The European Co-production Treaties: A Short History and a Possible Typology

  • Petar Mitric
Part of the Palgrave European Film and Media Studies book series (PEFMS)


The objective of this chapter is to provide an analysis of the fundamental reasoning behind European co-production treaties by looking back at its historical development and by proposing a possible industry-based typology of the treaties. In doing so, it endeavors to answer a seemingly simple question: In which way do co-production treaties affect collaboration between European producers?


  1. Baltruschat, Doris. 2013. Coproductions, Global Markets and New Media Ecologies. In Transnational Cinema in Europe, ed. Manuel Palacio and Jörg Türschmann. Vienna: LIT.Google Scholar
  2. Baschiera, Stefano, and Francesko Di Chiara. 2011. Once Upon a Time in Italy: Transnational Features of Genre Production 1960s–1970s. Film International 8 (6): 30–39.CrossRefGoogle Scholar
  3. Bell, David, and Kate Oakley. 2015. Cultural Policy. New York: Routledge.Google Scholar
  4. Brzeski, Patrik. 2018. Berin: China, Germany to Begins Negotiations on Co-Production Treaty. Accessed April 8, 2018.
  5. Dand, C.H., and J.A. Harrison. 1965. Educational and Cultural Films: Experiments in European Co-Production. Strasbourg: The Council of Europe.Google Scholar
  6. Di Chiara, Francesco. 2013. Looking for New Aesthetic Models through Italian-Yugoslavian Film Co-productions: Lowbrow Neorealism in Sand, Love and Salt. ILUMINACE 25 (3): 37–49.Google Scholar
  7. Dunn, N. William. 2012. Public Policy Analysis. New York: Routledge.Google Scholar
  8. Fiil-Jensen, Lars. 2015. Amazon køber The Neon Demon. Accessed February 28, 2018.
  9. Galt, Rosalind. 2006. The New European Cinema: Redrawing the Map. New York: Columbia University Press.Google Scholar
  10. Gernet, Pierre. 2015. L’ajustement de l’encadrement juridique des coproductions aux besoins de l’industrie cinématographique européenne. Unpublished MA thesis, Université de Strasbourg, Strasbourg.Google Scholar
  11. Guback, H. Thomas. 1969. The International Film Industry: Western Europe and America since 1945. Indiana University Press.Google Scholar
  12. ———. 1974. Cultural Identity and Film in the European Economic Community. Cinema Journal 14 (1): 2–17 (University of Texas Press).Google Scholar
  13. Hammet-Jammart, Julia. 2004. Regulating Diversity: Cultural Diversity, National Film Policy and the International Coproduction of Films. Media International Australia 111 (1): 46–62 (Sage Journals).Google Scholar
  14. 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
  15. ———. 2003a. Dual Nationality Film Productions in Europe after 1945. Historical Journal of Film, Radio and Television 23 (3): 231–243 (Carfax Publishing).CrossRefGoogle Scholar
  16. ———. 2003b. European Film Industries. London: Palgrave BFI.Google Scholar
  17. Kallas, Christina. 1996. The Benefit and the Cost of Co-production. In European Co-productions in Television and Film, ed. Sofia Blind and Gerd Hallenberger, 59–73. Heidelberg: Winter.Google Scholar
  18. Kokas, Aynne. 2017. Hollywood Made in China. University of California Press.Google Scholar
  19. Lange, André. 2013. Yearbook 2012—Television, Cinema, Video and Video On-Demand Audiovisual Services in Europe. Strasbourg: European Audiovisual Observatory.Google Scholar
  20. Luyken, Georg-Michael. 1996. The Business of Co-Productions: Simply Sharing Costs or Building a New European Audiovisual Culture. In European Co-productions in Television and Film, ed. Sofia Blind and Gerd Hallenberger, 115–126. Heidelberg: Winter.Google Scholar
  21. Mitric, Petar, and Joelle Levie. 2016. Medici Report 5: International Co-productions, Development, Gender and Quotas. Annual Report, FOCAL. Lozanne: FOCAL.Google Scholar
  22. Mitric, Petar, and Katharine Sarikakis. 2016. European Cinema Spectator- or Spect-Actor-Driven Policies. In The Routledge Companion to Cinema and Politics, ed. Yannis Tzioumakis and Claire Molloy. London: Routledge.Google Scholar
  23. Monaco, Eitel. 1974. The Financing of Film Production in Europe. Cinema Journal 14 (1): 18–25 (University of Texas Press).CrossRefGoogle Scholar
  24. O’Connor, Sean, and Armstrong, Nicholas. 2015. Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide. U.S.-China Economic and Security Review Commission; Staff Research Report.Google Scholar
  25. Paquette, Jonathan, and Eleonora Redaelli. 2015. Arts Management and Cultural Policy Research. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
  26. Rivi, Luisa. 2007. European Cinema after 1989: Cultural Identity and Transnational Production. New York: Palgrave Macmillan.CrossRefGoogle Scholar
  27. Sarikakis, Katharine. 2007. Introduction. Journal of European Culture, History and Politics. 21: 1–22 (Amsterdam: Rodopi).Google Scholar
  28. Silberman, Marc. 2006. Learning from the Enemy: DEFA-French Co-productions of the 1950s. Film History 18 (1): 21–45 (John Libbey Publishing).CrossRefGoogle Scholar
  29. Treaty of Rome. 1957. Treaty Establishing the European Economic Community. March 25. Accessed February 28, 2018.
  30. Weimer, L. David, and R. Aidan Vining. 2017. Policy Analysis: Concepts and Practice. New York: Routledge.CrossRefGoogle Scholar
  31. Yilmazok, Levent. 2012. Eurimages and Turkish Cinema: History, Identity, Culture. PhD dissertation, University of Amsterdam, Amsterdam.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Petar Mitric
    • 1
  1. 1.University of CopenhagenCopenhagenDenmark

Personalised recommendations