Film policy under globalization: the case of Mexico

The changing economic and technological conditions often referred to as ‘globalization’ have had a deep impact on the very nature of the state, and thus on the aims, objectives and implementation of cultural policy, including film policy. In this paper, I discuss the main changes in film policy there have been in Mexico, comparing the time when the welfare state regarded cinema as crucial to the construction of national identity, and actively supported national cinema at the production, distribution and exhibition levels (about 1920–1980), and the recent onset of neoliberal policies, during which the industry was privatized and globalized. I argue that the result has been a transformation of film production, from the properly ‘national’ cinema it was during the welfare state – that is, having a role in nation building, democratization processes and being an important part of the public sphere – into a kind of genre, catering to a very small niche audience both domestically and internationally. However, exhibition and digital distribution have been strengthened, perhaps pointing towards a more meaningful post-national cinema.     

Film policy in Japan – an isolated species on the verge of extinction?

This article examines changes of the place that film has occupied in the public policy of the Japanese government, including not only cultural policy per se, but also industrial and economic policy. After describing some of the distinctive features of the Japanese film market, this paper discusses the inadequate basis of the government’s cultural policy for film. Film in recent years has received some attention as an industry with export potential, particularly with the rise of ‘Cool Japan’, the policy of promoting Japanese culture abroad as a tool for economic and diplomatic aims. In the chequered history of economic growth strategies and nation branding of recent years, the film industry has had some good news but received no serious attention either as a sector with economic significance or as a form of national culture.     

Living with instrumentalism: the academic commitment to cultural diplomacy

Despite the influence of cultural policy studies and other theoretical approaches ‘after critique’, the dominant paradigm across much of the humanities remains anti-governmental especially when ‘culture’ is the other term in the equation. This paper argues instead for a positive relationship between humanities academics/intellectuals and the governmental agendas of cultural diplomacy, and for ways of accommodating critical perspectives on both the concept of ‘the national interest’ and the instrumentalisation of culture. It examines the policy objectives of the Australian government’s main cultural diplomacy agencies together with practical examples from its bilateral bodies, in particular the Australia-China Council and its program of support for Australian Studies in China.     

Are the global media and entertainment conglomerates having an impact on cultural diversity? A critical assessment of the argument in the case of the film industry

This paper critically examines the dominant discourse on the global media and its impact on cultural diversity. The term cultural diversity suffers from the lack of good definition and criteria to assess its degree and change over time in specific markets. The paper also argues from an economic perspective that the distinctive economic features of the film business has led to market concentration, which, however, is ‘natural’ and does not trigger the application of competition law to rectify it. A particular problem is the assumed link between the market structure and its performance, which is not definitively supported by theory or empirical research. It is argued that the discussion in the media and entertainment studies literature is sometimes based on flawed reasoning and insufficient evidence. It is suggested that we start with the important discussion on what state of cultural diversity cultural policy should strive to achieve.     

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.     

From Coombs to Crean: popular music and cultural policy in Australia

The many bodies administering Australian arts activity were incorporated within the Australia Council, established in 1973 by the Whitlam Labor Government to oversee Commonwealth arts policy under the direction of H.C. ‘Nugget’ Coombs. This article takes the establishment of the Australia Council as a starting point in tracing changing attitudes towards the practices and funding of popular music in Australia and accompanying policy discourses. This includes consideration of how funding models reinforce understandings of ‘high’ and ‘low’ art forms, the ‘cultural’/‘creative’ industries debates, and their effects upon local popular music policy. This article discusses the history of local music content debates as a central instrument of popular music policy and examines the implications for cultural nationalism in light of a recent series of media and cultural reports into industries and funding bodies. In documenting a broad shift from cultural to industrial policy narratives, the article examines a central question: What does the ‘national’ now mean in contemporary music and the rapid evolution of digital media technologies?     

The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

Re-presentar the religious: nation,community and identity in museums 1

This paper examines the roles that museums play as ‘unofficially sacred’ places, underscoring or challenging the religious life of a people and ‘nation’. It focuses on three key questions: (1) Do sub-national and transnational religious formations pose a challenge to or present opportunities for nation-building strategies, and what part do museums play in this struggle? (2) In what ways do re-presentations of religion in museums contest or reinforce religious community and identity? and (3) What challenges do museum displays pose to the understanding of religious meanings? This paper explores these three key questions about the intersection of religion with politics and ideologies, social relations, and cultural interpretations and transformations using an in-depth case study of an exhibition on the Jewish community in Singapore.     

