Abstract
The practice of co-production occurs at the nexus of national and international policy jurisdictions, between cultural and commercial policy imperatives, pitting the reflex to protect against the desire to expand. As such it unsettles many preconceived notions about national cinema. This article focuses on the particular type of co-production which most embodies these points of tension—official co-production. It explains the complex, multi-dimensional policy framework within which official co-production occurs, the challenges it raises for public policy and the manner in which these are negotiated by industry partners.
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Notes
- 1.
The cultural exception was agreed at the conclusion of the GATT negotiations, but granted only a temporary reprieve to the audiovisual sector, with subsequent negotiations under the WTO due to reconsider liberalisation of trade in this ‘industry’. The UNESCO Convention thus arose as a concerted attempt to circumvent liberalisation of creative industries and to enshrine the sovereign right of nations to make policies in this area. Where the ‘cultural exception’ conflicted with the MFN provisions, ‘cultural diversity’ did not.
- 2.
Article 3 indicates that the particular levels of the French-German agreement may be modified to between 10% and 90% of the co-produced film’s final cost, subject to removal of legal obstacles in Germany (2001).
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Hammett-Jamart, J. (2018). Official Co-production: Policy Instruments and Imperatives. In: Hammett-Jamart, J., Mitric, P., Novrup Redvall, E. (eds) European Film and Television Co-production. Palgrave European Film and Media Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-97157-5_3
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