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ABSTRACT
Neo-liberal culture puts a major emphasis on the importance of continual economic growth as a necessary strategy for any given industry. However, analysing adaptation trends of economic growth in the contemporary Swedish, Danish, and Finnish film industries between 2010 and 2019, based on data gathered from LUMIERE, suggests that all three film industries do not demonstrate significant growth trends – not in terms of the number of films produced, admissions growth, and number of co-producer partners. Hence, it can be concluded that these film industries should consider a better adaptation strategy to neo-liberal market principles. Or perhaps in the streaming area, when movie theatres are losing their prestige, a better adaptation strategy to neo-liberal market principles is needed
Disclosure statement
No potential conflict of interest was reported by the author(s).
Notes
1. Database on admissions of films released in Europe, provided by the European Audiovisual Observatory. Due to missing data from Iceland and Norway, the current analysis refers only to film markets of Sweden, Finland and Denmark.
2. Founded in 1969, The Foundation operates under the Ministry of Education and Culture. It is the main financer of film production in Finland. The Foundation receives its funding from lottery and pool funds.
3. For more details see: http://www.kvikmyndamidstod.is/media/skjol/Co-productionNFTVF-2019.pdf
4. file:///C:/Users/USER/Downloads/Co_producing_with_the_Nordics_2020.pdf
5. The following film funds operate in Denmark: The Danish Film Institute; Danish Regional Film Funds; The West Danish Film Fund (DVF); Copenhagen Film Fund and FilmFyn.
6. For more details see:
http://www.kvikmyndamidstod.is/media/skjol/Co-productionNFTVF-2019.pdf file:///C:/Users/USER/Downloads/Co_producing_with_the_Nordics_2020.pdf
7. Amongst Sweden regional film funds are Film i Skåne – which acts as a co-producer in feature film projects; Filmpool Nord – which is also a resource for international co-productions; Film Capital Stockholm – which funds co-productions and invests top-up financing and Film i Väst – which accepts applications for feature film co-productions (For more details see: file:///C:/Users/USER/Downloads/Co_producing_with_the_Nordics_2020.pdf).
8. One co-production with Finland, one with Iceland, one with France, one with Ireland, two with Norway and three with Denmark.
9. One co-production with Jordan, one with Iceland, one with Germany, one with the USA, one with Tunisia, two with Finland, two with Denmark and four with Norway (for more details see: file:///C:/Users/USER/Downloads/Co_producing_with_the_Nordics_2020.pdf).
10. In the current study the term “mono-produced film” does not imply low-budget /independent films; rather it refers to not having production partners; the term “co-produced film” refers to a production collaboration with at least one other foreign production partner.
11. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
12. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
13. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
14. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
15. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
16. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
17. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
18. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
19. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
20. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
21. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
22. The figures were produced using LUMIÈRE database (for more information see https://lumiere.obs.coe.int/about).
23. Sixty-seven of these were operating at the national level; 195 bodies operated at sub-national levels (community, regional and local); 7 were supranational funding bodies, such as Eurimages – the cultural support fund of the Council of Europe. Established in 1989, it currently numbers 39 of the 47 member states of the Strasbourg-based organisation, plus Argentina and Canada as associate members.
Additional information
Notes on contributors
Mira Moshe
Dr. Mira Moshe is a senior researcher and lecturer at the department of sociology and anthropology, Ariel University, Israel. Her academic publications include books, chapters in various books, articles in academic journals, and more.
Rotem Moshe-Cohen
Rotem Moshe-Choen is a Ph.D. student at the Department of Psychology, Bar-Ilan University, Israel. Her academic publications include articles in academic journals, and more.