Film funding schemes

This study aims to determine of the commercialization of R&D in Indonesia starting from the research planning to the commercialization process including the domination obstacles of R&D commercialization as well as searching for policy to overcome these problems.

The article examines the extent to which Greek cinema has engaged with European co-productions and identi es the ways in which these have changed its production culture, as well as, indirectly, its form, content and mode of address. While mainly focusing on the 2010s, it also offers a historical account of co-production practices in Greece, especially since the establishment of Eurimages in 1989. It argues that the intensification of co-production activity that has become more evident in the last few years has been the result of a number of factors, including the continuing impact of European institutional frameworks, the reduction of national funds towards cinema, the emergence of a number of new producers trained in building co-productions and the critical success of a number of Greek  films in prestigious festivals. The analysis draws on  lm studies, media industry and  lm policy studies as it aims to reveal the ways in which both Europe-wide and localised social,  financial and professional conditions have affected the production culture in Greece, especially with regard to art/quality cinema, leading to the increased ‘Europeanisation’ of Greek cinema.

Through a focus on La niña santa/The Holy Girl by Lucrecia and XXY by Lucía Puenzo , this article aims to examine the relationship between texts, sex and money. It considers theoretical approaches to European funding programmes and world cinema, and argues that a number of European production companies have created spaces for queer cinema which has proven beneficial to a range of Latin American films and has coincided with a boom in films directed by women. The article focuses on two new powerful protagonists, Amalia, Martel"s holy girl and Puenzo"s Alex, an intersex teenager, who both bring new gazes and new forms of representation to global screens. My concern in the study are the ways in which certain film languages can be used to address an implied international art cinema spectator to make queerness part of our filmic conversation with texts, and the ways in which these languages engage with new modernities emerging through the reconfigurations of new queer families.

In the Turkish film industry, the term independent is mostly used for certain kinds of film to differentiate between mainstream films. Even though the terms independent and mainstream are used to refer to films’ positions within the field according to their political, hegemonic, artistic and material conditions, this thesis seeks to identify the economic background of the distinction of these two terms. Misframed public funding mechanisms and a strengthening market oligopoly in distribution and exhibition markets show that independence needs rethinking in economic terms. The Turkish film market shows that there are two factors that need to be included in the debate on independent film due to the fact that 1) public funding mechanisms and legal regulations have a definitive effect on the way the sector works on a day to day basis; 2) the present market oligopoly in distribution and exhibition market underlines the importance of distribution and exhibition of a film’s lifecycle as much as production. Even though the term independent film has been in circulation for a long while, the economic conditions of these films are missing in the general debate.

Latin American Cinema, Beyond the Festival Film: Funding, Aesthetics and Debates

Deborah Shaw
Forthcoming 2019 Latin American Cinema: Film Funding, Film Festivals, Debates and Aesthetics (in Spanish ) ,  Peter Lang, Matthias Hausmann  and Jörg  Türschmann (Eds.)
English language version

Abstract 
This chapter will consider the new funding landscapes for Latin American filmmakers with a focus on European funding bodies and will ask whether these have created new forms of dependence or new partnerships. European social funding bodies aligned with film festivals, have been instrumental through their support in developing the careers of some of the most high profile auteurist contemporary Latin American filmmakers.  Latin American directors have been favoured by the Dutch Hubert Bals Fund, the German World Cinema Fund, and Cinéfondation a programme linked to the Cannes film festival.

Resumen: En los últimos años del siglo xx un innegable optimismo se manifestaba, en la crítica de cine y en la academia, en torno a las oportunidades de difusión que los nuevos medios digitales supuestamente iban a brindar al cine de autor independiente. El paso del tiempo invita a matizar esta euforia, ya que en la actualidad se sigue observando que, en los fondos institucionales de producción que lo fomentan, el criterio principal continúa siendo el potencial de los proyectos con vistas a su explotación comercial en salas y su exhibición en festivales. Así lo muestran los criterios aplicados por ejemplo por el Fonds Sud Cinéma, que ayudó a la cineasta Paula Markovitch con su ópera prima que le valió numerosos premios. La aventura de la segunda película de Markovitch, que no se ajusta de la misma manera a los requisitos del cine de autor mainstream contemporáneo, es muy distinta, ya que la obra se financió a duras penas y no se ha beneficiado del mismo respaldo en festivales, lo que innegablemente contribuye en el reparo de los distribuidores en comercializarla. Los circuitos tradicionales de legitimación

