The main aim of this study is to examine the interrelationship of finance and government intervention in explaining the rise of co-productions in the international film industry in the time period between 1997 and 2004. Mainstream economic geography literature presents the film industry typically as a case study for embeddedness and agglomeration effects, with successful industry clusters drawing their strength from process knowledge, networks and local interaction. However, there is an increasing disparity in the literature between what mainstream theory suggests, and what empirical studies find with respect to the importance of cluster-external relations and dynamics. This, as I will argue, is particularly evident when looking at the picture of the whole film industry production system that emerges from the literature, which fails to include the alternative and complimentary pattern of co-productions. Co-productions are collaborations between film producers from at least two different countries, pooling their resources across distance to produce a feature film project. In the past fifteen years, the number of films made as co-productions has risen continuously in Europe, with co-productions accounting for more than 30 per cent of European film production activity. As a mode of production based on temporary, cross-border collaboration that is supported in its coordination by temporary clusters, such as trade fairs and industry events, the coproduction phenomenon poses a conundrum to economic geography literature and challenges its explanatory framework. As I will argue, in order to arrive at a satisfactory understanding of the phenomenon, it is necessary to look beyond social factors associated with locality, and to examine instead dynamics impacting on the industrial organization of the whole production system. I will argue that in the context of the pervasive demand uncertainty characterizing the film industry, the analytical focus should be on financial dynamics, as production activity and its organizational form are ultimately dependent on finance as an enabling force. Based on a description of the film financing process as the primary process in which the relationship between the economic categories of financial and production capital are played out, I propose that in order to explain the growth of co-productions empirically, it is necessary to examine changes in the film financing environments of the increasingly interrelated European and US film industries. As the State is the most important provider of financial capital in the European film industry through the provision of public aid, the focus will lie in particular on the consequences of a paradigm change in the rationale of State intervention in Europe moving away from funding film for cultural reason, to supporting the industry on economic grounds since the mid 1990s. As will be shown, the most important consequence of this paradigm change has been the introduction of tax incentives to encourage investment into film in a number of European and international countries within a short period of time. As will be demonstrated, this has led to the formation of significant, locally confined capital pools that can dis-embed production; and to the emergence of a distinct capital cycle in international film financing, which has strongly impacted on the productive system of the film industry. Finally, a dynamic explanation for the growth of co-productions in Europe in the time period between 1997 and 2004 will be provided. I will argue that co-productions have firstly grown in order to overcome a lack of finance, but have in the context of a capital cycle based on tax incentives from Germany and the UK, increasingly become driven by the opposite dynamic, namely an abundance of financial capital seeking profitable investment opportunities. The study will conclude with a discussion of policy implications, a summary of contributions to the literature and a brief overview of future research opportunities.

Kulturarvsplatser kan betraktas på olika sätt av olika människor. Samtidigt finns kol-lektiva föreställningar om hur en kulturarvsplats bör förstås. Mellan dessa utgångs-punkter sker förhandlingar om kulturarvsplatsens betydelse och värde. Syftet med studien är att förstå hur en plats, institutionellt utpekad som kulturarv, används och iscensätts genom mångsidiga och korsande praktiker, både via media och på plats. Två fall undersöks som har olika inriktningar men båda inom svensk kulturmiljö-vård: kulturreservatet komministerbostället Råshult i sydvästra Kronoberg i Småland som är botanikern Carl von Linnés födelseplats och den publika uppdragsarkeologiska verksamheten i Slättbygdsprojektet i västra Östergötland. Frågorna berör vilka arenor medieringen sker, dess tematik/innehåll, iscensättningen av kulturarvet samt hur besö-karna uppfattar sitt besök av platsen och de strategiska aktörernas visioner för platsen. Metodiskt följs en tänkt besökares väg till kulturarvsplatsen och faktiska besökare vid platsen. Både i slättbygdens undersökningsrum och vid Linnés Råshult synliggörs den kollektiva föreställningarna som huvudsakligen en vetenskaplig studieplats och en skattkammare för särskilt värdefulla ting. Besökarna lyfter dock fram de sociala aspekterna av besöket. Besökarens tolkning existerar och konkurrerar med andra bilder av platserna. Det saknas dock arenor som synliggör och sätter dessa i förbindelse med de strategiska aktörerna, trots mycket offentligt tal om demokratisering av kulturarvs-processerna under senare år. Olika materials bilder har på så sätt lagts jämte varandra för att synliggöra dynamik, förhandling, konkurrens och bristande dialog kring en plats. / Cultural heritage sites can be looked at differently by different people. These sites also carry collective understandings of how they should be understood. Between these two outsets there are negotiations of the sites’ meaning and value. The aim of this thesis is to understand how a place, institutionally pointed out as cultural heritage, is used and staged through diverse and intersecting practices, both through media and on the heri-tage site. Two differently oriented cases are researched within Swedish cultural heritage preservation: one the birthplace of Carolus Linnaeus, the botanist, which is a cultural reservation located at Råshult in the south of Sweden, and the other a commissioned archaeological project called Slättbygdsprojektet in Östergötland in mid Sweden. The questions concern on what arenas the mediation happens, its theme/content, the staging of the cultural heritage, as well as the visitors’ experiences and the strategic actors’ visions of the site. Methodically I follow both a fictive visitor’s way to the heritage site and actual visitors on site. Both in Slättbygdsprojektet and at Linnés Råshult the collective understandings of the sites are mainly viewed as a place for scientific study and a treasure chamber for especially valuable objects. The visitors especially highlight the social aspects of their visit. The visitors’ interpretation exists and competes with other images. However, there are no arenas that can make them visible, to put them in relation with the strategic actors, despite much public speech in recent years about democratizing cultural heri-tage processes. Images of different researched materials of the site have been juxta-posed to make visible the dynamic, negotiations, competition and lack of dialogue about cultural heritage sites.

