The aid system for the audiovisual industry in Colombia

The objective of paper is to study the progression of the Colombian film industry and the birth of its film policy. By analyzing the new laws and the distribution of funds around the Proimágenes Program of the Ministry of Culture we identify that the creation of the Ministry of Culture (1997) and the Mixed Fund for Film Promotion-Proimágenes is the first milestone, followed and complemented by the Film Law (2003) that institutes the Film Development Fund (FDC) and the Film Law (2012), which attracts foreign companies and approves the Colombia Film Fund (FFC).

Trade stories, film policy and radical uncertainty: Remarks on Scandinavian cinema and COVID-19 inspired by ‘Digging the digital?’

A selection of Corona-related trade stories from the field of ‘creative documentary’ is examined and connected to a discussion about government film policy – long-term support structures as well as ad hoc measures to counter the effects of COVID-19 – all in an effort to gauge the pandemic’s ramifications for Scandinavian cinema and the film industry’s navigation of conditions of radical uncertainty.

Creative Clusters – Urban Utopia or Regional Remedy?

The creative industries have had a major impact on cultural policy, and it is often argued that these industries can be a vehicle for regional growth. Using regional film production in Norway as a case, I discuss the creative industries, the cluster concept and its impact on policy. I analyse two film policy documents from 2007 and 2015 in order to show how the issue of size and critical mass is an unsettled topic within the creative industries, and I question the relevance of film as an economic and regional development tool in a country with a small film industry, such as Norway. This article shows that the creative industries concept, adopted from international discourses, especially creative industries policies in the UK, has influenced Norwegian film policy, reducing the importance of cultural objectives and increased the focus on the business potential and economic aspects of culture.

Regional screen ecosystems at the peripheries: Production and talent development in Tromsø and Aarhus

This article addresses the regionalization of screen culture in Norway and Denmark, focusing on how regional screen entities in Tromsø and Aarhus are working to professionalize production and talent development at the peripheries of both countries. We outline their distinctive characteristics and circumstances as regional hubs and delineate the key actors that constitute the respective screen ecosystems. We focus on the interplay between regional film policy, production and talent development in relation to regional development, geography, creativity, innovation and the economy of culture. Based on an examination of policies, strategy documents and interviews conducted with practitioners in Aarhus and Tromsø over the period 2014‐19, we explore the diverse strategies these regional production hubs employ to develop and ‐ more challengingly ‐ retain talents in the region, arguing that despite the increased attention given to ‘diversity’ in film policy, structural and cultural obstacles hamper sustainable growth.