The main purpose of the present study is to investigate the ways students' instrumentation of Computer Algebra System (CAS) can help promote their algebraic reasoning while solving polynomial inequalities. In addition, the relation between students' CAS techniques and paper-and-pencil (P&P) techniques are explored, together with the difficulties that students may face as they apply these techniques. Research participants are 33 tenth graders at a private mixed gender school in Mount-Lebanon, distributed among nine homogenous groups, five of which are selected as focus groups. The study is qualitative in nature. Data is collected from pretests, students' written solutions of four instructional activities, laptop screen recordings, video recordings of whole-class discussions, and audio recorded interviews with students in the focus groups. The findings of the study show that students' lack of prerequisite knowledge of the topic of functions and their low level of famil...

Over  the  past  ten  years  an  increasing  amount  of  films  from  the  Middle  East  have  entered  the  international  film  festival  circuit.  Some  major  works  like  Paradise Now (Al-Jana  Alan,  Hany  Abu  Assad,  NL/D/F/IL  2005),  Caramel  (Sukr  Banat,  Nadine Labaki, F/LB 2007), or Waltz  With  Bashir  (Waltz  Im  Bashir, Ari Folman, IL/D/F/USA/B/CH/AUS  2008)  also  get  theatrical  releases  in  Europe  and  the  USA. There they are often read as documents and authentic insights into a foreign culture.

At the same time German funds boasted about the Oscar nominations for Paradise Now and Waltz  with  Bashir.  Michael  Schmid-Ospach,  then  head  of  influential  Filmstiftung  NRW  was  quoted  in  a  fund’s  press  release  of  February  2nd 2006:  ‘I keep  my  fingers  crossed  that  Paradise  Now  will  also  take  the  Oscar  to  North-Rhine-Westphalia’,  and  the  daily  newspaper  Hamburger  Abendblatt  stated  on  March  16th  2009  that  Waltz  With  Bashir  was  ‘besides  Uli  Edel’s  The  Baader  Meinhof Complex and Werner Herzog’s documentary Encounters at the End of the World yet another German iron in the award-fire’.

Due to very high production costs of cinema movies, and a lack of funding in the region  of  origin,  most  of  the  financing  for  films  from  the  Middle  East  is  provided  by European public funds. As ownership of a film is bound to financing, Paradise Now and Waltz With Bashir are indeed German movies.

In this article I aim to look at the effects of co-production between Europe and the Middle East on the processes of production and the reception of the films. A short overview  of  public film  policy  in Arab Middle Eastern countries and Israel, as well as  an  example  of  European  public  media  interventions  in  the  Middle  East,  introduce  key  aspects  of  production  and  ideas  behind  European  approaches  to  film-making in the region.

Latin American Cinema, Beyond the Festival Film: Funding, Aesthetics and Debates

Deborah Shaw
Forthcoming 2019 Latin American Cinema: Film Funding, Film Festivals, Debates and Aesthetics (in Spanish ) Estudios hispánicos en el contexto global“ Peter Lang, Matthias Hausmann  and Jörg  Türschmann (Eds.)
English language version

Abstract 
This chapter will consider the new funding landscapes for Latin American filmmakers with a focus on European funding bodies and will ask whether these have created new forms of dependence or new partnerships. European social funding bodies aligned with film festivals, have been instrumental through their support in developing the careers of some of the most high profile auteurist contemporary Latin American filmmakers.  Latin American directors have been favoured by the Dutch Hubert Bals Fund, the German World Cinema Fund, and Cinéfondation a programme linked to the Cannes film festival.
This chapter will outline key debates relating to the political and social implications of this new funding landscape. It will examine the arguments of those who are critical and those who are supportive of these developments and drawing on examples of films from the above-mentioned directors will ask whether relationships between funding bodies and filmmakers create new forms of dependence or new partnerships. In addition, the chapter identifies categories of films that are funded (slow or poetic cinema, popular art cinema and social realist/ cinema), and examines the cinematic languages of these categories.

