The Many Enemies of Co-productions in Italy: Moviegoers, Broadcasters, Policy-Makers and Half-Hearted Producers
The chapter investigates the reasons why Italy plays a marginal role in international co-productions. The author identifies four stakeholders that discourage co-productions: (a) moviegoers, who basically prefer 100% national films or US movies; (b) broadcasters, who are unwilling to finance-release-schedule risky films; (c) policymakers, who are more interested into attracting film shoots and promoting Italian executive producers for foreign films (through local funds & tax incentives) than into favouring co-productions; and (d) Italian producers themselves, who are not brave enough to explore new production patterns. For all these reasons, the number of international co-productions with Italy is stable and has not been influenced by the evolutions of national/local laws of the past few years. Of course, virtuous exceptions exist, as Paolo Sorrentino’s films demonstrate.
- AGCOM. 2017. Relazione Annuale 2017. Accessed October 9. https://www.agcom.it/documents/10179/8078012/RELAZIONE+ANNUALE+2017_documento+completo.pdf/2021e7ba-8250-4239-9a46-5d82fdbf702c?version=1.0.
- Álvarez-Monzoncillo, José, Antonio Baraybar-Frenández, and Javier López-Villanueva. 2015. Audiovisual Production in Spain. Fewer Resources, Same Problems, New Challenges. Economia della cultura 25 (2): 211–222.Google Scholar
- Cucco, Marco, and Giacomo Manzoli, eds. 2017. Il cinema di Stato. Finanziamento pubblico ed economia simbolica nel cinema italiano contemporaneo. Bologna: Il Mulino.Google Scholar
- European Audiovisual Observatory. 2017. World Film Market Trends—Focus 2017. Strasbourg: European Audiovisual Observatory.Google Scholar
- Higson, Andrew. 2015. British Cinema, Europe and the Global Reach for Audience. In European Cinema and Television: Cultural Policy and Everyday Life, ed. Ib Bondebjerg, Eva Novrup Redvall, and Andrew Higson, 127–150. New York: Palgrave Macmillan.Google Scholar
- Hjort, Mette. 2010. On the Plurality of Cinematic Transnationalism. In World Cinema, Transnational Perspectives, ed. Natasa Durovicová and Kathleen Newman, 12–33. New York: Routledge.Google Scholar
- Hjort, Mette, and Duncan Petrie, eds. 2007. The Cinema of Small Nations. Bloomington: Indiana University Press.Google Scholar
- Hoskins, Colin, Stuart McFadyen, and Adam Finn. 1997. Global Television and Film: An Introduction to the Economics of the Business. Oxford: Clarendon Press.Google Scholar
- Jäckel, Anne. 1996. European Co-production Strategies. The Case of France and Britain. In Film Policy: International, National and Regional Perspectives, ed. Albert Moran, 85–97. London and New York: Routledge.Google Scholar
- Kanzler, Martin. 2015. The Theatrical Market for European Films Outside Europe. Strasbourg: European Audiovisual Observatory.Google Scholar
- MiBACT. 2017. Tutti i numeri del cinema italiano—anno 2016. Accessed October 9, 2017. http://www.cinema.beniculturali.it/Notizie/4483/67/tutti-i-numeri-del-cinema-italiano-2016/.
- Talavera Milla, Julio, Gilles Fontaine, and Martin Kanzler. 2015. Public Financing for Film and Television Content. The State of Soft Money in Europe. Strasbourg: European Audiovisual Observatory.Google Scholar