Reconceptualising Film Policies

Nolwenn Mingant is a Senior Lecturer at the University of Nantes, France and co-editor of Film Marketing into the Twenty-First Century. Her research interests include film industries around the world and the international distribution of Hollywood films. Cecilia Tirtaine is a Senior Lecturer in British Studies at the University of Nantes, France. She is the co-editor of Film Marketing into the Twenty-First Century. Her research interests include the British film industry and film and television policies.

Foreword

Stuart Cunningham

Introduction

Nolwenn Mingant and Cecilia Tirtaine

Part I: The Traditional Film Policy Paradigm

Introduction

Nolwenn Mingant and Cecilia Tirtaine

1. ‘France needs to position itself on the global media map, as a cultural reference and a production centre.’

An interview with Stephan Bender

2. A Fragile Industry: Government Policy and Dubbing in Quebec

A case study by Christine York

3. Monitored Relations: The US Film Industry, Chinese Film Policy and Soft Power

Deron Overpeck

4. Cool Japan and Heated Politics: Japanese Film and Media Policies within the Economic Politics of Global Markets

Jennifer DeWinter

5. ‘Sophisticated Cyber Terrorists’: The Film Industry, Rhetoric, and National Security

A case study by Mike Van Esler

6. National Film Policies: Discourses and Loopholes

A case study by Joël Augros

Part II: The Film Policy Power Struggle

Introduction

Nolwenn Mingant and Cecilia Tirtaine

7. ‘Qualified personalities’: Sociology of the French ‘Media Government’ from Television to the Digital Era

Olivier Alexandre

8. Informal Collaborations and Formal Agreements: Chinese-Korean Film Encounters

Brian Yecies

9. ‘The Petrol in Our Tank’: Public-Private Collaboration in Indian State Animation, Visual Effects, Gaming and Comics (AVGC) Policy

Timothy Jones

10. ‘Unionization of visual effects is inevitable’

An interview with Joe Pavlo

11. Tiptoeing the Red Line: PureMovies and Censorship in China

A case study by Tiecheng Li

12. Bridging the Gap: Towards a Dialogue between Screen Production, Policy and Scholarship

Julia Hammett-Jamart

Part III: The Film Policy Tangle

Introduction

Nolwenn Mingant and Cecilia Tirtaine

13. The Ibermedia Programme: How Supranational Policy Developed the Ibero-American Audiovisual Space

Carmina Crusafon

14. Towards a New Film Policy Map in Argentina

A case study by Leandro Gonzalez

15. ‘I have to make a round of every country’s funding systems.’

An interview with Sabine Sidawi

16. Cross-Border Collaboration: Sub-National Film Policies and Cultural Frameworks in Belgium and France

Jamie Steele

17. Between YU and the EU: The Europeanization of the Serbian Film Policies

Petar Mitric

18) Reconciling Economic and Cultural Goals in Film Policy: Propositions from Europe

A case study by Anna Herold and Claudia Golser

PART IV: (Re)Inventing the Film Policy Paradigm

Introduction

Nolwenn Mingant and Cecilia Tirtaine

19) Talking to Netflix with a Canadian Accent: On Digital Platforms and National Media Policies

Ira Wagman

20) One Script, Several Films: Public Policies and the Digitisation of Movie Theatres in the United States, France and Quebec

Aurélie Pinto

21) "Unwilling and Powerless: Facing Illegal Distribution and Exhibition in Chad"

A case study by Patrick Ndiltah

22) From Film Policy to Creative Screen Policies: Media Convergence and Film Policy Trends in Flanders

A case study by Gertjan Willems, Daniel Biltereyst, Philippe Meers, and Roel Vande Winkel

23) South African Post-Apartheid Film Policy: Shifting Discourses on Film, National Identity and Cultural/Creative Industries"

Natalie Kowalik and Philippe Meers

24) The Vertical Axis of Film Policies in Europe: Between Subsidiarity and Local Anarchy

Marco Cucco

25) The Film Code ‘will promote the development of the film industry and make Togolese cinema visible and competitive internationally.’

An interview with Komi Ati

26) Films ex-nihilo: Abu Dhabi’s ‘Greenfields Film and Media Policy Model’

Nolwenn Mingant