4.14.2006
7.3. Final Words / Bibliography and References
.
Cinema, Films, Movies, seem to be a source of cultural values, which make some social agents ignore the most basic rules of economic rationality and efficiency. Colombian Director Felipe Aljure summarizes that passion in a brilliant way, adequate for this exploration of the filmscape to reach a temporary end.
"I'm an optimist of film. I think there are positive trends happening. Besides, if you see the subject from a sociological perspective, I think FILM IS INEVITABLE. Structures and policies might delay national cinemas more or less in every country, but it's clear that human evolution goes through cinema ‘cause it's the most sophisticated form of human representation. So sophisticated that it has created alternate realities to life itself. People see Brad Pitt on the screen and they think he's so cool that they want to dress like Brad Pitt and so on. Whereas 100 years ago they would have wanted to dress like their fathers or like the farmers on the field next door. So the planet's paradigms - the planet's lines of evolution - have gone from Real to Virtual, with the risks that such process implies, and within that evolution process, film is an inevitable medium, it has to be heeded, and any imperfection in its form or its difficulties are just bits and pieces, but film, as one of the lines of human evolution, has to be taken seriously, and it has to be approached with optimism, the same optimism that life deserves. Life is not without difficulties, but that doesn't make it bad" [Aljure, 2005].
========
Bibliography and References
- Acheson, Keith & Maule, Christopher (2005). "Hollywood’s organization and continuing success" in John Sedgwick & Michael Pokorny (ed.), (2005). An Economic History of Film. Routledge: London.
- Aguinaga, Atocha. (2005). "La producción cinematográfica Española de 2004" in Academia – Revista del Cine Español, 35, p. 88 - 128.
- Albarran, A. (2002). Media Economics. Understanding Markets, Industries and Concepts. Ames: Iowa State Press.
- J. M. Álvarez Monzoncillo & J. López Villanueva, (2003). "Informe 2002." Academia – Revista del Cine Español, 33, 46 - 89.
- Álvarez, Luis Alberto (1993). Cine Colombiano: Mudo y Parlante. Revista Kinetoskopio. 35, p. 88 - 128.
- Álvarez, Luis Alberto (1994). El Cine en la Ultima Década del Siglo XX: Imágenes Colombianas. Revista Biblioteca Virtual Luis Ángel Arango. http://www.lablaa.org. (Visited on October 2005).
- Bakker, Gerben (2005). "America’s [United States’] Master" in John Sedgwick & Michael Pokorny (ed.), (2005). An Economic History of Film. Routledge: London.
- Balio, Tino (1998). "A major presence in all the world’s important markets: the globalization of Hollywood in the 1990’s" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Barber, B. (1984). Strong Democracy. Participatory Politics for a new age. Berkely: University of California Press.
- Barber, B. (1998). Three Scenarios for the Future of Technology and Strong Democracy. Political Science Quarterly. 113(4), 573 - 589.
- Blaikie, Heenan. (2004). German Media Funds. Mondaq Business Briefing. http://www.mondaq.com. (Visited on December 2005).
- Business Week Online (2006). How NYU chose Colombia over Coke. Business Week. January 16, 2005. http://www.businessweek.com.
- Camargo, Diego (2004). Películas, el Ultimo tesoro de los piratas. Revista Enter. Mayo 7, 2004. http://www.enter.com.co.
- Castells, Manuel (2000). The Information Age. Vol. 1. 2nd Ed. Blackwell: Oxford.
Chaffin, Joshua. (2005). Screen test: Hollywood studios are facing a journey into the unknown. Financial Times. August 11, 2005, p. 9.
- Chaparro Valderrama, Hugo (2003). El milagro del cine en Colombia. El ojo que piensa – Revista virtual de cine Iberoamericano. No. 3. http://www.elojoquepiensa.com. (Visited on October 2005).
- Chomsky, Noam (Interviewee). (2002). Plan Colombia: Cashing-in on the drug war failure. [Documentary]. Los Angeles: Freewill Productions.