Using Isaiah Berlin’s two concepts of liberty to rethink cultural policy: a case of Poland

The overarching aim of this paper is to rethink the normative aspects of Polish cultural policy after 1989, using a conceptual framework built upon Isaiah Berlin’s two concepts of liberty. More specifically, this article aims to analyse the rhetoric used in cultural policy and the practice of policy-making, in order to uncover and characterise the normative role that the state has played in shaping and executing cultural policy in Poland after 1989. The analysis shows that Polish cultural policy has been dominated by a perfectionist logic, which corresponds to Isaiah Berlin’s concept of positive liberty. It means that cultural policy has not been axiologically neutral but instead it has been based on state’s judgements about what kind of art is worthy support. On the other hand, the analysis shows that Polish cultural policy after 1989 cannot be classified as negative liberty.     

Cultural censorship in defective democracy: the South Korean blacklist case

ABSTRACT

This paper attempts to understand the cultural censorship practiced in contemporary South Korea, a liberal democracy, where cultural quangos were established after political democratization, following the arm’s length model. I will focus on the analysis of cases from the film industry which has been central to the censorship debate historically in Korea because of its popular appeal. The establishment of arm’s length cultural organizations laid the foundation for freedom of cultural expression which had been seriously curtailed under military rule. However, recent revelations of cultural blacklist cases under the two previous administrations are baffling to understand since rampant political censorship was practiced through ostensibly autonomous cultural organizations. The paper examines the ways in which the state constructed a ‘system of ideological censorship’ by using not only cultural quangos but non-cultural state apparatuses. In so doing, the paper emphasizes the role of non-cultural policy state institutions in the operation of cultural policy and the effect of state systems on cultural organizations. I draw upon the concept of defective democracy to understand the socio-political condition where these cultural organizations exist.     

Alternative Radio: exhibiting radio and music heritage after the Christchurch earthquakes

This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum’s exhibition manager and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station’s participants and audiences.     

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.     

Cultural globalization and the dominance of the American film industry: cultural policies,national film industries,and transnational film

The global film market is a strategic site for examining the global influence of American media culture. Using a database compiled by the European Audiovisual Observatory, I show that the global film market consists of 34 countries that produce over 25 films per year. Thirty-two countries produce less than 26 films. The countries that produce over 25 films per year were categorized as Super Producers (four countries), Major Producers (seven countries), Medium Producers (11 countries), and Minor Producers (12 countries). Lists of top 10 films in these countries show that US films dominate, followed by local films. A discussion of national cultural policies shows that film policy contributes to the success of national film industries but does not enable them to challenge US dominance. Hollywood’s need for global box office receipts has led to changes in the content of Hollywood film toward deculturized, transnational films, a trend that is also evident in other countries.     

Policy Agendas in Australian Politics: The Governor-General's Speeches, 1945–2008

The Policy Agendas Project collects and organises data from official documents to trace changes in the policy agenda and outputs of national, sub-national and supranational governments. In this paper we use the policy agendas method to analyse the changing contents of those Australian Governor-General's speeches delivered on behalf of incoming governments between 1945 and 2008. We suggest that these speeches provide an important insight into how the executive wishes to portray its policy agenda as it starts a new term of government. In mapping the changing agenda in this way we address four questions: which issues have risen or fallen in importance? When and in relation to what issues have there been policy ‘punctuations’? How stable is the Australian policy agenda? How fragmented is the policy agenda? We find evidence of a number of policy punctuations and one turning-point: the election of the Whitlam government.     

