The effects of protection in cultural industries: the case of the Korean film policies

This paper assesses whether Korean film policies, particularly protectionist ones, have been instrumental in the success of the Korean film industry. The conclusion is, surprisingly at a first glance, that protectionist policies have played an insignificant role. First, the import quota regime (1956–1986) limited the number of films to be imported, but not the number of Korean audience to see these imported films. Furthermore, the import quota system strongly induced Korean filmmakers to produce bad quality movies and theaters to avoid showing Korean films. Second, the screen quota system, from 1966 until present, has not been effective because imposing a mandatory number of days for screening Korean movies does not ensure that the domestic audience will watch these movies. Finally, the subsidy policy was barely noticeable before the late 1990s and is now too late and too limited to be credited for any significant impact on the success of the Korean film industry which began from the early 1990s. The results of this paper are robust enough to suggest to policymakers in other countries to review their own policies that advocate merely protectionism as a way to make a more attractive national culture.     

For love or money? Assessing outcomes from direct public investment in film

ABSTRACT

This study examines Australian domestic film performance under two distinct policy regimes with respect to direct investment strategy. In particular, we contrast film performance under two public funding agencies with noted differences in (i) the number of films financed annually, (ii) the average (and maximum) funding per film, and (iii) the involvement of an expert review panel in funding decisions. In addition to box office returns, we consider performance benchmarks related to major film festival screenings, nominations and awards; critical acclaim based on IMDb user and critic reviews; and whether or not the film received a release in the major UK and/or US markets. Finally, we exploit a subset of our data where a ‘two-door’ policy was used for investment decisions that allows us to reflect on our more general results.     

“Operation Exodus”: Israeli government involvement in the production of Otto Preminger's Film Exodus (1960)

This article explores the Israeli government's enthusiastic and substantial role in the production of Otto Preminger's Exodus (1960), the influential pro-Zionist film on the creation of Israel which was loosely based on the highly successful novel by Leon Uris. This involvement followed a decade of mostly unsuccessful Israeli government endeavors to encourage its many supporters in Hollywood to produce films in and about Israel: both for their potential economic rewards and for international propaganda. Utilizing archival sources in the United States, Britain, and especially Israel, this article charts Israeli efforts to encourage Hollywood productions in the 1950s and the extent to which Israeli officials provided encouragement and assistance to Exodus: first to the novel and then critically to the film. The article shows that the film producers took into account British and Arab observations too. However, the degree to which Exodus served Israeli propaganda themes is finally demonstrated by the eager efforts made by Zionist bodies and Israeli government officials to promote its international distribution.     

Soft power,global governance of cultural industries and rising powers: the case of China

This article addresses the importance of cultural industries for the strengthening of the soft power of the rising powers and it seeks to understand how the cultural industries allow rising powers to shape the structures of their international environment. More specifically, studying the cases of People’s Republic of China and of the movie industry, my article focuses on the current evolution of the relationship between the Chinese authorities and the film industry, as well as on the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries. Finally, I aim to highlight the global cultural competition that China faces, emphasizing the practices of the US administration and Hollywood. I argue that even if China is the current centre of gravity within the world economy, it still has a long way to go in order to shape the distribution of resources within the global governance of cultural industries and to play a crucial role in the international battle of cultural symbols.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

Serious chemistry on set: the molecular structure of film investment in China

ABSTRACT

Using the case of the Mainland Chinese film industry, this paper argues that the competing features that attract commercial capital investment and drive state centralization create a molecular structure of national film investment, or the division of investment in the film industry into several interdependent centers. A combination of regulations, institutions, the built environment and access to capital leads to a distributed investment of strategic assets linked by bonds of complementarity. Beijing dominates in the area of state-supported production. Shanghai outperforms other cities in terms of foreign direct investment. Qingdao has attracted domestic Chinese private investment and entrepreneurship. Unlike the capital agglomeration seen in countries like the United States where film investment is driven centrally by financial considerations, the Chinese national film industry is strategically divided into several centers that rely more dominantly on political or financial resources. While this paper focuses on China, understanding the molecular structure of the Chinese film industry helps us understand both developed and developing countries that are characterized by robust state oversight and strong commercial media sectors.     

Domestic destinies: colonial spatialities,Australian film and feminist cultural memory work

Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.     

Hollywood,the MPAA,and the formation of anti-piracy policy

Combating piracy is fundamental to the policy ‘priorities’ of the Motion Picture Association of America, the trade association representing the major Hollywood entertainment corporations. As the MPAA implements a multitude of actions to fight piracy, it is impossible to locate the formation of the Association’s anti-piracy policy in any single source. Instead, this article sees MPAA anti-piracy policy as formed across three fronts: the legal, through anti-piracy litigation; the political, by the MPAA joining with other trade groups from across the copyright industries to lobby for stronger domestic copyright laws and influence US trade policy; and the discursive, seen in the production of statistics to evidence the value of copyright to the US economy and consequent harms caused by piracy. Examining these actions confirms the cultural and economic influence of MPAA policy but the article is also concerned with how Hollywood’s anti-piracy efforts are challenged and contested from various directions.     

