410
Views
2
CrossRef citations to date
0
Altmetric
Research Article

Does automatic funding suck? The cost and value of automatic funding in small nation screen industries in Northern Europe

ORCID Icon & ORCID Icon
Pages 298-311 | Received 14 Oct 2019, Accepted 28 Jan 2020, Published online: 06 Apr 2020

References

  • Acheson, K. 2011. “Globalization.” In A Handbook of Cultural Economics, edited by R. Towse, 220–227. Cheltenham: Edward Edgar Publishing.
  • Adkisson, R. V. 2013. “Policy Convergence, State Film-Production Incentives, and Employment: A Brief Case Study.” Journal of Economic Issues 47 (2): 445–545. doi:10.2753/JEI0021-3624460218.
  • Andersson, L. G., J. Sundholm, and P. Vesterlund. 2013. “Introduction to Special Issue on Film Policy.” Nordic Journal of Cultural Policy 16 (1): 5–6.
  • Bell, D., and K. Oakley. 2015. Cultural Policy. London: Routledge.
  • Bondebjerg, I. 2016. “Regional and Global Dimensions of Danish Film Culture and Film Policy.” In A Companion to Nordic Cinema, edited by M. Hjort and U. Lundqvist, 19–40. Chichester: Wiley-Blackwell.
  • Brady, D., A. T. Jones, and E. Watson. 2018. “Producing Drama: a Comparison of Film Tax Incentives to Alternative Uses.” Applied Economics Letters No 25 (17): 1189-1192. doi:10.1080/13504851.2017.1406652.
  • Castendyk, O. 2018. “Tax Incentive for Film Production: A Pivotal Tool of Film Policy.” In A Handbook for State Aid for Film, edited by P. C. Murschetz, R. Teichmann, and M. Karmasin, 596–614. Cham: Springer.
  • Cucco, M. 2010. “The Borders of the Domestic Market and their Importance for the Economy of the Film Industry: The Swiss Case Study.” European Journal of Communication 25 (2): 153–167. doi:10.1177/0267323110363648.
  • Cucco, M. 2018. “The Vertical Axis of Film Policies in Europe.” In Reconceptualising Film Policy, edited by N. Mingant and C. Tirtaine, 263–275. New York: Routledge.
  • Cunningham, S. 2018. “Foreword.” In Reconceptualising Film Policy, edited by N. Mingant and C. Tirtaine, xi–xii. New York: Routledge.
  • DFI. 2019. “Danish Film Institute Facts and Figures 2019.” Danish Film Institute. https://www.dfi.dk/files/docs/2019-04/facts_figures_2019_web.pdf
  • DFI. 2020. “Spillefilm. Markedsordningen.” The Danish Film Institute 2020. Accessed 10 January 2020. https://www.dfi.dk/branche-og-stoette/stoette/spillefilm-markedsordning
  • Doyle, G., P. Schlesinger, R. Boyle, and L. Kelly. 2015. The Rise and Fall of the UK Film Council. Edinburgh: Edinburgh University Press.
  • Flynn, R. 2018. “The Irish Film Industry or a Film Industry in Ireland? the Paradoxes of State Aid.” In Handbook of State Aid for Film: Finance, Industries and Regulation, edited by P. C. Murschetz, R. Teichmann, and M. Karmasin, 579–595, Cham:  Springer.
  • Frey, B. 2011. “Public Funding.” In A Handbook of Cultural Economics, edited by R. Towse, 370–377. Cheltenham: Edward Edgar Publishing.
  • Hesmondhalgh, D. 2013. The Cultural Industries. 3rd ed. London: SAGE.
  • Hjort, M. 2005. Small Nation, Cinema: The New Danish Cinema. New edition. Minneapolis: University of Minnesota Press.
  • Jansson, M. 2016. “The Quality of Gender Equality: Gender Quotas and Swedish Film Governance.” International Journal of Cultural Policy. doi:10.1080/10286632.2016.1248952.