- Cine-Clic (2005). Qué es un Cine-Club?. Cine-Clic Online Magazine, http://www.goethe.de/hn/bog/cineclic. (Visited on December 2005).
- Cinemateca Nacional de Colombia (2003). "Largometrajes argumentales Colombianos" in Cinemateca Nacional de Colombia (ed.), Cuadernos de Cine Colombiano. Cinemateca Nacional: Bogotá.
- Closs, Wolfgang. (2001). Analyzing case studies of European films success. European Audiovisual Observatory. http://www.obs.coe.int. (Visited on October 2005).
- Constitutional Court of Colombia (1993). Sentence No. C-260/93. http://sai.unicauca.edu.co. (Visited January 2006).
- Deacon, Philip (2000). "Public Accountability and Private Interests" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- De Vany, A. & Walls D. (1999). Uncertainty in the Movie Industry. Journal of Cultural Economics, 23, 285 – 318.
- Doyle, Gillian. (2002). Understanding Media Economics. Sage: London.
- El’Gazi, Leila. (1997). El 13 de Abril de 1897 llegO el cine a Colombia, Revista Credencial Historia, EdiciOn 88.
- El’Gazi, Leila. (2004). Maria. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Ellis, Perry (2002). Los Orígenes de la Posmodernidad. Anagrama: Barcelona.
- Epstein, Edward Jay (2005). The big picture. http://www.edwardjayepstein.com. (Visited on October 2005).
- Escolar, José Luis. (2005). "Motor del Cambio" in Academia – Revista del Cine Español, 35, 23.
- Eskpe (2005a). ‘Sumas y Restas’, El vía crucis de Víctor Gaviria. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Eskpe (2005b). Las luces se encendieron para el cine colombiano en 2005. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Falicov, Tamara. (2000). Argentina’s blockbuster movies and the politics of culture under neoliberalism, 1989-98. Media, Culture & Society, 22, 327-342.
- FAPAE (2005). Reporte Anual de Cine Español. http://www.fapae.es. (Visited on October 2005).
- Felez, José Antonio. (2005). El punto de inflexión. Academia – Revista del Cine Español, 35, 16.
- Ferrara, Gustavo. (2005). Los territorios del margen. Academia – Revista del Cine Español, 35, 88 - 128.
- Film Interactive. (2003). El mercado de la distribución de 2002 en cifras. Academia – Revista del Cine Español, 33, 29 - 38.
- Film Interactive. (2005). El mercado de la distribución de 2004 en cifras. Academia – Revista del Cine Español, 35, 54 - 65.
- Filmax (2005). History of Filmax. http://www.filmax.es. (Visited on October 2005).
- Frau-Meigs, Divina. (2004). Cultural Exception, national policies and globalization". Cuadernos del CAC. (14), 3 – 16.
- Gandini, Erik. (Director). (2005). GITMO: The New Rules of War. [Documentary]. Copenhagen: Zentropa.
- García López, Ana Maria (2004). Herencia Compartida y Memoria Viva. http://www.mincultura.gov.co/opinionCultural/AnaMariaGarcía.htm. (Visited on October 2005).
- Garnham, Nicholas. (1990). Capitalism and Communication. Sage: London.
- Gómez, Andrés Vicente, (2003). "Efecto Dominó." Academia – Revista del Cine Español, 33, 10.
- Graham, P. (1999). Critical Systems Theory. Communication Research, 26(4), 482 – 507.
- Gubern, Román (1995). "Capitulo 1" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Hayward, Susan (2000). "France" in Gorham Kindem (ed.), The International Movie Industry. Southern Illinois University Press: Carbondale.
- Henson, Carolyn (2005). A remake for the megaplex. The Wall Street Journal Europe. September 30, 2005, p. A4.
- Higson, Andrew (2000). "National Cinema(s), International Markets and Cross-Cultural Identities" in Ib Bondebjerg (ed.), Moving Images, Culture and the Mind. University of Luton Press: Luton.