Avhandlingen rymmer en ”stor” och en ”liten” berättelse. Den lilla berättelsen börjar omkring 1870 och handlar om Nordiska museet och dess grundläggare Artur Hazelius. Den stora berättelsen tar sin början i 1800-talets första decennier och förankrar det kulturhistoriska museiväsendets framväxt och formering i en mera vidsträckt och kronologiskt utsträckt historie- och museipolitisk kontext. 1800-talet har karaktäriserats som en period av stark statlig mobilisering på det musei- och historiepolitiska fältet. Avhandlingen visar att det var osäkert vilken roll staten skulle spela. Det var osäkert vilket slags offentlighet som museerna tillhörde, vilka syften museer fyllde och hur de skulle utformas. Det var omtvistat vem som ägde fornminnena. Två rörelser kan urskiljas. Den ena rörelsen ville åstadkomma ett långtgående statligt ansvar för historiebevarandet. Den andra rörelsen var framväxten av ett civilsamhälleligt associationsväsende på historiebevarandets område. Historie- och museipolitikens grunddrag kännetecknades av spänningarna mellan dessa rörelser. Den stora berättelsen överlappar den lilla berättelsen om Nordiska museet och Artur Hazelius. Avhandlingen belyser det spelrum som de övergripande osäkerheterna om historiebevarandets mål och organisering lämnade åt Artur Hazelius och hur Nordiska museets utveckling efter hand kom att ge återverkningar på hela det historie- och museipolitiska området. Den belyser också hur Nordiska museets stegvisa etablering som kulturhistoriskt centralmuseum påverkades av det kulturhistoriska museiväsendets professionalisering. I avhandlingen är det historiografiska perspektivet centralt. Ett utmärkande drag för den dubbla historia som avhandlingen berättar är den betydelse som historieskrivningen har haft, både för formeringen av det kulturhistoriska museiväsendet och för efterhandsförståelsen av detsamma. / This thesis traces and analyses important changes in cultural heritage and museum politics during the 19th century. It tells two overlapping narratives. One is about the museum founder Artur Hazelius and the creation and expansion of The Nordic Museum (Nordiska museet). The other concerns the indecisive construction of meaning and organisational forms for state responsibility for the cultural heritage. The latter story begins in 1810 and the former in 1872. The 19th century is commonly described as the breakthrough for a new era, a time when the cultural heritage became a matter of the state and a part of state promoted nationalism. This thesis instead sheds light on the uncertainties, hesitations and conflicts involved in the construction of national cultural heritage politics and practices. It emphasises the alternatives to state administration that were launched and the crucial role played by associations and voluntary organisation in the preservation of the cultural heritage. It observes the significance of histories and of counter-histories in the controversies over the ownership of and responsibility for the cultural heritage. The way different political positions grow out of conflicting stories of institutional origin is considered. The thesis also focuses on the gradual emergence of a museum profession and its implications for the development of the Nordic Museum and for museum politics in general.