  • Jansson, M. 2017. “Gender Equality in Swedish Film Policy: Interpretations and ‘Unruly’ Women.” European Journal of Women’s Studies 24 (4): 336–350. doi:10.1177/1350506817692387.
  • Johnson-Yale, C. 2017. A History of Hollywood’s Outsourcing Debate: Runaway Production. Maryland: Lexington Books.
  • Julio, T. M., G. Fontaine, and M. Kanzler. 2016. Public Financing for Film and Television Content: The State of Soft Money in Europe. Strasburg: European Audiovisual Observatory.
  • Kelly, L. W. 2015. “Professionalising the British Film Industry: The UK Film Council and Public Support for Film Production.” International Journal of Cultural Policy 22 (4): 1–16. doi:10.1080/10286632.2015.1015532.
  • Kelly, L. W., and K. Champion. 2015. “Shaping Screen Talent: Conceptualising and Developing the Film and TV Workforce in Scotland.” Cultural Trends 24 (2): 165–175. doi:10.1080/09548963.2015.1031482.
  • Ladegaard, C. 2016. “Module 3 – Automatic Schemes: More about Sustaining Production.” Medici. Warth: FOCAL.
  • Leiser, S. 2017. “The Diffusion of State Film Incentives: A Mixed-Method Case Study.” Economic Development Quarterly 31 (3): 255–267. doi:10.1177/0891242417710715.
  • McElroy, R., and C. Noonan. 2016. “Television Drama Production in Small Nations: Mobilities in a Changing Ecology.” Journal of Popular Television 4 (1): 109–127. doi:10.1386/jptv.4.1.109_1.
  • McElroy, R., and C. Noonan. 2019. Producing British Television Drama. Local Production in a Global Era. London: Palgrave Pivot.
  • McElroy, R., J. I. Nielsen, and C. Noonan. 2018. “Small Is Beautiful? the Salience of Scale and Power to Three European Cultures of TV Production.” Critical Studies in Television 13 (2): 169–187. doi:10.1177/1749602018763566.
  • Mingant, N., and C. Tirtaine. 2018. “Introduction.” In Reconceptualising Film Policy, edited by N. Mingant and C. Tirtaine, 1–12. New York: Routledge.
  • Mitkus, T., and D. I. Maditinos. 2017. “Analysis of State Aid Policy to Stimulate Innovation and Internationalization in Lithuanian Animation Industry.” Oeconomia Copernicana 8 (3): 433–446. doi:10.24136/oc.v8i3.27.
  • Newsinger, J., and S. Presence. 2018. “United Kingdom: Film Funding: The ‘Corporate Welfare System and Its Discontents.” In Public Funding for Film: Challenges, Purposes and International Cases, edited by P. C. Murschetz, R. Teichmann, and M. Karmasin, 447–462. Cham: Springer.
  • O’Brien, N. F., and C. J. Lane. 2018. “Effects of Economic Incentives in the American Film Industry: An Ecological Approach.” Regional Studies 52 (6): 865–875. doi:10.1080/00343404.2017.1360475.
  • Olsberg, S. P. I. 2010. Building UK Film Companies - UK Film Council Information on Selected Schemes. London: BFI.
  • Olsberg, S. P. I. 2016. “A Production Incentive for Sweden.” A report for Film i Väst. London.
  • Olsberg, S. P. I. 2018. Global Incentives Index. London: Media Business Insights.
  • Olsberg, S. P. I. 2019. “Global Incentive Index 2019.” London: worldoflocations.com.
  • Paquette, J., and E. Redaelli. 2015. Arts Management and Cultural Policy Research. Basingstoke: Palgrave Macmillan.
  • Pedersen, J. S., P. Darmer, and C. Mathieu. 2013. “Bureaucracies and Judgemental Autonomy - Film Consultants in a Public Film Institute.” The Nordic Journal of Cultural Policy 16 (1): 68–89.
  • Ramsey, P., S. Baker, and R. Porter. 2019. “Screen Production on the ‘Biggest Set in the World’: Northern Ireland Screen and the Case of Game of Thrones.” Media, Culture & Society. Online First. doi:10.1177/0163443719831597.
