همکاری در تولید اروپا: قوم‌نگاری بازارهای فیلم، خلاقیت و هویت

Up until the 1990s, when the EU launched film policies intended to encourage political and cultural collaboration among its member states, film production was based on the cultural and national values of individual nations. __Coproducing Europe__ explores the impact of these EU policies on the coproduction networks that now serve as a driving force in contemporary creative economies. By focusing on regional film markets in Thessasloniki, Sarajevo, and Tbilisi, this comparative ethnography looks beyond the economic nature of film coproductions to their role in Europeanisation, memories of the Cold War, and preconstructed political agendas. Up until the 1990s, when the EU launched film policies intended to encourage political and cultural collaboration among its member states, film coproductions were limited to specific industries and mostly based on the cultural and national values of individual nations. Coproducing Europe explores the impact of these EU policies on the coproduction networks that now serve as a driving force in contemporary creative economies. By focusing on regional film markets in Thessaloniki, Sarajevo and Tbilisi, this comparative ethnography looks beyond the economic nature of film coproductions to their role in Europeanization, memories of the Cold War and preconstructed political agendas. "Up until the 1990s, when the EU launched film policies intended to encourage political and cultural collaboration among its member states, film production was based on the cultural and national values of individual nations. Coproducing Europe explores the impact of these EU policies on the coproduction networks that now serve as a driving force in contemporary creative economies. By focusing on regional film markets in Thessasloniki, Sarajevo, and Tbilisi, this comparative ethnography looks beyond the economic nature of film coproductions to their role in Europeanisation, memories of the Cold War, and preconstructed political agendas"-- Provided by publisher Contents 5 Figures, Maps and Tables 6 Acknowledgements 7 Introduction: Methodology 9 Chapter 1. Between Art and Industry 20 Chapter 2. Coproduction History in Post-War Prehistory 39 Chapter 3. EU Media Policies 60 Chapter 4. Film Festivals in EU South-Eastern Peripheries 81 Chapter 5. From National Cinemas to European Coproductions 104 Chapter 6. Matchmaking 125 Chapter 7. Coproducing Emotions 145 Conclusion 165 Appendix 171 References 174 Index 192