The European Audiovisual Space: How European Media Policy Has Set the Pace of Its Development

Crusafón, Carmina

doi:10.1057/9781137356888_5

Cited by 14 publications

(8 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…To retain the specificity of the film and audiovisual industry while evaluating the creative economy, our proposal also includes the analysis of content production in the film and audiovisual sector. By including the creative output of this sector, we retain its specific cultural dimension, namely in Europe, for its aesthetic value (Crusafon, 2015).…”

Section: An Innovative Approach To Mapping the Film And Audiovisual S...mentioning

confidence: 99%

Mapping the Film and Audiovisual Sectors: a Research Agenda for the Future

Damásio¹,

Grácio²

2021

JOCIS

View full text Add to dashboard Cite

The film and audiovisual sectors play a crucial role in the European societies, and by extension, also in Portugal. This paper proposes a conceptual change centered on mapping the film and audiovisual (AV) industries in Portugal as a creative sector instead of a cultural one. We argue that this approach enables a more rigorous measurement of the value of these industries in the creative economy, besides allowing for more accessible connections between the creative industries and other areas. This conceptual change is based on an innovative approach to the “creative trident.” We argue that the value of the film and AV sector must be rooted in a flourishing creative workforce, and we propose that entrepreneurship education can be a path forward in unlocking the sector’s tremendous creative potential. We suggest an innovative research agenda to link all these elements in the context of the audiovisual and film creative industries.

show abstract

Section: An Innovative Approach To Mapping the Film And Audiovisual S...mentioning

confidence: 99%

Mapping the Film and Audiovisual Sectors: a Research Agenda for the Future

Damásio¹,

Grácio²

2021

JOCIS

View full text Add to dashboard Cite

show abstract

“…At the same time, this increase in consumption when a film is distributed to the rest of the continent also shows a certain interest of the audience in community pieces. In this sense, it could be said that the Eurimages program has contributed to slightly improve the circulation of European Works, despite being one of the main problems which this sector faces, along with the increase of the market share (Crusafon, 2015).…”

Section: /2014mentioning

confidence: 99%

“…4 The budget of Creative Europe, for the 7 years it lasted, reached 1,460€ millions, of which 56% of the total amount corresponds to the MEDIA program. 5 For an extended study on the impact of the MEDIA program on production and on market share of European film production, consult Crusafon (2010Crusafon ( , 2013Crusafon ( , 2015 and De Vinck (2011, 2014). 6 We have left Great Britain aside because, although it has a powerful industry, it is not included in the countries assigned to the Eurimages funds.…”

Section: Notesmentioning

confidence: 99%

Audio-Visual Production as a Path of Cooperation in Europe. Eurimages Funds

Romero-González

Palma-Martos

2019

SAEB

View full text Add to dashboard Cite

The aim of this paper is to analyse co-production in Europe through the funds of the Eurimages program from its origin, in 1989 to 2016, and to determine a pattern of co-production among the main film producer nations in Europe: France, Germany, Italy and Spain. For that purpose, a statistical analysis is carried out using several data sources: the Lumiere database, the reports from the European Audiovisual Observatory, as well as those from several national film institutions (such as the ICAA in Spain, or the CNC in France), or even the webpages of the Eurimages program and the Ibermedia one. Among the main results, it should be underlined that Eurimages has contributed to the increase of European films through co-production, but not to the increase of film audience, being far from that of American films. Nevertheless, if compared to national films, Eurimages has favoured both the transnational circulation of films and their consumption. Moreover, the main reasons to choose partners to co-produce are both cultural and economic, based on language, geographical proximity, common history and having a more developed film industry with a generous film support. With this article we want to contribute to update the literature about co-production in Europe using Eurimages funds.

show abstract

“…For instance, EU is one of the parties that have a legal obligation under the UNESCO Convention on the Protections and Promotion of the Diversity of Cultural Expressions. However, researchers have noted that the cultural dimension is now less important to EU policy, whereas the market side and an economic growth discourse are becoming more important (Crusafon, 2015). The public funding of the European audiovisual industry rests on an argument of diversity, but this industry is now increasingly expected to finance itself.…”

Section: Diversity and The Economic Aspect Of Cultural Productionmentioning

confidence: 99%