標(biāo)題: Titlebook: European Film and Television Co-production; Policy and Practice Julia Hammett-Jamart,Petar Mitric,Eva Novrup Redva Book 2018 The Editor(s) [打印本頁] 作者: fungus 時間: 2025-3-21 19:51
書目名稱European Film and Television Co-production影響因子(影響力)
書目名稱European Film and Television Co-production影響因子(影響力)學(xué)科排名
書目名稱European Film and Television Co-production網(wǎng)絡(luò)公開度
書目名稱European Film and Television Co-production網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱European Film and Television Co-production被引頻次
書目名稱European Film and Television Co-production被引頻次學(xué)科排名
書目名稱European Film and Television Co-production年度引用
書目名稱European Film and Television Co-production年度引用學(xué)科排名
書目名稱European Film and Television Co-production讀者反饋
書目名稱European Film and Television Co-production讀者反饋學(xué)科排名
作者: 邊緣 時間: 2025-3-21 21:45
2634-615X such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production th978-3-319-97156-8978-3-319-97157-5Series ISSN 2634-615X Series E-ISSN 2634-6168 作者: 喚起 時間: 2025-3-22 00:51 作者: Legend 時間: 2025-3-22 06:00 作者: 下級 時間: 2025-3-22 09:49 作者: fertilizer 時間: 2025-3-22 13:49 作者: fertilizer 時間: 2025-3-22 17:08 作者: overhaul 時間: 2025-3-22 21:30
European Co-productions in a Digital Single Market: EUtopia or Dystopia?down national silos online and facilitate cross-border access to digital content. The Commission’s vision runs counter to the way that co-productions are financed in Europe, and the film industry therefore warns that a DSM will rip up their entire business model. This chapter examines the arguments 作者: aerial 時間: 2025-3-23 02:11
The Emergence of Pan-European Film Studios and Its Implications for Co-production Studies and Policyecoming vertically and horizontally integrated while also simultaneously expanding into international sales and distribution markets. Such changes fundamentally alter the landscape of the continent’s media industries, which have up to now been characterized by national and linguistic fragmentation a作者: organic-matrix 時間: 2025-3-23 09:17
International Co-production of Nordic Television Drama: The Case of e broadcasters have traditionally ventured into television drama in the Nordic languages. In the mid 2010s, this started changing, partly because of the international outreach and sales of serials such as . (2007–2012) and . (2010–2013). This development incited new players to move into the televisi作者: 宴會 時間: 2025-3-23 12:09 作者: BAN 時間: 2025-3-23 14:14 作者: Sputum 時間: 2025-3-23 19:03
The Many Enemies of Co-productions in Italy: Moviegoers, Broadcasters, Policy-Makers and Half-Heartecourage 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 film作者: 好忠告人 時間: 2025-3-24 01:29 作者: 不發(fā)音 時間: 2025-3-24 04:15 作者: CARE 時間: 2025-3-24 07:34
‘Official Co-production in the EU: The Role of Eurimages’—an interview with Roberto OllahD in European Law from the European University Institute, Florence, and has previously worked within the MEDIA programme of the European Union. In this interview he outlines the objectives and operation of Eurimages, the impact of co-production on content and also addresses some of the challenges f作者: Incompetent 時間: 2025-3-24 11:36
Digital Single Market for Audiovisual Content: Utopia or Win-Win for All?n’s attempt to balance the interests of consumers, producers and service providers in the area of cross-border access to audiovisual content and explores co-production as a potential model of European trans-national co-operation that may usefully inform future policy developments作者: 逃避現(xiàn)實(shí) 時間: 2025-3-24 17:42
The Impact of Regional Film Funds on the European Co-production Modellm funds operate and shows the diversity of their funding policy. The second part of the chapter, however, investigates how regional film funds directly and indirectly nurture the European co-production model both in terms of production and policy.作者: conjunctivitis 時間: 2025-3-24 21:43
Minority Co-production: Insights from MEDICIater stage. In this chapter, I would like to share some of the insights that have arisen from MEDICI workshops in relation to “minority co-production”, a particular type of official co-production where the financial and creative contribution of one partner is significantly less than another. As the 作者: MOCK 時間: 2025-3-25 02:35 作者: 信條 時間: 2025-3-25 06:52
,Zur Theorie der ?permanenten Revolution“,hD in European Law from the European University Institute, Florence, and has previously worked within the MEDIA programme of the European Union. In this interview he outlines the objectives and operation of Eurimages, the impact of co-production on content and also addresses some of the challenges facing European co-productions today.作者: 現(xiàn)任者 時間: 2025-3-25 09:42 作者: 擴(kuò)音器 時間: 2025-3-25 12:16 作者: 熄滅 時間: 2025-3-25 18:51 作者: 健壯 時間: 2025-3-25 23:03
‘Official Co-production in the EU: The Role of Eurimages’—an interview with Roberto OllahD in European Law from the European University Institute, Florence, and has previously worked within the MEDIA programme of the European Union. In this interview he outlines the objectives and operation of Eurimages, the impact of co-production on content and also addresses some of the challenges facing European co-productions today.作者: Abbreviate 時間: 2025-3-26 01:57
Digital Single Market for Audiovisual Content: Utopia or Win-Win for All?n’s attempt to balance the interests of consumers, producers and service providers in the area of cross-border access to audiovisual content and explores co-production as a potential model of European trans-national co-operation that may usefully inform future policy developments作者: Morsel 時間: 2025-3-26 04:55 作者: 厭惡 時間: 2025-3-26 09:42 作者: 一加就噴出 時間: 2025-3-26 14:20