En Archivos de la Filmoteca, nº76, 2019, pp. 145-166. Acceso en línea: http://archivosdelafilmoteca.com/index.php/archivos/article/view/655

El Pampero Cine: producir al margen y otros modos de subversión / El Pampero Cine: Non-industrial Production and Other Subversion Ways

This chapter will consider the new funding landscapes for Latin American filmmakers with a focus on European funding bodies and will ask whether these have created new forms of dependence or new partnerships. European social funding bodies aligned with film festivals, have been instrumental through their support in developing the careers of some of the most high profile auteurist contemporary Latin American filmmakers. Latin American directors have been favoured by the Dutch Hubert Bals Fund, the German World Cinema Fund, and Cinéfondation a programme linked to the Cannes film festival. This chapter will outline key debates relating to the political and social implications of this new funding landscape. It will examine the arguments of those who are critical and those who are supportive of these developments and drawing on examples of films from the above-mentioned directors will ask whether relationships between funding bodies and filmmakers create new forms of dependence or new partnerships. In addition, the chapter identifies categories of films that are funded (slow or poetic cinema, popular art cinema and social realist/ cinema), and examines the cinematic languages of these categories. _____________________________________________________________________ Any attentive Latin America film aficionada/o watching the latest breakthrough 'festival film' in his/her local art cinema, whether that be in Buenos Aires, New York, Sydney, Paris or Portsmouth, will spot a recurrent pattern when reading the opening credits. They will see that the celebrated Argentine, Mexican, Brazilian, Chilean, Colombian, or Peruvian film that has done the near impossible by securing a cinema release in selected theatres in the nearest urban center, features an array of transnational public and private production funds. These co-produced films are likely to have received support from a range of funding bodies in Germany, the Netherlands, France, Spain, and perhaps Norway, or a combination of these, with some state funds from the filmmaker's own country. 1 Nonetheless, many in the audience will remain happily untouched by this production landscape and will be satisfied with having seen an interesting Latin American film convinced by its specific national 'authenticity'. Likewise, many students dutifully watching films on their world cinema or Latin American cinema modules may take the key texts selected by their tutors as national cultural artifacts, without engaging with the transnational production and distribution mechanisms (depending, of course, on how this is framed in the module). And, why would this be any different? The opening and closing credits are not the most interesting part of a film; in fact, most people start to pay attention once they finish, and leave when they signal that the main narrative has just ended. Nonetheless, there is another largely untold story hiding in the credits, and the inextricable relationship between film text and production context does, in fact, raise many interesting questions, some of which this chapter seeks to explore.

"Nuevo cine colombiano: lo(s) nuevo(s), lo auténtico y el factor Proimágenes // Nouveau Cinéma Colombien : le(s) nouveau(x), l’authentique et le facteur Proimágenes"; en Cinémas d'Amérique Latine, nº25 - cinéma colombien CALIWOOD,  pp. 119-134.

https://journals.openedition.org/cinelatino/4696?lang=es

This volume explores and interrogates the shifts in film policies over the past thirty years. It assesses the logic that has traditionally guided policy-makers, while bringing to light the agency of film professionals. It covers film industries from all over the world, foregrounding issues relating to geographical and economic integration, political regimes and new technologies. Featuring chapters by leading and rising academics, in-depth case studies and interviews with practitioners and policy-makers, this book provides a timely overview of governments’ and
industries’ responses to the changing landscape of the production, distribution and consumption of films.