- Hopewell, John (2005). Plural Possibilities in flux. http://www.variety.com. (Visited on 14 February 2006).
- Hopewell, John (2005). Seaside studio bows. http://www.variety.com. 6 November, 2005. (Visited on 14 February 2006).
- Hopewell, John (2006). Malaga Weather. http://www.variety.com. (Visited on 26 March 2006).
- ICAA (2004). Informe Anual 2003. http://www.mcu.es/cine. (Visited on October 2005).
Interviú Magazine (2005). Interviú Reader’s Forums. http://www.mcu.es/cine. (Visited on October 2005).
- Isaakson, Adam (2002). (Interviewee). (2002). Plan Colombia: Cashing-in on the drug war failure. [Documentary]. Los Angeles: Freewill Productions.
- Jackel, A. (1998). "European Cinema" in A. Briggs & P. Cobley (eds.), The Media: An Introduction. Longman: Harlow.
- Jameson, Fredrick (1992). Postmodernism, or, The cultural Logic of Late Capitalism. Duke.
- Jayakar, Krishna P., & Waterman, David. (2000). The Economics of American Theatrical Exports: An Empirical Analysis. The Journal of Media Economics. 13(3), p. 153 – 169.
- Jordan, Barry & Morgan-Tamosunas, Rikki. (1998). Contemporary Spanish Cinema. Manchester University Press: Manchester.
- Jordan, Barry (2000). "The Spanish Film Industry in the 1980’s and 1990’s" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- Kindem, Gorham (2000). "United States" in Gorham Kindem (ed.), The International Movie Industry. Southern Illinois University Press: Carbondale.
- Kipen, David. (2004, June). "Offshoring the Audience" in The Atlantic, No. 293, pp. 115-120.
- Lee, B. & Bae, H. (2004). The Effect of Screen Quotas on the Self-Sufficiency Ratio in Recent Domestic Film Markets. Journal of Media Economics. 17(3), 163 – 176.
- Marx, K. (1845). The German Ideology. http://marxists.org/archive. (Visited on August 2005).
- Maxwell, Richard (2000). "New Media Technologies in Spain" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- McQuail, D. (2000). McQuail’s Mass Communication Theory. 4th Edition. London: Sage.
- Mejía, Claudia. (2003). At the movies. Revista. http://www.drclas.fas.harvard.edu/revista (Visited January 2006).
- Mendez-Leite, Fernándo. (2005). "Cosas que hacen que una película valga la pena" in Academia – Revista del Cine Español, 35, 28 - 37.
- Ministerio de Cultura de Colombia (2004). La Ley de Cine para Todos. Mincultura: Bogotá.
- Ministerio de Cultura de Colombia (2005). Proyectos colombianos de largometraje en desarrollo 2005. http://www.mincultura.gov.co/cinematografia/proyectos. (Visited on October 2005).
- Ministerio de Cultura de España (2005a). Cine Legislación – Normativa Estatal. http://www.mcu.es/jsp. (Visited on October 2005).
- Ministerio de Cultura de España (2005b). Mercado Cinematográfico – Cifras 2005. http://www.mcu.es/jsp. (Visited on October 2005).
- Ministerio de Cultura de España (2005c). Asociaciones Profesionales. http://www.mcu.es/jsp. (Visited on February 2006).
- Ministerio de Cultura de España (2006). Resultados positivos del Cine español en 2005. http://www.mcu.es/comun/htm. (Visited on February 2006).
- Monteverde, Jorge Enrique. (1993). Veinte Años de Cine Español. Paidos Studio: Barcelona.
- Monteverde, Jorge Enrique (1995). "Capitulo 2" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Moran, Albert. (1996). "Terms for a Reader: Film, Hollywood, National Cinema, Cultural Identity an Film Policy" in Albert Moran (ed.), Film Policy. Routledge, London.
- Negus, Keith (1997). "The Production of Culture" in Paul du Gay (ed.), Production of Culture / Culture of Production. Sage: London.
