Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.

Made available in DSpace on 2016-04-25T20:21:16Z (GMT). No. of bitstreams: 1 Telmo Antonio Dinelli Estevinho.pdf: 1165004 bytes, checksum: 442ab0824ae72d7a854afcf1e0ed39cd (MD5) Previous issue date: 2014-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aim is to make an analysis of Film Industry Policies in Brazil from the 1960s to the late 1990s. In this period, the main state agencies to support the Brazilian movie production were created and this specific policy remained basically constant regardless of political and economic changes in the country. For this, we use the concepts of historical institutionalism to demonstrate the resilience of a specific system in these policies and to explain the mechanisms that allowed its deployment over time. The centralization of the movie production unlinked to its public distribution, and the implementation of these policies by the educational and cultural state agencies were constant during more than 30 years what enabled interactions between the state and influent political sectors of Brazilian Film industry. This shows the influence of formal and informal Brazilian institutions over the public policy design and its respective implementation process. National agencies like Instituto Nacional de Cinema and Embrafilme were important because they meant to be an opened space in the state in order to make possible the interactions among filmmakers, producers and politicians. The cultural characteristics of the brazilian movies were also used for the maintenance and reproduction of these interactions. The research used a systematic analysis of the film legislation, studies and reports produced by professional associations and government institutes as well as interviews with Brazilian filmmakers, producers and politicians / Esta pesquisa tem como objeto uma análise das políticas de cinema no Brasil entre os anos de 1960 ao final dos anos 1990. Neste período foram criadas as principais agências estatais de suporte à produção cinematográfica e o desenho da política foi aqui concebido e permaneceu mais ou menos constante independente das mudanças nos regimes políticos e das transformações econômicas. Para tanto utilizamos os conceitos do neoinstitucionalismo histórico para demonstrar a relisiência de um formato específico nas políticas de cinema implementadas no Brasil e explicar os mecanimos que permitiram o seu desdobramento através do tempo. A centralidade conferida a produção de filmes desvinculada de sua difusão ou circulação pública e a implementação dessas políticas pelos setores educacionais e culturais do Estado mantiveram-se constantes durante mais de trinta anos permitindo contínuas interações entre as burocracias estatais e setores politicamente influentes do cinema brasileiro. Constata-se assim a influência das instituições, sejam elas formais ou informais, sobre o desenho das políticas de cinema e o seu respectivo processo de implementação. Assim agências estatais como o Instituto Nacional de Cinema e a Embrafilme foram importantes porque eram arenas abertas no interior do Estado para que as interações entre cineastas, produtores e políticos pudessem ocorrer. Os atributos culturais conferidos ao filme nacional também foram utilizados para a manutenção e reprodução dessas interações. A pesquisa utilizou uma análise sistemática da legislação cinematográfica, de estudos e relatórios produzidos por associações de classe e entidades governamentais bem como entrevistas com cineastas, produtores e políticos

Made available in DSpace on 2016-04-26T14:55:00Z (GMT). No. of bitstreams: 1 Telmo Antonio Dinelli Estevinho.pdf: 1165004 bytes, checksum: 442ab0824ae72d7a854afcf1e0ed39cd (MD5) Previous issue date: 2014-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aim is to make an analysis of Film Industry Policies in Brazil from the 1960s to the late 1990s. In this period, the main state agencies to support the Brazilian movie production were created and this specific policy remained basically constant regardless of political and economic changes in the country. For this, we use the concepts of historical institutionalism to demonstrate the resilience of a specific system in these policies and to explain the mechanisms that allowed its deployment over time. The centralization of the movie production unlinked to its public distribution, and the implementation of these policies by the educational and cultural state agencies were constant during more than 30 years what enabled interactions between the state and influent political sectors of Brazilian Film industry. This shows the influence of formal and informal Brazilian institutions over the public policy design and its respective implementation process. National agencies like Instituto Nacional de Cinema and Embrafilme were important because they meant to be an opened space in the state in order to make possible the interactions among filmmakers, producers and politicians. The cultural characteristics of the brazilian movies were also used for the maintenance and reproduction of these interactions. The research used a systematic analysis of the film legislation, studies and reports produced by professional associations and government institutes as well as interviews with Brazilian filmmakers, producers and politicians / Esta pesquisa tem como objeto uma análise das políticas de cinema no Brasil entre os anos de 1960 ao final dos anos 1990. Neste período foram criadas as principais agências estatais de suporte à produção cinematográfica e o desenho da política foi aqui concebido e permaneceu mais ou menos constante independente das mudanças nos regimes políticos e das transformações econômicas. Para tanto utilizamos os conceitos do neoinstitucionalismo histórico para demonstrar a relisiência de um formato específico nas políticas de cinema implementadas no Brasil e explicar os mecanimos que permitiram o seu desdobramento através do tempo. A centralidade conferida a produção de filmes desvinculada de sua difusão ou circulação pública e a implementação dessas políticas pelos setores educacionais e culturais do Estado mantiveram-se constantes durante mais de trinta anos permitindo contínuas interações entre as burocracias estatais e setores politicamente influentes do cinema brasileiro. Constata-se assim a influência das instituições, sejam elas formais ou informais, sobre o desenho das políticas de cinema e o seu respectivo processo de implementação. Assim agências estatais como o Instituto Nacional de Cinema e a Embrafilme foram importantes porque eram arenas abertas no interior do Estado para que as interações entre cineastas, produtores e políticos pudessem ocorrer. Os atributos culturais conferidos ao filme nacional também foram utilizados para a manutenção e reprodução dessas interações. A pesquisa utilizou uma análise sistemática da legislação cinematográfica, de estudos e relatórios produzidos por associações de classe e entidades governamentais bem como entrevistas com cineastas, produtores e políticos

Notre thèse décrit la trajectoire esthétique, économique et sociale du cinéma d’animation français. Cette sociogenèse couvre la période où il se constitue comme champ artistique, aboutissant enfin à une reconnaissance tardive, encore très peu renseignée. La première partie s’attache donc à l’archéologie de son évolution, depuis la première autonomisation de l’après guerre à la mise en place d’une politique publique qui modifie radicalement le paysage de l’animation au début des années 1980. Dans un contexte d'autonomisation contrariée du champ de l'animation, nous examinons ensuite les rôles respectifs du Centre National de la Cinématographie (CNC), des producteurs et des chaînes de télévision, et les nouvelles règles du jeu qu’ils introduisent. Nous interrogeons enfin l’impact de tous ces acteurs, qui jugent et produisent de la qualité cinématographique, sur le destin des artistes et leurs productions. / Our thesis describes the aesthetic, economic and social path of the french animation movies.This socio-genesis focuses on the moment when it becomes an artistic field, reaching at theend a late recognition, which is still poorly informed. The first part makes the archeology ofits evolution, from the first independence conquest after war, to the setting out of a publicpolicy, which makes a heavy change on the animation landscape at the early 1980’s. In this context of impeded empowerment of the animation field, we will examine then the respective roles of the National Cinematography Center, the producers and the television channels, andthe new rules they introduce. We will finally highlight the impact of these operators, who judge and produce cinematographic quality, on the destiny of the artists ant their movies.

No description available.

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.