scholarly journals Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

2021 ◽  
Author(s):  
◽  
Natàlia Ferrer-Roca
Keyword(s):  
New Zealand ◽  
Value Chain ◽  
Economies Of Scale ◽  
Film Industry ◽  
Chain Structure ◽  
Film Production ◽  
Feature Film ◽  
Middle Tier ◽  
Small Market ◽  
Film Productions

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand.  The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand.  This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

scholarly journals Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

2021 ◽  
Author(s):  
◽  
Natàlia Ferrer-Roca
Keyword(s):  
New Zealand ◽  
Value Chain ◽  
Economies Of Scale ◽  
Film Industry ◽  
Chain Structure ◽  
Film Production ◽  
Feature Film ◽  
Middle Tier ◽  
Small Market ◽  
Film Productions

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand.  The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand.  This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

scholarly journals Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

2021 ◽  
Author(s):  
◽  
Natàlia Ferrer-Roca
Keyword(s):  
New Zealand ◽  
Value Chain ◽  
Economies Of Scale ◽  
Film Industry ◽  
Chain Structure ◽  
Film Production ◽  
Feature Film ◽  
Middle Tier ◽  
Small Market ◽  
Film Productions

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand.  The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand.  This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

scholarly journals Small Country, Big Films: An Analysis of the New Zealand Feature Film Industry (2002-2012)

2021 ◽  
Author(s):  
◽  
Natàlia Ferrer-Roca
Keyword(s):  
New Zealand ◽  
Value Chain ◽  
Economies Of Scale ◽  
Film Industry ◽  
Chain Structure ◽  
Film Production ◽  
Feature Film ◽  
Middle Tier ◽  
Small Market ◽  
Film Productions

<p>This thesis explores the contextual, institutional, and economic characteristics that influence contemporary feature filmmaking in New Zealand. It identifies and analyses the conditions and circumstances that have made it possible for New Zealand, as a country whose relatively small market size combines with its geographical remoteness, to not only create and sustain a feature film production industry, but also achieve unusual success for the resulting films, in critical and/or commercial terms. Applying an institutional political economy perspective to its research and analyses, this study draws on archival material, policy analysis and expert interviews with key personnel in industry and state agencies, in its undertaking of a ‘value chain’ examination of New Zealand feature film productions. Seven case studies are used to examine the distinguishing factors of the three kinds of productions – ‘tiers’ – that constitute the New Zealand feature film industry, with an emphasis on the connections between these tiers, as well as their individual significance for feature filmmaking in New Zealand.  The study’s successful application of the three-tier feature film production ecology to the contemporary New Zealand filmmaking context is valuable for its capacity to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. Important in determining these differences is the question of whether a film’s contribution to a country is primarily cultural or economic, or, is situated somewhere between these functions and expectations. Central to the study’s ‘value chain’ structure and mode of analysis is the investigation of the priorities and motivations of the main institutions and agents involved, in recognition of their capacity to profoundly shape the possibilities for feature film production in New Zealand.  This thesis argues that New Zealand is best advised to maintain and nurture all three-tiers of feature productions, because they depend on and complement each other. Together, they have contributed significantly to the success of the New Zealand feature film industry. To sustain this competitive position and to develop the country’s filmmaking potential further, it will be crucial for New Zealand’s public institutions to ensure continued support for bottom- and middle-tier films in particular, both in terms of favourable policies and funding allocations. Continued support is justified not just in recognition of the important cultural contributions of bottom- and middle-tier films, but also to help these film productions overcome the financial hurdles imposed by a small domestic market and limited economies of scale.</p>

The Changing Patterns of North Korea’s International Film Co-Productions Since the 1980s: A Global Value Chain Approach

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin
Keyword(s):  
Value Chain ◽  
North Korea ◽  
Film Industry ◽  
International Standards ◽  
The Political ◽  
Global Value Chain ◽  
Comprehensive Understanding ◽  
Changing Patterns ◽  
Film Productions

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.

