Australian feature film production: a zero sum game

2020 ◽  
pp. 1329878X2097578
Author(s):  
Glenda Hambly
Keyword(s):  
Cultural Relevance ◽  
Funding Agency ◽  
Film Production ◽  
Television Industry ◽  
Feature Film ◽  
Film And Television ◽  
Feature Films ◽  
Policies And Programs ◽  
Zero Sum ◽  
Instrumental Role

Cultural relevance is constantly cited as the key reason for maintaining a government supported film and television industry in Australia, but when it comes to local feature films this is empty rhetoric. Independent producers making features that express an Australian sensibility face huge obstacles. The challenges begin in script development, continue through financing and end in a distribution and exhibition system that stymies profitability and access to Australian audiences. Since it was founded in 2007, Screen Australia, the country’s premier film funding agency, has played an instrumental role in systematizing and entrenching these obstacles with policies and programs that promote global and commercial goals. Given current government and film agency policy settings, the future of the local arm of the feature industry dedicated to telling Australian stories looks increasingly bleak.

Rob Roy: Britain’s First Feature Film

2018 ◽  
Author(s):  
Caroline Merz
Keyword(s):  
Language Production ◽  
English Language ◽  
Film Production ◽  
Feature Film ◽  
Study Approach ◽  
Feature Films ◽  
Production History ◽  
History Of ◽  
Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

Catching up with our Nordic peers: The rising demand for Finnish drama series and its impact on local film and television production companies

2020 ◽  
Vol 10 (2) ◽  
pp. 101-119 ◽  
Author(s):  
Heidi Grundström ◽  
Jose Juan Cañas Bajo ◽  
Ilkka Matila
Keyword(s):  
Local Distribution ◽  
Television Series ◽  
Economic Stability ◽  
Television Industry ◽  
Television Production ◽  
Film And Television ◽  
The Past ◽  
Catching Up ◽  
Feature Films ◽  
Media Reports

Traditionally, the Finnish film and television industry has revolved around producing feature films and television series for local distribution. In the past five years, however, the industry has been transformed by a rising demand for high-end drama series. In addition to the positive developments for the economic stability of production companies, challenges are unfolding as the demand for new content keeps growing. This article introduces three recent and central developments, drawing on interviews with four local producers and an analysis of industry and media reports. First, new players have entered the market and introduced new financing opportunities, both domestic and international. Second, international co-production opportunities have grown through production companies’ new international focus. And finally, the introduction of the Finnish production incentive for the audio-visual industry has enabled more ambitious projects. These developments have led to two main challenges that the industry is currently facing: the imminent lack of experienced crew and the need for revised practices for screenwriting, development and production.

scholarly journals The Other Sex of Polish Cinema. The Contribution of Female Filmmakers to Feature Film Production in the People’s Republic of Poland

Panoptikum ◽  
2020 ◽  
pp. 24-42
Author(s):  
Monika Talarczyk
Keyword(s):  
Quantitative Research ◽  
Film Industry ◽  
Creative Work ◽  
Film Production ◽  
Feature Film ◽  
Production Studies ◽  
Feature Films ◽  
Production Manager ◽  
Assistant Director ◽  
Female Filmmakers

The paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work.

Public aid mechanisms in feature film production: the EU MEDIA Plus Programme

2005 ◽  
Vol 27 (2) ◽  
pp. 229-250 ◽  
Author(s):  
Victor Henning ◽  
Andre Alpar
Keyword(s):  
Film Production ◽  
Feature Film ◽  
Public Aid ◽  
The Eu

Productive narratologies of convergent sf

2020 ◽  
Vol 13 (3) ◽  
pp. 405-426
Author(s):  
Ida Yoshinaga
Keyword(s):  
Mass Media ◽  
Native Hawaiian ◽  
Pop Culture ◽  
Movement Analysis ◽  
Feature Film ◽  
Kanaka Maoli ◽  
Film And Television ◽  
Indigenous Media ◽  
Independence Movement ◽  
Media Interventions

This article examines how a Native Hawaiian activist’s inventive self-representational tactics, deployed within corporate mass media, have enriched North American pop-culture discourses on the Kanaka Maoli independence movement. Analysis focuses on the convergent (that is, transmedial or purposefully cross-medial) self-representational efforts of Dennis ‘Bumpy’ Pu‘uhonua Kanahele, who rose to fame as one of several notable organisers in the Hawaiian sovereignty movement during the 1990s. Several film and television texts became targets of Kanahele’s indigenous media interventions into commercial cinematic genre storytelling across different narrative platforms beginning in the 2010s. Applying a utopian reading that brings out Kanahele’s Indigenous Futurist interventions, this article offers readings of the theatrical feature film Aloha (2015) and a 2017 episode of Hawaii Five-o. Both texts visually focalise Pu‘uhonua o Waimānalo, the land base of Kanahele’s sovereignty movement known as the Nation of Hawai‘i, which gets positioned within these narratives as a Kanaka Maoli utopia providing refuge for indigenous Hawaiians away from the predation of both rampant capitalism and Western empire.

Behind the money: Alejandro González Iñárritu as career director

2021 ◽  
Vol 18 (1) ◽  
pp. 9-18 ◽  
Author(s):  
Paul Julian Smith
Keyword(s):  
Mass Culture ◽  
Television Drama ◽  
Feature Film ◽  
Feature Films ◽  
Primary Materials ◽  
Alejandro Gonzalez Inarritu

This article is presented in two halves. The first analyses little known interviews with Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás del dinero/Behind the Money. The conclusion argues that even as Iñárritu has more recently distanced himself from broadcasting, his later career as an artistic and commercially successful feature film director embodies a precarious balance between artistic innovation and mass culture and a focus on the audience which he first learned in his early work in advertising, radio and television.

Soviet Art House

2021 ◽  
Author(s):  
Catriona Kelly
Keyword(s):  
Film Industry ◽  
Working Life ◽  
Film Production ◽  
Entire System ◽  
Technical Aspects ◽  
Soviet Film ◽  
Soviet Art ◽  
Feature Films

This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.

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