Notes on Some Difficulties of a European Cinema Makeover
(2008) NECS 2008 - The Budapest Conference- Abstract
- Ever since the GATT negotiations of 1993, the level of consciousness within Europe about the economic precariousness of its audiovisual industries has increased. At the same time a prevalent theory about how regions and cities can achieve economic growth and a facelift has spread. Accordingly, to create an audiovisual cluster is often proposed as a particularly promising way to go for places who find themselves marred by unemployment and post-industrial decline.
In Sweden, these developments, together with the fact that the country joined the European Union in 1995, have led to the establishing of three regional film centres. As of now, a large majority of all features are shot here. At the same time the phrase “Swedish film... (More) - Ever since the GATT negotiations of 1993, the level of consciousness within Europe about the economic precariousness of its audiovisual industries has increased. At the same time a prevalent theory about how regions and cities can achieve economic growth and a facelift has spread. Accordingly, to create an audiovisual cluster is often proposed as a particularly promising way to go for places who find themselves marred by unemployment and post-industrial decline.
In Sweden, these developments, together with the fact that the country joined the European Union in 1995, have led to the establishing of three regional film centres. As of now, a large majority of all features are shot here. At the same time the phrase “Swedish film should be a sector of dynamic growth”, has been written into the national film agreement between the government and the remains of what used to be an industry. These are words without equivalence in all of the former agreements ever since film was recognized as a sector in need of support 45 years ago.
Using the southern Swedish town of Ystad – one of three current centres for feature production – as a case study, this paper will discuss some areas in which the proposed makeover, to suddenly become “dynamic”, is to some extent made problematic by inherited notions embedded in that complex of ideas Steve Neale lined out in his influential article “Art Cinema as Institution” almost thirty years ago. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/1164490
- author
- Hedling, Olof LU
- organization
- publishing date
- 2008
- type
- Contribution to conference
- publication status
- unpublished
- subject
- keywords
- film production., regional film, European film
- conference name
- NECS 2008 - The Budapest Conference
- conference dates
- 2008-06-19 - 2008-06-22
- project
- Europeisk, skandinavisk och regional film och filmproduktion
- language
- English
- LU publication?
- yes
- id
- 21df26ee-b5f0-40c2-b5c3-c241c2e158eb (old id 1164490)
- date added to LUP
- 2016-04-04 13:18:25
- date last changed
- 2018-11-21 21:13:07
@misc{21df26ee-b5f0-40c2-b5c3-c241c2e158eb,
abstract = {{Ever since the GATT negotiations of 1993, the level of consciousness within Europe about the economic precariousness of its audiovisual industries has increased. At the same time a prevalent theory about how regions and cities can achieve economic growth and a facelift has spread. Accordingly, to create an audiovisual cluster is often proposed as a particularly promising way to go for places who find themselves marred by unemployment and post-industrial decline.<br/><br>
In Sweden, these developments, together with the fact that the country joined the European Union in 1995, have led to the establishing of three regional film centres. As of now, a large majority of all features are shot here. At the same time the phrase “Swedish film should be a sector of dynamic growth”, has been written into the national film agreement between the government and the remains of what used to be an industry. These are words without equivalence in all of the former agreements ever since film was recognized as a sector in need of support 45 years ago.<br/><br>
Using the southern Swedish town of Ystad – one of three current centres for feature production – as a case study, this paper will discuss some areas in which the proposed makeover, to suddenly become “dynamic”, is to some extent made problematic by inherited notions embedded in that complex of ideas Steve Neale lined out in his influential article “Art Cinema as Institution” almost thirty years ago.}},
author = {{Hedling, Olof}},
keywords = {{film production.; regional film; European film}},
language = {{eng}},
title = {{Notes on Some Difficulties of a European Cinema Makeover}},
year = {{2008}},
}