- Nelmes, Jill (1999). "Women and Film" in Jill Nelmes (ed.), An Introduction to Film Studies. Routledge: London.
- OEI (2005). Industrias Culturales. Organización de Estados Interamericanos online.
http://www.campus-oei.org/cultura/colombia/11.htm. (Visited November 2005).
- OIM (2005). Presentación Película Sumas y Restas. Organización Internacional para las Migraciones. http://www.oim.org.co. (Visited November 2005).
- O’Regan, Tom (1996). "A National Cinema" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Osorio, Oswaldo (2003). "Del cine político a lo políticamente correcto" in Cinemateca Nacional de Colombia (ed.), Cuadernos de Cine Colombiano. Cinemateca Nacional: Bogotá.
- Ospina, Luis (2002). El fracaso de una ilusión. http://nocomunicado.blogspot.com. (Visited on October 2005).
- Ospina, Luis (2003). Vini, video, vici: el video como resurrección. Revista El Malpensante. http://www.elmalpensante.com. (Visited on October 2005).
- Peralta-Caceres, Carlos (2005). Entrevista con Carlos Fuentes. http://nocomunicado.blogspot.com. (Visited on December 2005).
- Perea, Juan Miguel (2005). Cine Colombiano: El milagro que no cesa. http://www.hika.net. (Visited on December 2005).
- Pérez Perucha, Julio (1995). "Capitulo 3" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Phillips, Patrick (1999). "The Film Spectator" in Jill Nelmes (ed.), An Introduction to Film Studies. Routledge: London.
- Phillips, Patrick (1999). "Genre, Star and Auteur" in Jill Nelmes (ed.), An Introduction to Film Studies. Routledge: London.
- Press Release: European Cinema Attendance. (2006, February 9). Strasbourg: European Audiovisual Observatory. Retrieved February 25, 2006, from http://www.obs.coe.int
- Proimágenes (2005a). Disposiciones legales vigentes en Colombia para la actividad cinematográfica. http://www.proimagenescolombia.com. (Visited on October 2005).
- Proimágenes (2005b). Pantalla Colombia 217-218. http://www.proimagenescolombia.com. (Visited on October 2005).
- Proimágenes (2005c). Pantalla Colombia 216. http://www.proimagenescolombia.com. (Visited on October 2005).
- Proimágenes (2005d). Cifras de cine Colombiano. http://www.proimagenescolombia.com. (Visited on October 2005).
- La Revista (2003). La conversación. El Espectador. August 17, 2003. http://www.elespectador.com.
- Riambau, Esteve (1995). "Capitulo 4" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Riva y García (2005). Spinnaker Fund Investments. http://www.rivaygarcia.es. (Visited on October 2005).
- Schatz, Thomas (1992). "The New Hollywood" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Sedgwick, John & Pokorny, Michael (2005). "The characteristics of film as a commodity" in John Sedgwick & Michael Pokorny (ed.), (2005). An Economic History of Film. Routledge: London.
- Sen, Amrtya (1998). Libertad y Desarrollo. Editorial Planeta: Bogota.
- Shapiro, C. & Varian, H. (1999). Information Rules. Harvard Business School Press: Boston
Silberman, Marc (2000). "Germany" in Gorham Kindem (ed.), The International Movie Industry. Southern Illinois University Press: Carbondale.
- Solot, Steve (2004). Script development according to Hollywood. An MPA power point presentation. Test Seminar. Valencia.
- Shohat, Ella & Stam, Robert. (1994). Unthinking Eurocentrism. Routledge: London.
Slater, D. & Tonkiss F. (2001). Market Society. Polity Press: Cambridge.
- Staiger, Janet (1992). "Reception Studies in Film and Television" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Stiglitz, Joseph (2001). Globalization and its discontent.
- Torreiro, Casimiro (1995). "Capitulo 5" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Torres Moya, Rito Alberto (2005). El patrimonio audiovisual: un patrimonio vivo. http://www.mincultura.gov.co. (Visited Octorber 2005).