Nel corso degli ultimi anni le Regioni italiane sono divenute degli importanti attori nell’ambito della produzione audiovisiva per risorse e servizi erogati. Tale operosità è oggi accompagnata da un’azione altrettanto vigorosa (ma meno evidente agli occhi dei più) sul piano normativo, volta ad ampliare i poteri e la legittimità del loro intervento. Questa azione si declina a livello regionale (dove sono state emanate numerose leggi-quadro in materia di spettacolo), nazionale (con una lenta ma progressiva rinegoziazione dei poteri tra Stato e Regioni) e comunitario (nel novembre 2013 la Commissione Europea ha rivisto le norme sugli aiuti di Stato in materia di audiovisivo legittimando, non senza sorprese, l’azione delle amministrazioni pubbliche locali, sebbene questa sia potenzialmente distorsiva nei confronti dei principi che regolano il mercato unico europeo). Mai i successi conseguiti e le battaglie in corso (ad esempio la richiesta di un riconoscimento nazionale delle film commission) sono numerose.
L’articolo si propone di indagare il crescente ruolo riconosciuto alle Regioni a livello normativo, i principi (sussidiarietà?), gli obiettivi (economici? culturali?) e le criticità che accompagnano questo passaggio storico (disarmonia di norme, disorientamento per i produttori stranieri, possibili sprechi di denaro, ecc.), e i nuovi scenari che ne potrebbero scaturire: che ruolo avrà lo Stato all’interno di un sistema-cinema sempre più federale? Come potranno gli organi comunitari bilanciare i propri sforzi per slegare le attività produttive dai singoli confini nazionali con i tentativi delle Regioni di ancorare il processo produttivo ai propri territori

En el contexto de programas de financiación destinados a determinados cines periféricos y/o minoritarios creados por los festivales de cine y fundaciones asociadas a ellos, este artículo se centra en el programa "Cine en Construcción": una iniciativa conjunta del Festival Internacional de Cine de San Sebastián y los Rencontres Cinémas d'Amérique Latine de Toulouse creada en 2002 y destinada a la finalización de proyectos latinoamericanos. El artículo se interesa por cómo este tipo de operaciones pueden beneficiar a los festivales de cinc impulsores en relación a su visibilidad en el circuito internacional. Al igual que los festivales se articulan en forma de red y tienen un calendario propio a lo largo del año, parece ser que estos fondos de ayuda se están estructurando de la misma forma. De igual manera, la itinerancia posterior en el circuito de festivales, salas comerciales o pantallas alternativas de las películas auspiciadas por estas iniciativas contribuiría a la visibilidad de los festivales impulsores, así como a una definición quizá más precisa del tipo de cine en el que está interesado el evento: ya que en casos como "Cine en Construcción" no solo se financian determinadas películas sino también la mayoría de las veces los festivales de San Sebastián y Toulouse las programan una vez finalizadas (ya sea en las secciones oficiales competitivas o en programas paralelos).

After 1989, the Czech film industry underwent a transformation from an integrated state-funded monopoly to numerous largely privatized and disintegrated film institutions and activities that had to struggle for their existence in the new capitalist economy. The change was accompanied by debates regarding the state funding of cinema, which developed from early naïve neoliberal discourse through struggles for the internal stability of public financing of film to eventual endorsement of national mercantilist discourse that supports Czech national cinema's competitiveness on international markets. The analysis presented in the article and focused on recent discourse of Czech Film Fund revealed that current Czech film policy is largely in line with film policies of Western European countries. Yet, in contrast to non-post-socialist countries, it is conspicuously devoid of centre-left agenda in terms of equality and diversity on the labour market in the film industry. It also puts little emphasis on the reinforcement of social cohesion through cinema. As contemporary Czech society is becoming increasingly politically polarized, the accentuation of these issues could be beneficial for the state and its inhabitants for years to come.

European horror films have often been characterised by a tendency towards co-production arrangements. Recent developments within regional European funding bodies and initiatives have led to a proliferation of films that combine traditional co-production agreements with the use of both regional and intra-regional funding sources. This article examines the extent to which the financial structuring of Creep (Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon their final form. Sometimes, such European horror films are part of complex co-production deals with multiple partners or are derived from one-off funding project. But they can also utilise funding schemes that are distinctly 'local'. Since the turn of the millennium a number of regional regeneration-orientated schemes have helped fund contemporary European horror films. Usually providing funding for part or all of a film's production taking place within a specific geographical region, such funds are driven by a number of factors. Broadly, they can be seen as attempting to have industrial, technical and economic benefits for the region within which they exist. The funding origin of regional initiatives varies, but in general terms they are capitalised via a combination of public and private investment funds, the latter meaning that the potential profitability of any given project is often a key consideration during the application process. This fact has tended to mean that, while regional schemes do not exclusively favour the production of horror cinema, their portfolio of projects tends to have a strong genre-cinema bias. Horror films in this sense have a particular appeal, as they are 'often cheap to make, they are not usually star-driven, don't need a lot of expensive special effects and can be made in a tight locale'. 1 Horror, then, has a financial appeal to investors. But, as Jonathan Rayner notes, it also can explore topics that resonate nationally and as such is a 'commercial genre imbued with a specific

