Titlebook: European Film and Television Co-production; Policy and Practice Julia Hammett-Jamart,Petar Mitric,Eva Novrup Redva Book 2018 The Editor(s)

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Sputum

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

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‘Official Co-production in the EU: The Role of Eurimages’—an interview with Roberto OllahD in European Law from the European University Institute, Florence, and has previously worked within the MEDIA programme of the European Union. In this interview he outlines the objectives and operation of Eurimages, the impact of co-production on content and also addresses some of the challenges f

Incompetent

Digital Single Market for Audiovisual Content: Utopia or Win-Win for All?n’s attempt to balance the interests of consumers, producers and service providers in the area of cross-border access to audiovisual content and explores co-production as a potential model of European trans-national co-operation that may usefully inform future policy developments

逃避現(xiàn)實(shí)

The Impact of Regional Film Funds on the European Co-production Modellm funds operate and shows the diversity of their funding policy. The second part of the chapter, however, investigates how regional film funds directly and indirectly nurture the European co-production model both in terms of production and policy.

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Minority Co-production: Insights from MEDICIater stage. In this chapter, I would like to share some of the insights that have arisen from MEDICI workshops in relation to “minority co-production”, a particular type of official co-production where the financial and creative contribution of one partner is significantly less than another. As the

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