- Turner, Graeme. (1999). Film as Social Practice. 3rd edition. Routledge, London.
- Valencia, Manuel (2005). Exxxpaña. Historia del cine porno Español.
- Vogel, H. (1998). Entertainment Industry Economics. 4th Edition. Cambridge University Press: Cambridge.
- Williamson, John (2002). Did the Washington Consensus Failed? Institute for International Economics. http://www.iie.com/publications. (Visited October 2005).
- Wyatt, Justin (1994). "High Concept and Market Research" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Yin, Robert. (2003). Case Study Research – Design and Methods. Sage, London.
- Zuleta, Luis, Jaramillo, Lino. & Reina, Mauricio (2000). Impacto del Sector Cinematográfico sobre la Economía Colombiana: Situación Actual y Perspectivas. Fedesarrollo: Bogotá.
Cinema, Films, Movies, seem to be a source of cultural values, which make some social agents ignore the most basic rules of economic rationality and efficiency. Colombian Director Felipe Aljure summarizes that passion in a brilliant way, adequate for this exploration of the filmscape to reach a temporary end.
"I'm an optimist of film. I think there are positive trends happening. Besides, if you see the subject from a sociological perspective, I think FILM IS INEVITABLE. Structures and policies might delay national cinemas more or less in every country, but it's clear that human evolution goes through cinema ‘cause it's the most sophisticated form of human representation. So sophisticated that it has created alternate realities to life itself. People see Brad Pitt on the screen and they think he's so cool that they want to dress like Brad Pitt and so on. Whereas 100 years ago they would have wanted to dress like their fathers or like the farmers on the field next door. So the planet's paradigms - the planet's lines of evolution - have gone from Real to Virtual, with the risks that such process implies, and within that evolution process, film is an inevitable medium, it has to be heeded, and any imperfection in its form or its difficulties are just bits and pieces, but film, as one of the lines of human evolution, has to be taken seriously, and it has to be approached with optimism, the same optimism that life deserves. Life is not without difficulties, but that doesn't make it bad" [Aljure, 2005].
========
Bibliography and References
- Acheson, Keith & Maule, Christopher (2005). "Hollywood’s organization and continuing success" in John Sedgwick & Michael Pokorny (ed.), (2005). An Economic History of Film. Routledge: London.
- Aguinaga, Atocha. (2005). "La producción cinematográfica Española de 2004" in Academia – Revista del Cine Español, 35, p. 88 - 128.
- Albarran, A. (2002). Media Economics. Understanding Markets, Industries and Concepts. Ames: Iowa State Press.
- J. M. Álvarez Monzoncillo & J. López Villanueva, (2003). "Informe 2002." Academia – Revista del Cine Español, 33, 46 - 89.
- Álvarez, Luis Alberto (1993). Cine Colombiano: Mudo y Parlante. Revista Kinetoskopio. 35, p. 88 - 128.
- Álvarez, Luis Alberto (1994). El Cine en la Ultima Década del Siglo XX: Imágenes Colombianas. Revista Biblioteca Virtual Luis Ángel Arango. http://www.lablaa.org. (Visited on October 2005).
- Bakker, Gerben (2005). "America’s [United States’] Master" in John Sedgwick & Michael Pokorny (ed.), (2005). An Economic History of Film. Routledge: London.
- Balio, Tino (1998). "A major presence in all the world’s important markets: the globalization of Hollywood in the 1990’s" in Graeme Turner (ed.), (2002). The Film Cultures Reader. Routledge: London.
- Barber, B. (1984). Strong Democracy. Participatory Politics for a new age. Berkely: University of California Press.
- Barber, B. (1998). Three Scenarios for the Future of Technology and Strong Democracy. Political Science Quarterly. 113(4), 573 - 589.
- Blaikie, Heenan. (2004). German Media Funds. Mondaq Business Briefing. http://www.mondaq.com. (Visited on December 2005).