Articulating national identity in Turkmenistan: inventing tradition through myth,cult and language

A study of myth, cult, and language as tools of state power, this paper analyzes ways national identity was constructed and articulated in one state. When Türkmenistan became independent in 1991 its first president, Saparmyrat Nyýazow, promoted himself as the ‘savior’ of the nation by reconceptualising what it meant to be Türkmen. Myth, public texts and language policy were used to construct this identity. While they were the targets of the state's cultural products, Türkmen citizens contributed to the processes of cultural production. Nyýazow legitimised his authoritarian leadership, first by co‐opting Türkmen citizens to support his regime, and then by coercing them as participants in his personality cult. The paper concludes that Nyýazow used the production of culture, ‘invented tradition’ in Hobsbawm's sense, to bolster his agenda and further his own power. It also argues that the exaggerated cult of personality Nyýazow cultivated limited his achievements, rather than solidifying them.     

Mixed world heritage in Scandinavian countries

UNESCO’s World Heritage Convention has become a global policy for natural and cultural conservation and in particular the intricate relation between the two. This article presents two cases, Laponia and the Lofoten Islands, put forward as mixed World Heritage Sites by the governments of Sweden and Norway. The overall national goals of the nominations have been to ensure sustainable human use of natural resources and the conservation of biodiversity. However, in both countries the nomination and implementation of mixed sites have produced a series of challenges at the municipality management level. Comparing the processes of promoting Laponia and Lofoten as World Heritage Sites, the article discusses the challenges of local involvement and democratic participation in national decision-making by asking what comprises local involvement and co-management at mixed World Heritage Sites. Why does the implementation of management at mixed World Heritage Sites create conflict between local stakeholders and the national governments of Norway and Sweden?     

Multi‐level order,friction and contradiction: the evolution of Australian film industry policy

Cultural policy studies have previously highlighted the importance of multiple logics, friction and contradiction in cultural policy. Recent developments in institutional theory provide a framework for analysing change in cultural policy which explores movement between these multiple and sometimes contradictory logics. This paper analyses the role of friction in the evolution of Australian film industry policy and in particular the tension between competing logics regarding nationalism, commercialism and the state. The paper is suggestive of the relevance of institutional theory as a framework for understanding cultural policy evolution.     

‘Why not make films for New York?’: the interaction between cultural,political and commercial perspectives in Swedish film policy 1963–2013

During the last two decades, film support, film policy and the public financing of audiovisual production in Scandinavia and particularly Sweden have undergone extensive change. These transformations may be seen as responses to globalisation, to increased sub-national regional independence as well as to the emergence of ideas related to the nurturing of the ‘creative industries’. They may also be seen to be a consequence of the increasing permeability of the borders of European nation-states. This article traces a history of film policy in a geographically marginal part of Europe that has been characterised by a range of tensions as a result of competing definitions of film as art and commerce. These tensions are traced back to the 1960s when film support were first introduced and the first seeds of conflict – still discernible in the present situation – were planted.     

Masculine hegemony,the state and the incorporation of gender equity discourse: The case of Australian sport

Although the impact of affirmative action, equal opportunity and gender equity programs on the lives of Australian women have been explored in a number of areas, state interventions related to sport have received scant attention from public policy analysts. This paper examines how the Australian Sports Commission has framed its gender equity policy in the mutually reinforcing hegemonic discourses of masculinity and corporate managerialism. It is argued that the Commission's articulation of gender equity policy in terms of ‘market‐oriented individualism’ is both constituted by, and constitutive of, the shift from a ‘patriarchal‐welfare state’ to a ‘patriarchal‐managerial state’ in Australia. The paper also provides an example of the tensions between bureaucratic and feminist discourses in the state sphere.     

Territorial Appeals in Post‐Wall German Filmmaking: The Case of Good Bye,Lenin!

Abstract: How do institutions, markets, and stakeholders influence what stories are feasible and profitable for filmmakers to tell? This article discusses appeals to territorial interest and identity in filmmaking in post‐wall Germany and the conditions that shape them. By tracing the emergence of the film Good Bye, Lenin! (2003), we see how the project accumulated support from some territories and not others; how filmmakers persuaded colleagues and critics of their interpretation's legitimacy; and how individuals and institutions shape how the film would be used and remembered. My objective is to draw attention to the messiness and uncertainty as multiple stakeholders align, contest, or subsume competing appeals that would be otherwise invisible in a “finished” film. Addressing those interested in the geopolitics of cultural production, the article argues for more attention to the behind‐the‐scenes negotiations in funding, production, and distribution processes in order to keep issues of power and dependence visible.