Climate change is a concern for many nations, industries, and citizens. However, for some it will also be a moment of opportunity. As witnessed in relation to the pandemic, dynamics of power have a particular purchase at moments of crisis. This article proposes a greater concern with questions of policy and power in relation to green strategies within the screen sector and highlights the role that media scholars might play in developing this critical lens. There has been a recent rise in efforts to mitigate particular environmental harms and the article outlines some of the initiatives that are emerging from both commercial and public bodies. At this moment, there are no shared systems for auditing and reporting, and few formal policies are widely recognised or adopted. As different ideas and approaches garner greater traction, travelling from one national and industrial setting to others, the article scrutinises the industrial, structural and policy obstacles which hinder a meaningful shift for film and television-production to be environmentally sustainable. The article reflects on the agendas and forces at play in this space and attempts to stimulate debate about how those researching media production might productively engage in critiquing these policies and dynamics of power.

The main purpose of the present study is to investigate the ways students' instrumentation of Computer Algebra System (CAS) can help promote their algebraic reasoning while solving polynomial inequalities. In addition, the relation between students' CAS techniques and paper-and-pencil (P&P) techniques are explored, together with the difficulties that students may face as they apply these techniques. Research participants are 33 tenth graders at a private mixed gender school in Mount-Lebanon, distributed among nine homogenous groups, five of which are selected as focus groups. The study is qualitative in nature. Data is collected from pretests, students' written solutions of four instructional activities, laptop screen recordings, video recordings of whole-class discussions, and audio recorded interviews with students in the focus groups. The findings of the study show that students' lack of prerequisite knowledge of the topic of functions and their low level of familiarity with GeoGebra software are determinant factors that hinder these students' instrumentation of CAS and hence their reasoning processes as well as their implementation of the solving techniques. High and middle-achieving students' solving techniques acquired little epistemic and some pragmatic values, whereas low achieving students' solving techniques acquired heuristic values.

Es conocida la posición de la industria del cine hollywoodiense hacia el cine europeo y, en general, hacia toda cinematográfia foránea. El cine europeo es visto como una cinematografía marginal que apenas puede tener un pequeño espacio en el mercado audiovisual global si no es gracias a las fuertes ayudas públicas que recibe de los gobiernos de sus países o de la propia Unión Europea. El objetivo de la presente comunicación es mostrar cómo estos tópicos pueden ser deconstruidos a partir de un análisis desde la economía del cine, que ofrece algunas claves que explican el éxito del cine narrativo hollywoodiense frente al cine europeo. Para ello, vamos a detenernos, en primer lugar, en el examen del actual Hollywood

Minerva Campos Rabadán, "10 años, 20 años de Cine en Construcción", en Quim Casas (coord.), Zinemaldia 1953-2022. Singularidades del Festival de Donostia / San Sebastián, 2022, Donostia Kultura / Filmoteca Vasca; pp. 53-60.
ISBN: 9788412299823

This thesis is aimed to focus specifically on online crowdfunding of creative ideas, namely, narrative films in a South African context, in order to illustrate ways to create a sustainable online crowdfunding infrastructure in South Africa. The approach used is a comparative study between South Africa and Brazil specifically, and other countries more generally. Brazil is chosen because of its similar socio-economic development to South Africa but more so due to Brazil’s recent success with online crowdfunding. The thesis is broken down into the two pillars that make up an online crowdfunding infrastructure namely, creating a platform to attract contributions and creating a mutually beneficial environment. This leads to several conclusions or possible ways in which to harness South Africa’s attributes in order to improve its online crowdfunding infrastructure for the benefit of creative industries. As a young filmmaker the learning goal of this paper is to further my understanding of film finance and draw attention to the potential of online crowdfunding for South Africa as a possible solution in creating a larger and more diverse film industry.