- Business Week Online (2006). How NYU chose Colombia over Coke. Business Week. January 16, 2005. http://www.businessweek.com.
- Camargo, Diego (2004). Películas, el Ultimo tesoro de los piratas. Revista Enter. Mayo 7, 2004. http://www.enter.com.co.
- Castells, Manuel (2000). The Information Age. Vol. 1. 2nd Ed. Blackwell: Oxford.
Chaffin, Joshua. (2005). Screen test: Hollywood studios are facing a journey into the unknown. Financial Times. August 11, 2005, p. 9.
- Chaparro Valderrama, Hugo (2003). El milagro del cine en Colombia. El ojo que piensa – Revista virtual de cine Iberoamericano. No. 3. http://www.elojoquepiensa.com. (Visited on October 2005).
- Chomsky, Noam (Interviewee). (2002). Plan Colombia: Cashing-in on the drug war failure. [Documentary]. Los Angeles: Freewill Productions.
- Cine-Clic (2005). Qué es un Cine-Club?. Cine-Clic Online Magazine, http://www.goethe.de/hn/bog/cineclic. (Visited on December 2005).
- Cinemateca Nacional de Colombia (2003). "Largometrajes argumentales Colombianos" in Cinemateca Nacional de Colombia (ed.), Cuadernos de Cine Colombiano. Cinemateca Nacional: Bogotá.
- Closs, Wolfgang. (2001). Analyzing case studies of European films success. European Audiovisual Observatory. http://www.obs.coe.int. (Visited on October 2005).
- Constitutional Court of Colombia (1993). Sentence No. C-260/93. http://sai.unicauca.edu.co. (Visited January 2006).
- Deacon, Philip (2000). "Public Accountability and Private Interests" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- De Vany, A. & Walls D. (1999). Uncertainty in the Movie Industry. Journal of Cultural Economics, 23, 285 – 318.
- Doyle, Gillian. (2002). Understanding Media Economics. Sage: London.
- El’Gazi, Leila. (1997). El 13 de Abril de 1897 llegO el cine a Colombia, Revista Credencial Historia, EdiciOn 88.
- El’Gazi, Leila. (2004). Maria. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Ellis, Perry (2002). Los Orígenes de la Posmodernidad. Anagrama: Barcelona.
- Epstein, Edward Jay (2005). The big picture. http://www.edwardjayepstein.com. (Visited on October 2005).
- Escolar, José Luis. (2005). "Motor del Cambio" in Academia – Revista del Cine Español, 35, 23.
- Eskpe (2005a). ‘Sumas y Restas’, El vía crucis de Víctor Gaviria. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Eskpe (2005b). Las luces se encendieron para el cine colombiano en 2005. El Tiempo. http://www.eltiempo.com. (Visited January 2006).
- Falicov, Tamara. (2000). Argentina’s blockbuster movies and the politics of culture under neoliberalism, 1989-98. Media, Culture & Society, 22, 327-342.
- FAPAE (2005). Reporte Anual de Cine Español. http://www.fapae.es. (Visited on October 2005).
- Felez, José Antonio. (2005). El punto de inflexión. Academia – Revista del Cine Español, 35, 16.
- Ferrara, Gustavo. (2005). Los territorios del margen. Academia – Revista del Cine Español, 35, 88 - 128.
- Film Interactive. (2003). El mercado de la distribución de 2002 en cifras. Academia – Revista del Cine Español, 33, 29 - 38.
- Film Interactive. (2005). El mercado de la distribución de 2004 en cifras. Academia – Revista del Cine Español, 35, 54 - 65.
- Filmax (2005). History of Filmax. http://www.filmax.es. (Visited on October 2005).
- Frau-Meigs, Divina. (2004). Cultural Exception, national policies and globalization". Cuadernos del CAC. (14), 3 – 16.
- Gandini, Erik. (Director). (2005). GITMO: The New Rules of War. [Documentary]. Copenhagen: Zentropa.
