The Circulation of European Films within Europe
digital
![]() Articolo
€ 6,00
|
Ebook in formato Pdf leggibile su questi device:
|
|
While more than a thousand films are made in Europe each year, only around 20 actually circulate in any meaningful way outside their own national market but within Europe. Despite the processes of globalisation and digitisation, we are clearly still some way from a film industry that knows no borders. This paper analyses the sorts of European productions that do travel successfully within Europe, and why. It draws on research undertaken for the MeCETES project (Mediating Cultural Encounters Through European Screens, 2013-2016), and especially the extensive database of films released in Europe between 2005 and 2015 put together by Huw D. Jones. The key factors affecting the ability of European films to travel successfully in nonnational European markets include the size of the budget, whether one of the major American studios was involved as producer or distributor, whether the lead producing nation was one of the Western European big five, the language in which the film was shot, critical acclaim, and the way in which the film tells its story. Five categories of European films, their production circumstances and their market performance, emerge from this analysis. First there are large-scale, big-budget blockbusters, many of them inward investment films backed by the Hollywood majors, which tend to travel well within Europe and enjoy equivalent success online. Secondly, there are small-scale, director-led, art-house films that command significant critical attention and travel to cosmopolitan audiences across Europe. Thirdly, there are feel-good, middlebrow films that occupy the middle-ground between these two extremes: modestly budgeted films that occasionally achieve crossover success and travel well within Europe. The other two categories describe films that travel very little, if at all, outside their domestic market. The fourth category is modest to low budget films with a strong national appeal, which may be successful in their own domestic market but rarely travel well beyond that market, whether theatrically or online. Fifthly, there are a great many European productions that fail to secure significant national admissions, let alone admissions in non-national markets. In many cases, this is indeed about failure. The dominance of the European film market by a small number of powerful American, British and French companies, and to a lesser extent, German, Spanish and Italian companies, indicates a lack of diversity within the films that circulate. And while some European films do circulate successfully outside their main producing nation, the vast majority do not. National film cultures within Europe are also surprisingly resilient in this era of globalised, digital storytelling and a surprising amount of national film-making is still enjoyed by national audiences. The challenge to policy-makers thus remains to find more effective ways of enabling a greater degree of cultural exchange, openness and inclusivity, within and beyond Europe.
keywordsEuropean film production and distribution; non-national European films; middlebrow films; blockbusters; auteur filmsBiografia dell'autoreUniversity of York – andrew.higson@york.ac.uk. |
News
27.04.2022
Esquirol e Potestà al Festival Biblico
Il 28 e 29 maggio a Vicenza i nostri autori Esquirol e Potestà saranno ospiti al Festival Biblico.
20.05.2022
Rosina vince il Premio Atlante al Salone del libro
"Crisi demografica. Politiche per un paese che ha smesso di crescere" vince il Premio Atlante della Fondazione del Circolo dei lettori di Torino.
16.05.2022
La convergenza di interessi dietro la strage di Capaci
A trent'anni dalla strage di Capaci, vi proponiamo un estratto dal libro "Mafia. Fare memoria per combatterla" del giudice Antonio Balsamo.
16.05.2022
Charles de Foucauld, il santo del deserto
In occasione della canonizzazione, vi proponiamo due titoli - di Sequeri e d'Ors - per approfondire la figura di Charles de Foucauld.
Archivio rivista
Articoli Online First
Towards the Platformization of (Social) Media Memory: Articulating Archive, Assemblage, and Ephemerality
“Scusi, chi ha fatto palo?” Continuità e disruption del calcio su internet in Italia: dalle iptv ‘pirata’ a dazn
“Scusi, chi ha fatto palo?” Continuità e disruption del calcio su internet in Italia: dalle iptv ‘pirata’ a dazn
Ultimi 3 numeri
COMUNICAZIONI SOCIALI - 2021 - 3. Theatres and Politics Today
Lights and Shadows of a Long Relationship
COMUNICAZIONI SOCIALI - 2021 - 2
COMUNICAZIONI SOCIALI - 2021 - 1. Arts-Based Research in Communication and Media Studies
COMUNICAZIONI SOCIALI - 2021 - 2
COMUNICAZIONI SOCIALI - 2021 - 1. Arts-Based Research in Communication and Media Studies
Annate disponibili online
2021202020192018201720162015201420132012201120102009200820072006200520042003200220012000199919981997199619951994199319921991199019891988198719861985198419831982198119801979197819771976197519741973