Kulturarvsplatser kan betraktas på olika sätt av olika människor. Samtidigt finns kol-lektiva föreställningar om hur en kulturarvsplats bör förstås. Mellan dessa utgångs-punkter sker förhandlingar om kulturarvsplatsens betydelse och värde. Syftet med studien är att förstå hur en plats, institutionellt utpekad som kulturarv, används och iscensätts genom mångsidiga och korsande praktiker, både via media och på plats. Två fall undersöks som har olika inriktningar men båda inom svensk kulturmiljö-vård: kulturreservatet komministerbostället Råshult i sydvästra Kronoberg i Småland som är botanikern Carl von Linnés födelseplats och den publika uppdragsarkeologiska verksamheten i Slättbygdsprojektet i västra Östergötland. Frågorna berör vilka arenor medieringen sker, dess tematik/innehåll, iscensättningen av kulturarvet samt hur besö-karna uppfattar sitt besök av platsen och de strategiska aktörernas visioner för platsen. Metodiskt följs en tänkt besökares väg till kulturarvsplatsen och faktiska besökare vid platsen. Både i slättbygdens undersökningsrum och vid Linnés Råshult synliggörs den kollektiva föreställningarna som huvudsakligen en vetenskaplig studieplats och en skattkammare för särskilt värdefulla ting. Besökarna lyfter dock fram de sociala aspekterna av besöket. Besökarens tolkning existerar och konkurrerar med andra bilder av platserna. Det saknas dock arenor som synliggör och sätter dessa i förbindelse med de strategiska aktörerna, trots mycket offentligt tal om demokratisering av kulturarvs-processerna under senare år. Olika materials bilder har på så sätt lagts jämte varandra för att synliggöra dynamik, förhandling, konkurrens och bristande dialog kring en plats. / Cultural heritage sites can be looked at differently by different people. These sites also carry collective understandings of how they should be understood. Between these two outsets there are negotiations of the sites’ meaning and value. The aim of this thesis is to understand how a place, institutionally pointed out as cultural heritage, is used and staged through diverse and intersecting practices, both through media and on the heri-tage site. Two differently oriented cases are researched within Swedish cultural heritage preservation: one the birthplace of Carolus Linnaeus, the botanist, which is a cultural reservation located at Råshult in the south of Sweden, and the other a commissioned archaeological project called Slättbygdsprojektet in Östergötland in mid Sweden. The questions concern on what arenas the mediation happens, its theme/content, the staging of the cultural heritage, as well as the visitors’ experiences and the strategic actors’ visions of the site. Methodically I follow both a fictive visitor’s way to the heritage site and actual visitors on site. Both in Slättbygdsprojektet and at Linnés Råshult the collective understandings of the sites are mainly viewed as a place for scientific study and a treasure chamber for especially valuable objects. The visitors especially highlight the social aspects of their visit. The visitors’ interpretation exists and competes with other images. However, there are no arenas that can make them visible, to put them in relation with the strategic actors, despite much public speech in recent years about democratizing cultural heri-tage processes. Images of different researched materials of the site have been juxta-posed to make visible the dynamic, negotiations, competition and lack of dialogue about cultural heritage sites.

Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields. This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies. A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.