- García López, Ana Maria (2004). Herencia Compartida y Memoria Viva. http://www.mincultura.gov.co/opinionCultural/AnaMariaGarcía.htm. (Visited on October 2005).
- Garnham, Nicholas. (1990). Capitalism and Communication. Sage: London.
- Gómez, Andrés Vicente, (2003). "Efecto Dominó." Academia – Revista del Cine Español, 33, 10.
- Graham, P. (1999). Critical Systems Theory. Communication Research, 26(4), 482 – 507.
- Gubern, Román (1995). "Capitulo 1" in Gubern, R. et al. (Eds), (1995). Historia del Cine Español. Cátedra – Signo e Imagen: Madrid.
- Hayward, Susan (2000). "France" in Gorham Kindem (ed.), The International Movie Industry. Southern Illinois University Press: Carbondale.
- Henson, Carolyn (2005). A remake for the megaplex. The Wall Street Journal Europe. September 30, 2005, p. A4.
- Higson, Andrew (2000). "National Cinema(s), International Markets and Cross-Cultural Identities" in Ib Bondebjerg (ed.), Moving Images, Culture and the Mind. University of Luton Press: Luton.
- Hopewell, John (2005). Plural Possibilities in flux. http://www.variety.com. (Visited on 14 February 2006).
- Hopewell, John (2005). Seaside studio bows. http://www.variety.com. 6 November, 2005. (Visited on 14 February 2006).
- Hopewell, John (2006). Malaga Weather. http://www.variety.com. (Visited on 26 March 2006).
- ICAA (2004). Informe Anual 2003. http://www.mcu.es/cine. (Visited on October 2005).
Interviú Magazine (2005). Interviú Reader’s Forums. http://www.mcu.es/cine. (Visited on October 2005).
- Isaakson, Adam (2002). (Interviewee). (2002). Plan Colombia: Cashing-in on the drug war failure. [Documentary]. Los Angeles: Freewill Productions.
- Jackel, A. (1998). "European Cinema" in A. Briggs & P. Cobley (eds.), The Media: An Introduction. Longman: Harlow.
- Jameson, Fredrick (1992). Postmodernism, or, The cultural Logic of Late Capitalism. Duke.
- Jayakar, Krishna P., & Waterman, David. (2000). The Economics of American Theatrical Exports: An Empirical Analysis. The Journal of Media Economics. 13(3), p. 153 – 169.
- Jordan, Barry & Morgan-Tamosunas, Rikki. (1998). Contemporary Spanish Cinema. Manchester University Press: Manchester.
- Jordan, Barry (2000). "The Spanish Film Industry in the 1980’s and 1990’s" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- Kindem, Gorham (2000). "United States" in Gorham Kindem (ed.), The International Movie Industry. Southern Illinois University Press: Carbondale.
- Kipen, David. (2004, June). "Offshoring the Audience" in The Atlantic, No. 293, pp. 115-120.
- Lee, B. & Bae, H. (2004). The Effect of Screen Quotas on the Self-Sufficiency Ratio in Recent Domestic Film Markets. Journal of Media Economics. 17(3), 163 – 176.
- Marx, K. (1845). The German Ideology. http://marxists.org/archive. (Visited on August 2005).
- Maxwell, Richard (2000). "New Media Technologies in Spain" in Jordan, Barry & Morgan-Tamosunas, Rikki (ed). Contemporary Spanish Cultural Studies. Arnold: London.
- McQuail, D. (2000). McQuail’s Mass Communication Theory. 4th Edition. London: Sage.
- Mejía, Claudia. (2003). At the movies. Revista. http://www.drclas.fas.harvard.edu/revista (Visited January 2006).
- Mendez-Leite, Fernándo. (2005). "Cosas que hacen que una película valga la pena" in Academia – Revista del Cine Español, 35, 28 - 37.
- Ministerio de Cultura de Colombia (2004). La Ley de Cine para Todos. Mincultura: Bogotá.
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