Fomentando as Indústrias Criativas: uma Análise das Políticas Federais para o Audiovisual no Brasil

Abstract

ResumoEste paper apresenta os resultados de uma pesquisa financiada pelo CNPq para estudar o fomento à produção audiovisual no Brasil. A pesquisa baseou-se no conceito de indústrias criativas e possuía três objetivos: caracterizar as ações correntes do governo federal de fomento à produção audiovisual; compreender as relações entre as ações de fomento e o conceito de indústrias criativas; identificar as redes que se formam entre os atores envolvidos na elaboração de políticas de fomento para o setor. O método incluiu: análise de websites, questionários e entrevistas. Os resultados demonstraram que as políticas de fomento são marcadas por suporte financeiro, mas, também, por esforços para gerar sustentabilidade econômica das empresas no segmento audiovisual. Os fomentadores indicam como necessidades no setor: mais informações sobre o mercado audiovisual; melhor capacitação em negócios entre os produtores; e maiores recursos orça-mentários e humanos para implementar as políticas. Os agentes fomentadores usam o conceito de indústrias criativas, mas ele não é um elemento central nas suas políticas. Eles estabelecem relações entre si para as ações de fomento, mas nem todos se relacionam com todos. Palavras-chave: indústrias criativas, fomento à produção audiovisual, políticas públicas AbstractThis paper presents the results of a research financed by CNPq, to study the foment of audiovisual production in Brazil. The research was based in the concept of creative industries and had three main objectives: characterization of present foment policies to audiovisual production in the federal government; comprehension of the relationship between fomenting actions and the concept of creative industries; identification of networks that are formed among actors in charge of policy-making to the sector. The method included: analysis of websites, questionnaires and interviews. The results showed that fomenting policies are strongly marked by financial support but also by efforts to provide economic health to audiovisual firms. Fomenters align as needs to the sector: more information about the market; better business skills to producers; and more human and financial resources to implementation of policies. Policy-makers use the concept of creative industries but it is not central in their policies. They establish relationships among them to better provide foment, but the network they form does not include relationship among all of them. Keywords: Creative Industries. Foment to Audiovisual Producers. Public Policies ResumenEn este trabajo se presentan los resultados de la investigación financiada por el CNPq para estudiar la promoción de la producción audiovisual en Brasil. La investigación se basa en el concepto de industrias creativas y tenía tres objetivos: caracterizar las acciones actuales del gobierno federal para promover la producción audiovisual; entender la relación entre las acciones de desarrollo y el concepto de industrias creativas; identificar las redes que se forman entre los actores involucrados en las políticas de ...

Audiovisual production in Brazil: Will its public support survive the new political scenario?

“…According to ANCINE (2019), independent production companies accounted for more than half of the total number of economic agents working with audiovisual production registered with the agency as of 2009. From the point of view of regional diversity, there was also an increase in the inclusion of producers from outside the Rio-São Paulo axis, especially from the North, Northeast, and Midwest regions of the country, which historically have received lower levels of federal public funding for audiovisual development, despite a prestigious tradition of film production in some States in these regions (Ferreira and Jambeiro, 2015).…”

“…In the case of Brazil, in the late 2010s, the audiovisual sector received unprecedented levels of support as a strategic sector for the federal government, both in terms of cultural policy and as an economic sector, capable of mobilizing talent and structures in such a way as to favor the development of the kind of audiovisual industry desired (Ferreira and Jambeiro, 2015). This project for the industry bore the hallmarks of its neoliberal origins, in the sense that the rules established did not foresee a confrontation arising within the main dynamics of the relationship between market agents (production, exhibition, and distribution) to the point where it began to pose a threat to large established groups, or to the logic of production adopted by the mainstream circuit – including audiovisual esthetics and narratives.…”