4.14.2006
Contents
.
1. Introduction
2. Research Topic
3. Theoretical Approaches to the Film Industry and to National Cultural Industries
3.1. Film Industry Economics: between commerce and risk
3.1.1. Film as an audiovisual product
3.1.2. Economies of Scale and Economies of Scope
3.1.3. Catalogues versus Risks
3.1.4. Mapping the Film Industry & Hollywood Standards
3.1.5. The Basic Business Model of the Film Industry
3.1.6. A closer look at Hollywood’s scale and scope
3.1.7. Independent pictures
3.1.8. Technological twists
3.2. States, Markets and National Cultural Industries
3.2.1. The Contemporary Ideology of State Intervention
3.2.2. Cultural Industries and Cultural Diversity
3.2.3. National and International Cultural Industries
3.2.4. Strategies for a National Film Industry
4. Methodology
4.1. The Method
4.2. The cases: Spain and Colombia
4.3. The Evidence
4.3.1. The Interviews
5. Spain: International projection for a national film industry
5.1. The current state of the Spanish Film Industry
5.1.1. Production Sector
5.1.2. Distribution/Exhibition
5.1.3. Current Spanish film policy
5.2. Spanish Film Industry trends
5.3. Spanish Cinema: the Aftermath
6. Colombia: an unborn film industry
6.1. The Colombian Film Industry: traces of the Twentieth Century
6.2. Current models of Colombian Film production
6.3. The emergence of the current Colombian Film Support System
6.4. Current regulations and the new Film Law
6.5. Perspectives on Colombian cinema: ideas for the future
6.5.1. The market for Colombian films
6.5.2. Colombian Audiences for Colombian Films
6.5.3. National and International theatrical distribution
6.5.4. Regional and international electronic windows
6.5.5. Professional Associations and Professional Opportunities
6.5.6. Perceptions on the New Policy and Sector Challenges
6.6. Colombian Film Industry: First Act
7. Conclusions: Brave New Film Policies
7.1. The Colombian Film Industry
7.2. A Colombian and Latin-American film policy
7.3. Final Words
8. Bibliography and References
. ¶ 9:34 PM
1. Introduction
2. Research Topic
3. Theoretical Approaches to the Film Industry and to National Cultural Industries
3.1. Film Industry Economics: between commerce and risk
3.1.1. Film as an audiovisual product
3.1.2. Economies of Scale and Economies of Scope
3.1.3. Catalogues versus Risks
3.1.4. Mapping the Film Industry & Hollywood Standards
3.1.5. The Basic Business Model of the Film Industry
3.1.6. A closer look at Hollywood’s scale and scope
3.1.7. Independent pictures
3.1.8. Technological twists
3.2. States, Markets and National Cultural Industries
3.2.1. The Contemporary Ideology of State Intervention
3.2.2. Cultural Industries and Cultural Diversity
3.2.3. National and International Cultural Industries
3.2.4. Strategies for a National Film Industry
4. Methodology
4.1. The Method
4.2. The cases: Spain and Colombia
4.3. The Evidence
4.3.1. The Interviews
5. Spain: International projection for a national film industry
5.1. The current state of the Spanish Film Industry
5.1.1. Production Sector
5.1.2. Distribution/Exhibition
5.1.3. Current Spanish film policy
5.2. Spanish Film Industry trends
5.3. Spanish Cinema: the Aftermath
6. Colombia: an unborn film industry
6.1. The Colombian Film Industry: traces of the Twentieth Century
6.2. Current models of Colombian Film production
6.3. The emergence of the current Colombian Film Support System
6.4. Current regulations and the new Film Law
6.5. Perspectives on Colombian cinema: ideas for the future
6.5.1. The market for Colombian films
6.5.2. Colombian Audiences for Colombian Films
6.5.3. National and International theatrical distribution
6.5.4. Regional and international electronic windows
6.5.5. Professional Associations and Professional Opportunities
6.5.6. Perceptions on the New Policy and Sector Challenges
6.6. Colombian Film Industry: First Act
7. Conclusions: Brave New Film Policies
7.1. The Colombian Film Industry
7.2. A Colombian and Latin-American film policy
7.3. Final Words
8. Bibliography and References
. ¶ 9:34 PM
