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East Europe's cinema industries since 1989: financing structure and studios
Iordanova, Dina (Author)

URLURL - Presentation file, Visit http://www.dlib.si/details/URN:NBN:SI:DOC-FVY6JI43 This link opens in a new window

Abstract
Desetletne izkušnje vzhodnoevropske tranzicije je mogoče povzeti v nekaj temeljnih ugotovitvah o viharnem in globokem preoblikovanju kulturn administracije. Vzhodnoevropska kulturna industrija je bila v začetku devetdesetih let prva izpostavljena velikemu zmanjšanju sredstev in odpravi vnaprej zagotovljenega financiranja. Še posebej je bil prizadet film. V vseh vzhodnoevropskih državah je bila filmska proizvodnja podvržena nepremišljenim strukturnim spremembam ter pogosto protislovnim ukrepom v upravljanju in financiranju. Drobljenje proizvodnih postopkov je pri mnogih povzročilo ustvarjalno krizo. Značilni problemi so nepoštena konkurenca, poglabljanje generacijskega prepada ter zaton celovečernih, dokumentarnih in animiranih filmov. Hkratna kriza v filmski distribuciji in prikazovanju je pripeljala do upadanja števila gledalcev vseh vzhodnoevropskih filmov, čeprav so hkrati nekateri vzhodnoevropski filmi poželi mednarodna priznanja. Spremembe v vzhodnoevropskem filmu so potekale v obodbju negotovosti zahodnoevropskih kulturnih politik, ki so jih vodila vse bolj protiameriška čustva. Nastanek investicijskih skladov, kot sta Media 95 in Euroimage, je bil reakcija na triumf komercialnega filma. Pod vplivom prevlade ideje "novega evropskega filma" nad "nacionalnim filmom" so se povečale tudi subvencije v vzhodnoevropske studie. Članek podrobneje obravnava spremembe v vzhodnoevropski filmski proizvodnji, konec nacionalnih kinematografij, probleme koprodukcij, zlasti v povezavi z Evroimage, komercialno financiranje,odnos med domačo in tujo filmsko distribucijo in prikazovanjem ter filmske festivale.

Language:English
Keywords:Vzhodna Evropa, filmska industrija, financiranje, kinematografija, nacionalni programi, subvencioniranje, komercializacija, Eastern Europe, film industry, financing, cinematography, national programme, subsidies, commercialization
Work type:Not categorized (r6)
Tipology:1.01 - Original Scientific Article
Organization:FDV - Faculty of Social Sciences
Year:1999
Number of pages:str. 45-60
Numbering:Vol. 6, no. 2
UDC:791
ISSN on article:1318-3222
COBISS.SI-ID:19251037 Link is opened in a new window
Views:446
Downloads:272
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Record is a part of a journal

Title:Javnost
Shortened title:Javnost
Publisher:Evropski inštitut za komuniciranje in kulturo
ISSN:1318-3222
COBISS.SI-ID:40119808 This link opens in a new window

Secondary language

Language:Unknown
Abstract:
The decade worth of the East European transition allows us to sum up important lessons of the stormy and profound transformation in cultural administration. The East European cultural industries were the first ones to suffer massive cuts and withdrawal of secure funding early in the 1990s. Cinema was affected most notably. In all of the East European countries filmmaking underwent volatile structural changes and was subjected to often contradictory undertakings in administration and financing. The crumbling production routines caused a creativity crisis in many filmmakers. Problems included unfair competition, deepening generation gap, and decline in feature,documentary and animation output. The concurrent crisis in distribution and exhibition led to a sharp drop in box office indicators for all productions carrying an East European label. At the same time some East European films enjoyed an international critical acclaim internationally. The volatility in East European cinema coincided with a clearly articulated period of insecurity in West European cultural policies, driven by a growing anti-American sentiment. The establishment of such pan-European funding bodies as Media 95 and Euroimage came as a reaction to the overwhelming triumphof commercialism in cinema. The share of international subsidies for filmmaking in poverty-stricken Eastern European studios quickly increased as the concept of "national cinema" gave way to a "new European" one. The article focuses on the following topics: changes in East European production schemes, the end of national cinemas, issues of co-producing with focus on Euroimage, media and commercial financing, the questions of domestic versus foreign film distribution and exhibition, and festivals.


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