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2018 | OriginalPaper | Buchkapitel

1. Introduction: European Film and Television Co-production

verfasst von : Julia Hammett-Jamart, Petar Mitric, Eva Novrup Redvall

Erschienen in: European Film and Television Co-production

Verlag: Springer International Publishing

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Abstract

This chapter provides an overview of the field of European film and television co-production and outlines the themes and methodological approaches employed within the volume European Film and Television Co-production: Policy and Practice. It describes the policy-driven European co-production model, focusing both on its historical evolution (emergence of official co-productions and proliferation of co-production treaties), and explores current developments triggered by recent tax incentives, non-official and TV co-productions, as well as digital media platforms. Furthermore, the chapter points to major methodological and theoretical gaps in the existing scholarship. To address those gaps, the chapter proposes a research methodology that would allow scholars to move closer to policy makers and practitioners, ensuring more cross-sectoral dialogue in researching co-productions.

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Fußnoten
1
See for instance the UK-Australia co-production Back of Beyond (1954).
 
2
For a detailed discussion, see Jäckel (2003b).
 
3
Although established in 1988, Eurimages only became operational one year later, in 1989.
 
4
See also McElroy (2016) on the benefits for ‘small nations’ of accessing bigger markets when venturing into television co-productions with partners from bigger countries.
 
5
See, for instance, Jäckel (2003a) on early French-Italian collaborations; Weissmann (2012); or Redvall (Forthcoming 2019) for examples from the long history of UK–US collaborations.
 
6
In this volume, we have invited the Executive Director of Eurimages to speak for himself about the fund’s evolution (Chap. 14) and European producers to provide first-hand accounts of their own experiences of the fund (in Chaps. 19, 21 and 22).
 
7
The Co-production Research Network is a consortium of scholars, policy makers and industry practitioners with a shared concern to improve dialogue across these three domains (www.​copro-research-network.​org).
 
8
The recent proliferation of tax incentives across Europe has been identified as a moment of policy transition—from a ‘direct subsidy economy’ to a ‘new economy’, which is ‘mainly aimed at larger scale more commercial film projects’ (Morawetz et al. 2007, 427).
 
9
There is an increasing number of examples where official co-production status has been granted to projects financed predominantly through tax incentives (Mitric and Levie 2016). Such projects must still be able to demonstrate that they comply with official co-production eligibility criteria, as outlined in the chapter by Hammett-Jamart in this volume.
 
11
See, for instance, Sundet (2017) for a case study of Lilyhammer (2012–2014) a joint venture between Norwegian public broadcaster NRK and Netflix.
 
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Metadaten
Titel
Introduction: European Film and Television Co-production
verfasst von
Julia Hammett-Jamart
Petar Mitric
Eva Novrup Redvall
Copyright-Jahr
2018
DOI
https://doi.org/10.1007/978-3-319-97157-5_1