internazionali. I risultati della ricerca dimostrano che i produttori cinematografici insieme ai registri, ed attori di serie-A possono essere considerati come turisti di affari e la loro domanda costituisce un importante segmento del turismo. Lo studio del caso di Budapest dimostra che il supporto istituzionale e legislativo attraverso il tax credit e gli incentivi che mirano ad incoraggiare le co-produzioni e ad attrarre le produzioni internazionali in Ungheria, hanno beneficiato non solo all'industria cinematografica locale ma anche al settore del turismo e dell'ospitalità. Le agevolazioni fiscali consentono l'accesso a benefici immediati per le produzioni cinematografiche straniere, senza però il supporto di una politica lungimirante che favorisca anche le produzioni locali e che sia in grado di rafforzare l'immagine dell'Ungheria anche fuori dai confini nazionali. Il rischio, per il paese, è pertanto quello di perdere le opportunità offerte della visibilità anche cinematografica del paese sui media esteri.
The rise of film production locations and specialised film services in European semi-peripheries
Hungarian Geographical Bulletin
The research on a creative economy has been gaining momentum globally in the recent years, but the associated concepts such as the cultural economy, the creative class, creative cities and so on, have typically been urban or national in orientation. There is evidence showing that many important developments in creative industries take place now in almost all parts of the globe. One of the creative industries which may serve as a vivid example of the complex interplay between the global core and the local periphery is film industry. The paper aims to discuss rise of film production locations and specialised film services in European global semiperipheries. Globalisation of film industry involves the expansion of production away from the established and globally recognised centres, such as Hollywood or Western Europe. While some researchers refer to this development as a 'runaway production', this paper examines it through a broader look to core-periphery relations and points out their implications and consequences from the perspective of European countries (with a focus on post-socialist countries of East Central Europe).
Thesis: Voices from the Peripheries: A Study of the Regional Film and Television Business in Norway
This thesis is a study of how regional film and television companies in Norway manage to survive and achieve their goals in the context of a larger film and television business that is centralised, economically fragile, and subsidy dependent. Interest in production studies has boomed in recent years, but little of this research addresses regional film and television companies. This thesis employs a production studies approach and incorporates theory on place and work on the creative industries. It contributes to the limited amount of research that accounts for both structural framework—in particular, the impact of film policy and dependence on public funding on these companies—and agency in terms of the intrinsic value of regional film and television production in a local, national and global context. Using multiple perspectives, this thesis presents an in-depth exploration of the advantages and disadvantages of being a regional film and television company. The case study is its principal methodological approach, including interviews with film workers at four companies and employees at six regional film agencies, as well as policy documents, websites, newspapers and productions. The thesis focuses on four well-established regional film and television companies that have produced critically acclaimed films. All are located outside Oslo, the hub of film production in Norway. The four companies are Original Film in Tromsø, Northern Norway, Flimmer Film in Bergen, Western Norway, Mer Film in Tromsø/Bergen, Northern/Western Norway, and Filmbin in Lillehammer, central Eastern Norway. This thesis argues that one of the greatest challenges to these regional companies (and the government that supports them) is how to develop strong, sustainable regional film milieus among a scattered populace like Norway’s. The regions suffer from low production volume and brain drain and the research shows that these companies rely on human resources to deal with this challenge. Policy development indicates that the public funding of regional film is mostly based on regional and economic, but also cultural, arguments—regional film, that is, should contribute to regional development, economic growth and diversity. I argue that the economic and rural political rationale for support of this business tends to undermine the cultivation of the cultural value of regional film, as well as its quality and professionalism. However, the companies have managed to produce critically acclaimed films and the thesis reveals how the peripheral location can be a creative and economic advantage.