Advertisement

The Many Enemies of Co-productions in Italy: Moviegoers, Broadcasters, Policy-Makers and Half-Hearted Producers

  • Marco Cucco
Chapter
Part of the Palgrave European Film and Media Studies book series (PEFMS)

Abstract

The chapter investigates the reasons why Italy plays a marginal role in international co-productions. The author identifies four stakeholders that discourage co-productions: (a) moviegoers, who basically prefer 100% national films or US movies; (b) broadcasters, who are unwilling to finance-release-schedule risky films; (c) policymakers, who are more interested into attracting film shoots and promoting Italian executive producers for foreign films (through local funds & tax incentives) than into favouring co-productions; and (d) Italian producers themselves, who are not brave enough to explore new production patterns. For all these reasons, the number of international co-productions with Italy is stable and has not been influenced by the evolutions of national/local laws of the past few years. Of course, virtuous exceptions exist, as Paolo Sorrentino’s films demonstrate.

References

  1. Álvarez-Monzoncillo, José, Antonio Baraybar-Frenández, and Javier López-Villanueva. 2015. Audiovisual Production in Spain. Fewer Resources, Same Problems, New Challenges. Economia della cultura 25 (2): 211–222.Google Scholar
  2. Cucco, Marco. 2013. From the State to the Regions: The Devolution of Italian Cinema. Journal of Italian Cinema & Media Studies 1 (3): 263–277.CrossRefGoogle Scholar
  3. ———. 2017. The Vertical Axis of Film Policies in Europe: Between Subsidiarity and Local Anarchy. In Reconceptualising Film Policies, ed. Nolwenn Mingant and Cecilia Tirtaine, 263–275. New York: Routledge.CrossRefGoogle Scholar
  4. Cucco, Marco, and Giacomo Manzoli, eds. 2017. Il cinema di Stato. Finanziamento pubblico ed economia simbolica nel cinema italiano contemporaneo. Bologna: Il Mulino.Google Scholar
  5. European Audiovisual Observatory. 2017. World Film Market Trends—Focus 2017. Strasbourg: European Audiovisual Observatory.Google Scholar
  6. Higson, Andrew. 2015. British Cinema, Europe and the Global Reach for Audience. In European Cinema and Television: Cultural Policy and Everyday Life, ed. Ib Bondebjerg, Eva Novrup Redvall, and Andrew Higson, 127–150. New York: Palgrave Macmillan.Google Scholar
  7. Hjort, Mette. 2010. On the Plurality of Cinematic Transnationalism. In World Cinema, Transnational Perspectives, ed. Natasa Durovicová and Kathleen Newman, 12–33. New York: Routledge.Google Scholar
  8. Hjort, Mette, and Duncan Petrie, eds. 2007. The Cinema of Small Nations. Bloomington: Indiana University Press.Google Scholar
  9. Hoskins, Colin, Stuart McFadyen, and Adam Finn. 1997. Global Television and Film: An Introduction to the Economics of the Business. Oxford: Clarendon Press.Google Scholar
  10. Hoskins, Colin, and Rolf Mirus. 1988. Reasons of the US Dominance of the International Trade in Television Programmes. Media, Culture & Society 10 (4): 499–515.CrossRefGoogle Scholar
  11. Jäckel, Anne. 1996. European Co-production Strategies. The Case of France and Britain. In Film Policy: International, National and Regional Perspectives, ed. Albert Moran, 85–97. London and New York: Routledge.Google Scholar
  12. Kanzler, Martin. 2015. The Theatrical Market for European Films Outside Europe. Strasbourg: European Audiovisual Observatory.Google Scholar
  13. MiBACT. 2017. Tutti i numeri del cinema italiano—anno 2016. Accessed October 9, 2017. http://www.cinema.beniculturali.it/Notizie/4483/67/tutti-i-numeri-del-cinema-italiano-2016/.
  14. Morawetz, Norbert, Janet Hardy, Colin Haslam, and Keith Randle. 2007. Finance, Policy and Industrial Dynamics—The Rise of Co-productions in the Film Industry. Industry and Innovation 14 (4): 421–443.CrossRefGoogle Scholar
  15. Papadimitriou, Lydia. 2017. Transitions in the Periphery: Funding Film Production in Greece since the Financial Crisis. International Journal on Media Management 19 (2): 164–181.CrossRefGoogle Scholar
  16. Talavera Milla, Julio, Gilles Fontaine, and Martin Kanzler. 2015. Public Financing for Film and Television Content. The State of Soft Money in Europe. Strasbourg: European Audiovisual Observatory.Google Scholar
  17. Wasko, Janet. 2014. The Study of the Political Economy of the Media in the Twenty-First Century. International Journal of Media & Cultural Politics 10 (3): 259–271.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Marco Cucco
    • 1
  1. 1.University of BolognaBolognaItaly

Personalised recommendations