Just this Once: urban Ireland in film

By focusing on the city of Dublin as both setting and character, Once, written and directed by Dublin native John Carney, portrays urban Ireland in the global context. Using a series of replacements – replacing population loss with in-migration, and replacing parochial ideals with multicultural ones – the film re-places Dublin, both representing the city it has become and providing space for continuing growth and change. For Dublin, as elsewhere, change enters as global flows of information and people become part of the city. Rather than conforming to the traditional global power of American culture, Bord Scannán na hÉireann (Irish Film Board) is striking its own global poses, producing and distributing films that construct an urban Irishness for international audiences. In my article, I examine how this award-winning Irish film constructs Irish urban identity in the face of globalism's cultural flattening.     

Making heritage at the Cannes Film Festival

This paper is a discussion of how and why film should be considered heritage, by analysing the role of the Cannes Film Festival (CFF) in turning films into a form of heritage, through a number of different initiatives focused on the preservation and promotion of films as heritage. In doing so, the present article charts the evolution of the CFF against the background of cultural diplomacy and heritage. Studying the CFF from a heritage perspective will contribute to theoretical debates that situate film festivals as places where memories and identities are contested and negotiated. The paper will show that these heritage-making initiatives are a result of the ability of the CFF to respond to changes taking place in an age of international contact, to accommodate new trends, new films and emerging national film industries. Within this context, this paper also addresses a gap in film festival scholarship by engaging in heritage theory to further expand cultural and heritage insights.     

Reinventing the British film industry: the Group Production Plan and the National Lottery Franchise Scheme

This article is a comparative analysis of two analogous attempts to restructure the British film industry: the Group Production Plan of the early 1950s and the National Lottery Franchises of the late 1990s. The Group Production Plan brought together key industry figures such as Michael Balcon and John Grierson, who endured a fraught working relationship. The Plan failed, largely due to indifference from the major combines, Rank and the Associated British Picture Company (ABPC). Forty‐five years later, the Lottery Franchises were criticised for failing to produce enough films, although the example of Pathé Pictures suggests that expectations were too high and resources too low. The economic theory of path dependence problematises the policy drive to create vertically integrated companies. This article concludes that historical precedent plays an insufficient role in British film policy discourse and that academic research in cultural policy should aim to improve the dialogue between the past and the present.     

Is technology the enemy of culture?

This article examines how changes in technology affect the strategies various national governments have adopted to protect their respective cultures. The focus is primarily on national policies toward film and television. National quota systems that limit the import of American entertainment products will soon be made impossible to enforce, thanks to new digital and satellite technologies. Economic incentives will still make American products attractive to proliferating private television channels, but narrow‐casting and cable distribution will offer new opportunities for locally produced shows and movies. Increasingly, those countries that wish to continue to protect their cultures from the homogenizing trends of global markets dominated by American films and television programs, will need to move away from quotas and toward subsidies. Moreover, they will have an interest in promoting technologies that are favorable to the promotion of national culture. Financial instruments that reduce risk to local producers may also be appropriate.     

Reflections on Faith and Film in Hail,Caesar!

While Hail, Caesar! written, directed, and produced by Ethan and Joel Coen initially appears to be merely a light satire of classic Hollywood of the 40s and 50s, it also comments upon several kinds of faith, religious and otherwise. Most obviously, the film humorously critiques the Bible-blockbuster films of the era, as being fairly insincere, manipulative, and too conveniently reconciling of secular, Christian, and Jewish perspectives. But careful examination reveals that four different kinds of faith are dealt with in the film: 1) Christian faith, 2) communist faith, 3) faith in Hollywood, and 4) Jewish faith. The second of these is mercilessly mocked, but the first and third are dealt with more sympathetically. The Bible-blockbuster film, as well as the efforts of the studio fixer Eddie Mannix to cover-over scandas in the lives of not a few of the actors and directors, are both efforts to support a the 1950s cultural consensus. That consensus involves a good deal of hypocrisy, but the Coens present the best case they can for understanding those like Mannix who seek to maintain it, even if they show why it ultimately cannot be. Most interestingly, while the film does little to examine Jewish faith itself, it uses the classic Jewish prohibition of graven images to criticize both Christianity and the basic activity of Hollywood. The film illustrates why the 50s cultural consensus could not hold, and raises troubling questions about the long-term impact of cinema itself.     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.     

Chinese migrants,morality and film ethics in Italian cinema

During 2004–2011, Italian cinema intervened in the ongoing public debates about Chinese immigration to Italy with 15 notable films, which provided a window into the moral and ethical practices of the filmmakers and those of the fictional characters, or interviewees, in their films. This migratory phenomenon, in turn, offered filmmakers a variety of stimuli and perspectives from which to contemplate the moral stakes in screening Chinese migrants in Italy in films. Italian-Chinese films, insofar as they address the self–other relationship, lend themselves to an ethical analysis. I show that Italian documentary films genuinely feature the lives of Chinese migrants through restrained and socially conscious creative means. In contrast, relevant feature films often center on the plight of marginalized native Italian characters, adopting artistic license appropriate to their market-oriented production ethos.     