The systems psychodynamics of gendered hiring: Personal anxieties and defensive organizational practices within the New Zealand film industry

2016 ◽  
Vol 70 (3) ◽  
pp. 312-338 ◽  
Author(s):  
Jocelyn Handy ◽  
Lorraine Rowlands
Keyword(s):  
New Zealand ◽  
Qualitative Data ◽  
Film Industry ◽  
Project Teams ◽  
Hiring Practices ◽  
Film Production ◽  
Team Members ◽  
High Functioning ◽  
The Social ◽  
Lower Status

This article uses systems psychodynamic concepts to explore the creation and reproduction of gendered inequality within the New Zealand film industry. The article focuses on the ways in which senior film production workers’ anxieties about hiring, or working with, women influence the process of assembling project teams. It suggests that the process of choosing team members creates considerable anxiety for both senior film production workers with responsibility for hiring and lower-status team members who need to rely on them to create high-functioning teams. The industry ideal of the autonomous creative worker is implicitly gendered, conforming more closely to traditional concepts of the unencumbered male worker than traditional ideals of femininity and motherhood. The antithesis between these representations creates anxiety, raising unconscious fears that women as a category are less trustworthy workers. Consequently, discriminatory hiring practices that diminish these anxieties become collectively accepted as rational responses to organizational problems and embedded within the social system as collectively endorsed defences against anxiety. Given that project-based employment is temporary, this pattern of discrimination against women is regularly repeated and contributes to entrenched gender inequality within the film industry. Qualitative data from interviews with 12 male and 13 female film production workers is presented to illustrate this analysis.

scholarly journals Política cultural y crisis económica: algunas reflexiones a propósito de la reforma de la Ley del Cine.

2016 ◽  
Vol 14 (2) ◽  
pp. 182 ◽  
Author(s):  
María-Jesús Díaz-González
Keyword(s):  
Financial Crisis ◽  
Cultural Policy ◽  
Film Industry ◽  
Film Production ◽  
Policy Decisions ◽  
Feature Film ◽  
Political Decisions

<p>En España, desde el año 2008, las decisiones políticas que están afectando a la industria cinematográfica se han justificado con frecuencia por la situación general de crisis económica. Una de estas decisiones ha sido la reforma de la Ley del Cine, que entró en vigor a comienzos de 2016. El objetivo de este trabajo es reflexionar sobre aquellos aspectos de la reforma que pueden tener mayor repercusión en el fomento de la cinematografía; y aportar argumentos para valorar si estas reformas se han debido a la crisis económica o a las decisiones de política cultural. Los resultados indican que las reformas con mayor repercusión podrían ser: las características de las nuevas ayudas para la producción de largometrajes; las obligaciones de gasto en el territorio nacional; la intensidad máxima permitida para las ayudas; la obligación de reembolso de las ayudas en algunos casos; y la regulación de las producciones que pueden ser consideradas obras difíciles.</p><p>Since 2008, the financial crisis has often been cited as justification for certain political decisions affecting the film industry in Spain. One of these decisions was the reform of the Cinema Act, which came into effect in early 2016. The aim of this work is, firstly, to reflect on those aspects of the reform that are likely to have the greatest impact on the promotion of filmmaking, and secondly, to provide some arguments to assess whether these reforms can be put down to the financial crisis or to cultural policy decisions. The results show that the reforms likely to have the greatest impact are the characteristics of new subsidies for feature film production, the obligations to spend on national territory, the maximum permitted subsidy intensity, the obligations to reimburse subsidies in some cases, and the regulation of productions that could be considered difficult works.</p>

Faroese cinema and transnational nation-building

2020 ◽  
Vol 10 (2) ◽  
pp. 137-150 ◽  
Author(s):  
Bradley Harmon
Keyword(s):  
Film Industry ◽  
Nation Building ◽  
Broad Perspective ◽  
Feature Film ◽  
Cinema Studies ◽  
Production And Distribution ◽  
History Of ◽  
Film Productions ◽  
Nordic Cinema ◽  
Building Practice

In addition to providing a brief history of Faroese cinema in a broad perspective, this article examines the juxtaposition of the transnationalism of Nordic cinema and what could be called a Faroese cinema, which has previously not been the focus of scholarly attention within Nordic cinema studies. This article presents the case for Faroese cinema as a nation-building practice within a transnational funding, production and distribution context. By expanding the notion of Faroese cinema to include films containing various national and transnational markers, it aims to provide a deeper and broader understanding of the development of a distinct film industry on the Faroe Islands. Extending from previous work in transnationalism and globalization in Nordic cinema, this article argues that Faroese cinema is inherently transnational and that recent institutional establishments and feature film productions are not starting points for Faroese cinema, but rather milestones in its development.

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.

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