Through a focus on La niña santa/The Holy Girl by Lucrecia Martel (2004) and XXY by Lucía Puenzo (2007), this article aims to examine the relationship between texts, sex and money. It considers theoretical approaches to European funding programmes and world cinema, and argues that a number of European production companies have created spaces for queer cinema which has proven beneficial to a range of Latin American films and has coincided with a boom in films directed by women. The article focuses on two new powerful protagonists, Amalia, Martel's holy girl and Puenzo's Alex, an intersex teenager, who both bring new gazes and new forms of representation to global screens. My concern in the study are the ways in which certain film languages can be used to address an implied international art cinema spectator to make queerness part of our filmic conversation with texts, and the ways in which these languages engage with new modernities emerging through the reconfigurations of new queer families.

Italian cinema is by long time a battle field between national government and local administrations. Since 1975 many laws and negotiations have been promoted in order to find a compromise between a centralistic control of the cinematographic activities and a more open and collective management able to involve, alongside with the State, local institutions too. Despite the controversies, in the past two decades something has changed. Local administrations became aware of the economic benefits they could have in supporting film production and therefore they are now enacting film-friendly measures (film commissions, film funds, film incentives, etc.). At the same time these local initiatives are pushing the national government to revise its role in this domain. The Ministero per i Beni e le Attività Culturali (Ministry for Cultural Heritage and Activities) itself is reconsidering its mission in terms of gradually moving from a concept of ʹfinancing filmsʹ to the one of ʹfinancing cinemaʹ, from being an economic source for new films to a promoter and regulator of the Italian cinema. 
The article analyzes: a) how in the past 35 years the Italian state and regions negotiated their powers regarding cinematographic activities, and b) the development of the two main tools introduced by local administrations for supporting film production: film commissions and film funds. In light of this analysis, the final part of the article suggests that film production in Italy is experiencing a decentralization process related to its managing, financing and shooting stage.

Prendendo in esame produzioni audiovisive realizzate nelle regioni italiane nel nuovo millennio, non è possibile prescindere dai cambiamenti occorsi nelle topografie produttive e negli immaginari geografici in seguito alla nascita di nuovi meccanismi di finanziamento su base locale e delle film commission 1 . Due gli obiettivi riconosciuti: da un lato agevolare lo sviluppo locale del settore audiovisivo, dall'altro massimizzare i benefici derivanti al territorio dalla permanenza di troupe. Su questi si può innestare, o meno, un terzo obiettivo di marketing territoriale. A fronte degli intuibili effetti positivi, non mancano rischi e derive: la presunta identità "locale" di un progetto si può trasformare in povertà di orizzonti; le produzioni provenienti dall'esterno si possono limitare a beneficiare dei finanziamenti, senza innescare un'occasione di formazione per i professionisti locali e una relazione con il territorio; l'inserimento troppo smaccato di immagini di una location (location placement) può, ancora, assumere forme sgradevolmente posticce. In una regione come il Veneto, in cui forti rivendicazioni identitarie, ove non autonomiste, si possono vedere rinforzate in campo cinematografico dall'insofferenza verso le rappresentazioni stereotipiche (di cui il territorio ha ampiamente patito), la tentazione può diventare quella di promuovere -partecipe una lettura "orientata" delle nuove logiche di finanziamento -un modello autarchico che si sviluppa dalla scelta del soggetto sino alla fruizione del film, e che alimenta progetti di scarsa ambizione sul piano produttivo e su quello culturale. Se il fenomeno delle piccole case di produzione in grado di realizzare (grazie alle nuove tecnologie) film a bassissimo budget che mirano al mercato locale, è ormai attestato sul piano nazionale, nel Nordest si tocca "il massimo d'autarchia": si pensi a due opere di diverso impegno produttivo ma con la comune volontà di raccontare il Veneto, quali Leoni (Pietro Parolin, 2015) e Il leone di vetro (Salvatore Chiosi, 2014), che hanno raggiunto l'uno il 98,72% e l'altro il 97,07% dei propri incassi nelle Tre Venezie 2 . Se la location assume sempre più spesso il ruolo di star nell'attrarre il pubblico, talvolta ricorda una starlette di provincia, orgoglio locale che muove le folle solo all'interno dei confini regionali. Le istituzioni sostengono di buon grado questi soggetti legati alla valorizzazione del patrimonio locale, consentendo l'esistenza (ma non sempre la sopravvivenza) di alcuni progetti 3 e contribuendo all'affermarsi di case di produzione specializzate quali la Venice Film 4 . Una delle direttrici è volta al passato, soprattutto in chiave revisionista, con film che portano alla luce drammatici episodi di storia locale (fra gli altri, un eccidio perpetrato dai partigiani nel padovano in Il segreto di Italia, 2014, di Antonello Belluco) o rileggono il momento topico dell'annessione del Veneto al Regno d'Italia, oggetto di un vero e proprio filone dedicato, di cui Il leone di vetro è il più illustre rappresentante. Non vanno dimenticate le produzioni storiche di più ampio respiro sostenute dalla Regione nel centenario della Grande Guerra: su tutte, l'intenso Torneranno i prati (Ermanno Olmi,

