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 CunninghamIntroductionNolwenn Mingant and Cecilia TirtainePart I: The Traditional Film Policy Paradigm Introduction Nolwenn Mingant and Cecilia Tirtaine1. ‘France needs to position itself on the global media map, as a cultural reference and a production centre.’ An interview with Stephan Bender2. A Fragile Industry: Government Policy and Dubbing in QuebecA case study by Christine York3. Monitored Relations: The US Film Industry, Chinese Film Policy and Soft PowerDeron Overpeck 4. Cool Japan and Heated Politics: Japanese Film and Media Policies within the Economic Politics of Global MarketsJennifer DeWinter5. ‘Sophisticated Cyber Terrorists’: The Film Industry, Rhetoric, and National SecurityA case study by Mike Van Esler6. National Film Policies: Discourses and LoopholesA case study by Joël AugrosPart II: The Film Policy Power Struggle Introduction Nolwenn Mingant and Cecilia Tirtaine7. ‘Qualified personalities’: Sociology of the French ‘Media Government’ from Television to the Digital EraOlivier Alexandre8. Informal Collaborations and Formal Agreements: Chinese-Korean Film EncountersBrian Yecies9. ‘The Petrol in Our Tank’: Public-Private Collaboration in Indian State Animation, Visual Effects, Gaming and Comics (AVGC) PolicyTimothy Jones10. ‘Unionization of visual effects is inevitable’An interview with Joe Pavlo11. Tiptoeing the Red Line: PureMovies and Censorship in ChinaA case study by Tiecheng Li12. Bridging the Gap: Towards a Dialogue between Screen Production, Policy and ScholarshipJulia Hammett-Jamart Part III: The Film Policy TangleIntroduction Nolwenn Mingant and Cecilia Tirtaine13. The Ibermedia Programme: How Supranational Policy Developed the Ibero-American Audiovisual SpaceCarmina Crusafon14. Towards a New Film Policy Map in ArgentinaA case study by Leandro Gonzalez 15. ‘I have to make a round of every country’s funding systems.’An interview with Sabine Sidawi16. Cross-Border Collaboration: Sub-National Film Policies and Cultural Frameworks in Belgium and France Jamie Steele17. Between YU and the EU: The Europeanization of the Serbian Film Policies Petar Mitric18) Reconciling Economic and Cultural Goals in Film Policy: Propositions from EuropeA case study by Anna Herold and Claudia GolserPART IV: (Re)Inventing the Film Policy ParadigmIntroduction Nolwenn Mingant and Cecilia Tirtaine19) Talking to Netflix with a Canadian Accent: On Digital Platforms and National Media PoliciesIra Wagman20) One Script, Several Films: Public Policies and the Digitisation of Movie Theatres in the United States, France and Quebec Aurélie Pinto21) "Unwilling and Powerless: Facing Illegal Distribution and Exhibition in Chad" A case study by Patrick Ndiltah22) 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 Winkel23) South African Post-Apartheid Film Policy: Shifting Discourses on Film, National Identity and Cultural/Creative Industries" Natalie Kowalik and Philippe Meers24) The Vertical Axis of Film Policies in Europe: Between Subsidiarity and Local Anarchy Marco Cucco25) The Film Code ‘will promote the development of the film industry and make Togolese cinema visible and competitive internationally.’ An interview with Komi Ati26) Films ex-nihilo: Abu Dhabi’s ‘Greenfields Film and Media Policy Model’ Nolwenn Mingant