Submitted by Suemi Higuchi (suemi.higuchi@fgv.br) on 2010-10-06T13:50:08Z No. of bitstreams: 1 CPDOC2010AlineSantosPortilho.pdf: 3428135 bytes, checksum: 1ca16487a35a9370885187a9327475c0 (MD5) / Approved for entry into archive by Suemi Higuchi(suemi.higuchi@fgv.br) on 2010-10-06T13:50:28Z (GMT) No. of bitstreams: 1 CPDOC2010AlineSantosPortilho.pdf: 3428135 bytes, checksum: 1ca16487a35a9370885187a9327475c0 (MD5) / Made available in DSpace on 2010-10-06T18:09:00Z (GMT). No. of bitstreams: 1 CPDOC2010AlineSantosPortilho.pdf: 3428135 bytes, checksum: 1ca16487a35a9370885187a9327475c0 (MD5) Previous issue date: 2010-09-21 / This work aims to analyze the process of 'patrimonializacao da Uniao Nacional dos Estudantes' promoted in the articulation of memory and amends, summon elements of the institution past, especially events occurred in the old building where toke place their headquarter, in the present knew as 'UNE land', at Praia do Flamengo, 132. Its objective is understand how the militants, in the general frame of their search to revert a lack of institutional political capital, promote the reconversion of UNE symbolic capital, more ample, in political capital, more specific, powerfully the institution in the political arena again. Decurrently of that, I identified a process named patrimonialização da UNE, that is, an action to make the UNE recognized as part of the Brazilian heritage rhetorical. I search to adopt both, a diachronic and sinchronic method. At the first time, was necessary to contemplate the student institution actions were toke place in the UNE building throughout the time to later investigate the ways how this past acts were recouped and used in the present political arena. Firstly the legal acts evolving the building - land were analyzed towards to reconstruct one history to the UNE action in that place. Leave of it, I searched understand the usage of this past by the present agents promoted by the realization of cultural projects and in the process of elaboration and institution of the Law 12.260/2010, which recognize the State responsibility to the acts occurred in the Praia do Flamengo building during the military regime indemnify institution as amend. So, is in the joint of the both camps, the politic and the culture that developed the process which in this work I searched to investigate. / O presente trabalho visa analisar o processo de patrimonialização da União Nacional dos Estudantes, promovido na articulação de memória e reparação, mobilizando elementos do passado da instituição, especialmente os eventos ocorridos no antigo prédio de sua sede, no presente momento conhecido como 'terreno da UNE', na Praia do Flamengo, 132. Tem como objetivo entender como os militantes, no quadro geral de busca por reverter um processo de esvaziamento de capital político da instituição, promovem a reconversão de seu capital simbólico, mais amplo, em capital político, mais específico, potencializando-a novamente no campo político. Decorrente disso se identifica um processo a que foi nomeado patrimonialização da UNE, ou seja, a ação de reconhecê-la como elemento pertencente à retórica do patrimônio cultural brasileiro. Buscou-se adotar uma abordagem diacrônica e sincrônica. No primeiro momento, foi preciso dar conta das ações da entidade estudantil, que tiveram lugar no 'prédio da UNE', ao longo do tempo para, posteriormente, perscrutar as maneiras como estes atos do passado foram recuperados e instrumentalizados no jogo político do presente. Foram analisados, primeiramente, os atos legais que envolveram o prédio/terreno, a fim de reconstruir uma história para a atuação da UNE naquele espaço. A partir desta se procurou entender os usos deste passado pelos agentes do presente, promovidos por meio da realização de projetos culturais e do processo de elaboração e instituição da Lei 12.260/2010, que reconhece a responsabilidade do Estado pelos atos ocorridos no prédio da Praia do Flamengo durante o regime militar e indeniza a instituição como forma de reparação. Assim, é na imbricação dos campos da política e da cultura que se desenvolve o processo que neste trabalho se procurou investigar.

This thesis explores how the Institut für Literatur ‘Johannes R. Becher’, an East German institution for the training of writers, negotiated tensions that arose from the conflicting demands between literary and political values. The Institute had the objective to foster emerging literary talents according to the socialist ideal of a working writer, but often found students and staff drawn towards more autonomous literary values that were incompatible with the views of the East German Socialist Unity Party. As a result, the Institute’s practices fluctuated between toeing the party line and pursuing literary ambitions. An overview of the existing scholarship shows that the Institute and its function have been highly politicised and hardly subjected to analyses that allow for a more nuanced appraisal of its practices. As a result, the study of the Institut has not been able to transcend the binary differentiation between assent and dissent and the Institute is either presented as a liberal haven or an orthodox academy with little artistic value. This thesis addresses this issue by applying Bourdieu’s’ theory of cultural production, more specifically his notion of field, capital and habitus, to the study of the Becher Institute. Three case studies that form the core of this dissertation investigate how cultural capital in its institutionalised, embodied, and objectified form was accumulated, converted and exchanged by the Institute, how it tried to reconcile the tensions between cultural policy and creative aspirations and how these tensions affected the Institute’s common habitus. The first case study will show how the Institute’s founding shaped the institutionalised capital it represented and question the importance that has been attributed to prominent political figures during the founding process. The second case study examines the role of the lecturer and the influence their embodied capital had on the Institute. Two lecturers, working writer Werner Bräunig and poet Georg Maurer, and their representation of the Institute’s multiple habitus will be the focus of the analysis. The third and final case study is dedicated to objectified cultural capital in the form of the Institute’s publications during the 1970s. The Institute’s orthodox publications have so far been overlooked by scholars in favour of its more controversial literary output, which gives a misleading impression of the Institute’s literary output that I aim to amend. By developing a sociological framework for the study of the Institute, this thesis is able to investigate the Institute and its practices as a social and literary space under the watchful eye of the Socialist Unity Party, without denying its pedagogical and cultural dimensions. The findings will reveal a deeply conflicted institution that struggled throughout its existence to resolve the tensions between literary ambitions and political restraints as well as the contradictions within the literary field itself.