Co-Producing the Memory. Cinema Production between Europe and the Middle East Irit Neidhardt , and a lack of funding in the region of origin, most of the financing for films from the Middle East is provided by European public funds. As ownership of a film is bound to financing, Paradise Now and Waltz With Bashir are indeed German movies.

Sinemanın küresel çapta bir endüstri haline gelmesiyle birlikte Hollywood şirketleri film yapım, dağıtım ve gösterim ağlarında baskın bir konum elde ederek diğer film yapımlarının alanlarını daraltmışlardır. Bağımsız filmler; devlet destekleri, fon yardımları ve festival ödülleri gibi bütçeler sayesinde Hollywood' a karşı ekonomik olarak mevcudiyetini korumaya çalışırken kendilerini söz konusu Batılı alternatif kaynakların kriterlerine adapte etmek zorunda kaldıklarında kültürel bir hegemonyanın nesnesi haline geldikleri iddia edilir. Türkiye' de ise ulusal sinemayı güçlendirmek amacıyla, zaman içerisinde çeşitli eleştirilere maruz kalsa da 2004'te yürürlüğe girerek film yapımına destek vermeye başlayan 5224 sayılı "Sinema Filmlerinin Değerlendirilmesi ve Sınıflandırılması İle Desteklenmesi Hakkında Kanun" sayesinde pek çok filmin çekilebildiği görülmektedir. Bu çalışmada 5224 sayılı Kanun'un faaliyete geçmesinden itibaren geçen 15 yıllık sürede sinemaya yapılan desteklerin verilerine yönelik değerlendirmeler yapılmıştır. Ardından eleştirel ekonomi politik bir perspektiften 5224 sayılı Kanun' a yönelik eleştirilere odaklanılmıştır.

Državne potpore za proizvodnju audiovizualnih djela uvedene su u hrvatski pravni sustav 2012, s ciljem poticanja ulaganja u filmsko stvaralaštvo i ostvarenja kulturnih i gospodarskih pozitivnih učinaka. Državne potpore pod nadzorom su Europske unije te su hrvatski propisi usklađeni s europskim pravilima. Hrvatski se sustav temelji na povratu dijela uloženih sredstava subjektima koji proizvode audiovizualna djela, čime Hrvatska postaje, uz svoje prirodne i kulturne znamenitosti, i u financijskom smislu atraktivna lokacija za snimanje audiovizualnih djela. Europska pravila o poticanju filmskog stvaralaštva proširila su opseg djelatnosti za koje je moguće odobriti državne potpore, uvela su mogućnost potpora za prekogranične produkcije i promoviranje filmskog naslijeđa te proširila opseg državnih potpora za sve faze stvaranja audiovizualnog djela.

The idéaltype of "quality" considerated as an objective reference frame of the public action in the field of the cinema goes up wellbefore the creation of a French administration of cinema. Symptomatically, it is under the direction of the Center of cinematography by Jacques Flaud (1952-59), and during lass than a decade (1953-1959) which several devices will follow one another which will durably register the question of the support for quality within the cinema public support scheme. This chapter discusses the genesis of three selective support systems introduced during this period.

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