Men and the Desert: Contested masculinities In Ice Cold in Alex

This article explores the relationship between space, identity and film through the war film genre and in particular Ice Cold in Alex (1958). Although war films have suffered particular neglect by geographers, their appeal is enduring, helping to shape British national identity and popular constructions of masculinity. Through an analysis and critique of the film, this article makes two interconnected points. First, it highlights the value of film to geographers as a creative medium in which spaces and identities are imagined, (re)created, contested and negotiated. Second, it brings recent work on masculinities to bear on a detailed examination of Ice Cold to illustrate how war films have produced and sustained a specific unconventional form of heroic masculine British national identity through the passage of an ‘off-road’ movie. Here we demonstrate that masculinities are forged not only in the maelstrom of power interrelationships between men and other men and between men and women, but also importantly in relation to the landscape, in this example the desert as other. This glimpse allows us to challenge hegemonic norms as well as the construction of the desert as an active agent in the co-construction of the main characters' identities.     

河南信阳战国楚墓出土彩席漆膜的成分、表面形态及髹漆工艺分析

河南信阳城阳城遗址M8为高等级战国晚期楚国贵族墓,该墓出土了以漆木器为主的各类文物400余件,其中尤以黑、红两色竹蔑编织而成的髹漆竹席最为精美。为开展彩漆竹席脱水保护提供基础数据,采用激光共聚焦显微镜、拉曼分析仪和傅里叶红外吸收光谱仪(FTIR)及扫描电镜-能谱(SEM-EDS)等现代分析仪器对竹席漆膜的成分及表面形态进行了分析,并在此基础上,结合传统髹漆文献资料探讨了漆膜的制作工艺。结果表明:城阳城彩席中的黑色漆膜为大漆自然显色,红色漆膜是大漆掺加朱砂调制而成;黑色漆膜表面较为平整,漆膜与胎体结合紧密,红色漆膜表面相对粗糙,结构较为疏松;竹席漆膜的厚度在0.02~0.03 mm之间,应是由大漆涂刷至少3~5次制备而成。研究结果可为下一步的彩漆竹席的脱水保护及展示提供基础数据。     

Vanished Circumstance: Titanic,heritage, and film

James Cameron's 1997 Hollywood blockbuster Titanic broke box-office records. This article argues that one explanation of this success was that Titanic is a heritage film which held a powerful attraction to audiences steeped in a contemporary heritage culture. Sections of the public are attracted to heritage and crave its illusory evocation of a retrievable and meaningful past. Titanic embodies this and several other heritage traits: the idea of the 'time capsule'; a cult of authenticity; presentism; a time-tunnel syndrome; and the film's picturesque and sublime aesthetic, all of which combine in an explicit articulation of a heritage ethos.     

Professionalising the British film industry: the UK Film Council and public support for film production

This article examines the UK Film Council’s objective to reorganise and reallocate public funding for film from 2000 onwards. I argue that the model adopted by the UKFC was innovative on two levels. First, it separated public funds available for film production into three separate streams and then hired industry professionals to head each individual fund. I also examine how the funds developed over the lifetime of the organisation, with each appointed head shaping the principles of their respective funds in accordance with the wider objectives of the UKFC. Drawing on strategy documents, internal papers and interviews with key personnel, I argue that the UKFC worked to position itself as a ‘vanguard organisation’ seeking to shake up an independent sector seemingly reliant on state handouts and introduce a commercial perspective to the industry. This mission met an abrupt end, however, when the incoming Coalition government closed down the organisation in 2010.     

World population growth,family planning,and American foreign policy

The US decision since the 1960s to link foreign policy with family planning and population control is noteworthy for its intention to change the demographic structure of foreign countries and the magnitude of the initiative. The current population ideologies are part of the legacy of 19th century views on science, morality, and political economy. Strong constraints were placed on US foreign policy since World War II, particularly due to presumptions about the role of developing countries in Cold War ideology. Domestic debates revolved around issues of feminism, birth control, abortion, and family political issues. Since the 1960s, environmental degradation and resource depletion were an added global dimension of US population issues. Between 1935 and 1958 birth control movements evolved from the ideologies of utopian socialists, Malthusians, women's rights activists, civil libertarians, and advocates of sexual freedom. There was a shift from acceptance of birth control to questions about the role of national government in supporting distribution of birth control. Immediately postwar the debates over birth control were outside political circles. The concept of family planning as a middle class family issue shifted the focus from freeing women from the burdens of housework to making women more efficient housewives. Family planning could not be taken as a national policy concern without justification as a major issue, a link to national security, belief in the success of intervention, and a justifiable means of inclusion in public policy. US government involvement began with agricultural education, technological assistance, and economic development that would satisfy the world's growing population. Cold War politics forced population growth as an issue to be considered within the realm of foreign policy and diplomacy. US government sponsored family planning was enthusiastic during 1967-74 but restrained during the 1980s. The 1990s has been an era of redefinition of the issues and increased divisiveness among environmentalists, feminists, and population control advocates. The current justification of US population program assistance is based on concern for the health of women and children. Future changes will be dependent on ideology, theology, and political philosophy.