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Introduction: European Film and Television Co-production Read chapter Read first chapter

2018 | OriginalPaper | Chapter

4. The European Co-production Treaties: A Short History and a Possible Typology

Author : Petar Mitric

Published in: European Film and Television Co-production

Publisher: Springer International Publishing

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Abstract

The objective of this chapter is to provide an analysis of the fundamental reasoning behind European co-production treaties by looking back at its historical development and by proposing a possible industry-based typology of the treaties. In doing so, it endeavors to answer a seemingly simple question: In which way do co-production treaties affect collaboration between European producers?

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previous chapter Official Co-production: Policy Instruments and Imperatives
next chapter From Co-productions to ‘Co-distributions’? Re-evaluating Distribution Policies for European Film
Footnotes
1
This issue only highlights what Galt defines as a major structural dilemma of European cinema—“how to become European—as opposed to simply continuing an older model of national cinemas” (2006, 27).
 
2
Jäckel analyses the French-UK (1996) and French-Italian (2003a, b) co-production treaties. Baltruschat (2013) deals with the Canada-involved treaties while Julia Hammett-Jamart (2004) investigates the French-Australian treaty.
 
3
See Jäckel’s European Film Industries and Rivi’s European Cinema after 1989.
 
6
A set of creative commitments are necessary for obtaining co-production approval from the Chinese government. These commitments include having at least one scene shot in China, casting at least one Chinese actor, receiving a minimum one-third of the movie’s total investment from Chinese companies, and, in general, illustrating “positive Chinese elements” (O’Connor and Armstrong 2015). Approved official co-productions are treated as “local content” in China, which allows them to bypass China’s film quota system (34 films per year at the moment) and reap a larger share of box-office revenue (around 43%, rather than 25%) (Kokas 2017).
 
7
Official Co-productions include: Lust, Caution (Ang Lee 2007) and Disney High School Musical: China (Chen Shi-Zheng 2010). Major Co-ventures include Flagship Entertainment (Warner Bros. & China Media Capital) and Perfect Village (Village Roadshow Entertainment & Perfect World). (I am indebted to Philip Jun Fang from the Northwestern University Chicago for the selection of these examples).
 
8
Despite the fact that there are examples of successful Sino-European co-productions such as Jean-Jacques Annaud’s Wolf Totem (2015), which earned $8.8 million in France and $110.5 million in China (Brzeski 2018).
 
Literature
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Metadata
Title
The European Co-production Treaties: A Short History and a Possible Typology
Author
Petar Mitric
Copyright Year
2018
Book
European Film and Television Co-production

Print ISBN: 978-3-319-97156-8

Electronic ISBN: 978-3-319-97157-5

Copyright Year: 2018

DOI
https://doi.org/10.1007/978-3-319-97157-5_4