The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.

Orientador: Edson do Prado Pfutzenreuter / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:32:30Z (GMT). No. of bitstreams: 1 Taves_SyllaJohnLerro_D.pdf: 8886040 bytes, checksum: fa92b19df2ff97fc664a75dcf751fe6f (MD5) Previous issue date: 2014 / Resumo: O objetivo global deste estudo foi a busca por um amplo levantamento informativo e descritivo sobre os contextos institucionais, econômicos e sociais que compõem o ambiente cultural de duas cidades que abrigam universidades de grande relevância regional e internacional. O interesse por este estudo surgiu da experiência profissional do autor como produtor cultural, gestor universitário e de sua vivência nas duas universidades. Podemos definir que os levantamentos foram elaborados para subsidiar a construção de um diagnóstico geral, capaz de representar os ambientes que abrigam potentes sistemas de produção acadêmica e cultural. O mapeamento das estruturas institucionais, do contexto histórico, dos hábitos culturais, do turismo, da economia criativa e de outros fatores nos ajuda a caracterizar estes ambientes, identifica relações intrínsecas e promove a compreensão de como os sistemas culturais se configuram localmente. Nesse contexto, complementamos o estudo com uma comparação das cidades por suas diferenças e semelhanças, visualizadas na análise comparativa dos hábitos e de suas práticas culturais (teatro, festivais de música, entre outros), levando-se em consideração a capacidade de formação cultural de cada universidade, a relevância local em suas cidades sede e a economia da cultura envolvida. As cidades selecionadas são Salamanca, Espanha e Campinas, Brasil e as universidades escolhidas são, respectivamente, a Universidade de Salamanca (USAL) e a Universidade Estadual de Campinas (UNICAMP). Embora existam outras universidades nessas cidades, as instituições selecionadas são as maiores em número de estudantes, orçamento, produtividade acadêmica, entre outras qualidades de excelência, reconhecidas em nível nacional e internacional. Por exemplo, Salamanca é mundialmente reconhecida por sua cultura e atmosfera universitária e a USAL, fundada em 1218, está entre as universidades mais antigas da Europa. Da mesma forma, Campinas é uma cidade de mais de um milhão de pessoas e lar de uma das melhores universidades do país, a UNICAMP, com o maior índice nacional de produção acadêmica e um dos principais centros de pesquisa e inovação no país / Abstract: The overall objective of this study was to seek a broad informative and descriptive survey of institutional, economic and social contexts that compound the atmosphere of two cities that are home to universities of large regional and international relevance. The interest for this study is related to the professional experience of the author as a cultural producer, university officer and his experience at both universities. We may say that the survey was done to subsidize the construction of a general global mapping, capable of representing the atmosphere that houses powerful academic and cultural production systems. The mapping of institutional structures, the historical context, cultural habits, tourism, creative economy and other factors helps us to characterize these environments, identifies intrinsic relations and promotes understanding of how cultural systems are configured locally. In this context, we seek to complement the study with a comparison of cities by their similarities and differences in many aspects observed in the comparative analysis of their cultural practices (theater, music festivals, among other examples), considering the cultural training capacity of each university, their host cities, and the economy of the local culture. The two cities of interest are Salamanca, Spain and Campinas, Brazil, and the universities chosen in these cities are respectively, the University of Salamanca (USAL) and the State University of Campinas (UNICAMP). Although there are other universities in these cities, the selected institutions are the largest in number of students, budget, and academic productivity, among other qualities of excellence, acknowledged nationally and internationally. For example, Salamanca is world-renowned for its culture and for its collegiate atmosphere and the University of Salamanca, founded in 1218, is believed to be the third oldest university in Europe. Similarly, Campinas is a city of over a million people and home to one of the best universities in the country, UNICAMP, with the highest national rate of academic production and one of the major research and innovation centers in the country. OBSERVAÇÃOMinha área de concentração não aparece no formulário, sou do programa antigo de ARTES, minha área de concentração correta seria Economia Criativa, agora não sei como pode ser feito este ajuste no sistema / Doutorado / Artes Visuais / Doutor em Artes

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