  • Ravid, S. A. 2018. “The Economics of Film Financing: An Intoduction.” In Handbook of State Aid for Film, edited by P. C. Murschetz, R. Teichmann, and M. Karmasin, 39–50. Cham: Springer.
  • Redvall, E. N., and I. E. Sørensen. 2018. “Hard Facts, Soft Measures: Gender, Quality and Inequality Debates in Danish Film and Television in the 2010s.” Journal of Scandinavian Cinema 8 (3): 235–251. doi:10.1386/jsca.8.3.233_1.
  • Reseke, L. 2019. “Producent: Det kan blive en luksus vi ikke kan tillade os at ligge i Danmark [Producer: It Could Become a Luxury. We Cannot Allow Ourselves to Be Based in Denmark].” Policy Watch, May 14.
  • Schlesinger, P. 2007. “Creativity: From Discourse to Doctrine.” Screen 48 (3): 377–387. doi:10.1093/screen/hjm037.
  • Schlesinger, P. 2017. “The Creative Economy: Invention of a Global Orthodoxy.” Innovation: the European Journal of Social Science Research 30 (1): 73–90. doi:10.1080/13511610.2016.1201651.
  • Schlesinger, P., and A. Benchimol. 2014. “Small Nations, the Press and the Digital Challenge.” Media, Culture and Society 37 (1): 101–106. doi:10.1177/0163443714553561.
  • Scotland. 2018. “Culture, Tourism, Europe and External Relations Committee: Making Scotland a Screen Leader.” Edinburgh: Scottish Parliament.
  • Screen NL. 2019. “Production Incentive 2019.” Accessed 25 June 2019. https://www.filmfonds.nl/international/netherlands-film-production-incentive
  • Screen Scotland. [2018] 2019. “The Producton Growth Fund.” Guidance 2018/19. Edinburgh: Screen Scotland.
  • Screen Scotland. 2018. Production Growth Fund Unlocks £60m in Wider Economic Benefits. Edinburgh: Screen Scotland.
  • Seaman, B. A. 2011. “Economic Impact of the Arts.” In A Handbook of Cultural Economics, edited by R. Towse, 201–210. Cheltenham: Edward Elgar.
  • Steele, D. 2015. “Rethinking the Focus of the UK Film Support: Is Subsidising US Studio a Safe Strategy for UK Film Production in the Coming Decade?” Cultural Trends 24 (1): 74–79. doi:10.1080/09548963.2014.1000590.
  • Strandvad, S. M. 2009. “New Danish Screen – An Organizational Facilitation of Creative Initiatives: Gatekeeping and Beyond.” International Journal of Cultural Policy 15 (1): 107–121. doi:10.1080/10286630802682243.
  • Straubhaar, J. D. 2008. “Global, Hybrid or Multiple? Cultural Identities in the Age of Satellite TV and the Internet.” Nordicom Information 4. https://www.nordicom.gu.se/en/tidskrifter/nordicom-information-42008/global-hybrid-or-multiple-cultural-identities-age-satellite
  • Swenson, C. W. 2017. “Preliminary Evidence on Film Production and State Incentives.” Economic Development Quarterly 31 (1): 65–80. doi:10.1177/0891242416674807.
  • Towse, R. 2010. A Textbook of Cultural Economics. Cambridge: Cambridge University Press.
  • Wiedemann, V. 2009. Kunsten at Være Filmkonsulent: Rapport Om Kompetenceudvikling for Filmkonsulenter i Norden [The Art of Being A Film Consultant. A Report on the Development of Competencies of Film Consultants in the Nordic Countries]. Copenhagen: Nordisk Film & TV Fond.
  • Willems, G., D. Biltereyst, P. Meers, and R. V. Winkel. 2018. “From Film Policy to Creative Screen Policies: Media Convergence and Film Policy Trends in Flanders.” In Reconceptualising Film Policy, edited by N. Mingant and C. Tirtaine, 241–246. New York: Routledge.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.