Palgrave European Film and Media Studieshttp://image.papertrans.cn/e/image/316791.jpg作者: Fibrillation 時間: 2025-3-26 18:08
978-3-319-97156-8The Editor(s) (if applicable) and The Author(s) 2018作者: 壯觀的游行 時間: 2025-3-26 21:43 作者: FEMUR 時間: 2025-3-27 04:28
https://doi.org/10.1007/978-3-322-99129-4loyed within the volume .. It describes the policy-driven European co-production model, focusing both on its historical evolution (emergence of official co-productions and proliferation of co-production treaties), and explores current developments triggered by recent tax?incentives, non-official and作者: PLUMP 時間: 2025-3-27 07:36 作者: Occupation 時間: 2025-3-27 09:32
https://doi.org/10.1007/978-3-642-82950-5es, pitting the reflex to protect against the desire to expand. As such it unsettles many preconceived notions about national cinema. This article focuses on the particular type of co-production which most embodies these points of tension—official co-production. It explains the complex, multi-dimens作者: 吞下 時間: 2025-3-27 14:38 作者: 打包 時間: 2025-3-27 21:47 作者: chlorosis 時間: 2025-3-27 22:38 作者: 得罪 時間: 2025-3-28 05:37
Strategische Ausrichtung des Metaproduktes,ecoming vertically and horizontally integrated while also simultaneously expanding into international sales and distribution markets. Such changes fundamentally alter the landscape of the continent’s media industries, which have up to now been characterized by national and linguistic fragmentation a作者: EXTOL 時間: 2025-3-28 09:45 作者: nonradioactive 時間: 2025-3-28 13:39 作者: 苦澀 時間: 2025-3-28 17:50 作者: Offstage 時間: 2025-3-28 21:44 作者: 生意行為 時間: 2025-3-29 00:42 作者: 媽媽不開心 時間: 2025-3-29 05:24 作者: frivolous 時間: 2025-3-29 07:59
,Zur Theorie der ?permanenten Revolution“,hD in European Law from the European University Institute, Florence, and has previously worked within the MEDIA programme of the European Union. In this interview he outlines the objectives and operation of Eurimages, the impact of co-production on content and also addresses some of the challenges f作者: TSH582 時間: 2025-3-29 14:48 作者: UNT 時間: 2025-3-29 18:12
Die pers?nliche Informationsverarbeitunglm funds operate and shows the diversity of their funding policy. The second part of the chapter, however, investigates how regional film funds directly and indirectly nurture the European co-production model both in terms of production and policy.作者: 不真 時間: 2025-3-29 20:29
Radiobeobachtungen von Sonne und Planetenater stage. In this chapter, I would like to share some of the insights that have arisen from MEDICI workshops in relation to “minority co-production”, a particular type of official co-production where the financial and creative contribution of one partner is significantly less than another. As the 作者: nutrients 時間: 2025-3-30 01:14
https://doi.org/10.1007/978-3-319-97157-5Europe; European Audiovisual Observatory; Zentropa; co-development; distribution; regional cinemas; digita作者: Exposition 時間: 2025-3-30 07:16 作者: vanquish 時間: 2025-3-30 10:53 作者: cipher 時間: 2025-3-30 12:48
2634-615X on and significant practice.Includes case studies and intervThis volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice 作者: 最低點(diǎn) 時間: 2025-3-30 16:32
https://doi.org/10.1007/978-3-642-82950-5uses on the particular type of co-production which most embodies these points of tension—official co-production. It explains the complex, multi-dimensional policy framework within which official co-production occurs, the challenges it raises for public policy and the manner in which these are negotiated by industry partners.作者: medium 時間: 2025-3-30 21:10 作者: creatine-kinase 時間: 2025-3-31 02:03 作者: 脾氣暴躁的人 時間: 2025-3-31 05:33 作者: 原諒 時間: 2025-3-31 13:04 作者: 易于出錯 時間: 2025-3-31 15:41
https://doi.org/10.1007/978-3-662-26120-0cent changes through a qualitative case study of the Danish-French co-production set-up behind the high-end drama serial . (2017–), focusing on the perceptions of strengths and challenges as well as questions of creative control in this particular set-up among the Danish partners (The Danish Broadcasting Corporation (DR) and SAM Productions).作者: 工作 時間: 2025-3-31 20:04 作者: metropolitan 時間: 2025-3-31 22:38
https://doi.org/10.1007/978-3-662-33761-5e emergence in Greece of a new generation of producers professionally trained in building European co-productions, who consider the adoption of an “extrovert”, Europeanised, production culture to be a matter of (Greek cinema’s) survival.作者: 工作 時間: 2025-4-1 03:41 作者: 冰雹 時間: 2025-4-1 06:56
European Co-productions in a Digital Single Market: EUtopia or Dystopia?ses over whether or not the existing film model can adapt to the rapid technological changes. The debate also echoes earlier quarrels over the film industry’s inherent tension between commerce and creativity.作者: Bph773 時間: 2025-4-1 11:34
The Emergence of Pan-European Film Studios and Its Implications for Co-production Studies and Policylopments at firms such as Studiocanal, Pathé and Wild Bunch, among others, and examines the implications of these changes for Europe’s co-production policy regime, which has long been predicated on the need to overcome the fragmentation of the European industries.作者: BARB 時間: 2025-4-1 17:46
International Co-production of Nordic Television Drama: The Case of cent changes through a qualitative case study of the Danish-French co-production set-up behind the high-end drama serial . (2017–), focusing on the perceptions of strengths and challenges as well as questions of creative control in this particular set-up among the Danish partners (The Danish Broadcasting Corporation (DR) and SAM Productions).作者: 昏迷狀態(tài) 時間: 2025-4-1 20:44
The Many Enemies of Co-productions in Italy: Moviegoers, Broadcasters, Policy-Makers and Half-Hearte 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.
