Figure - uploaded by Stine Agnete Sand
Content may be subject to copyright.
Source publication
This thesis is a study of how regional film and television companies in Norway manage
to survive and achieve their goals in the context of a larger film and television business
that is centralised, economically fragile, and subsidy dependent. Interest in production
studies has boomed in recent years, but little of this research addresses regional f...
Citations
... On the other hand, in more remote regions with a scattered populace, developing a strong and sustainable film milieu is often a great challenge (Sand 2017). Therefore, trying to impact the emergence of these types of structures or clusters in peripheral and/or not so densely populated regions through external influences can be demanding, for reasons such as poor production volume, brain drain, and lack of resources in the form of sufficient critical mass. ...
... Inspired by their Nordic neighbours, local investors and public authorities established Norway's first regional fund, Film 3 in Lillehammer in 2001. At the time, the film industry in the region was more or less non-existent, and the intention of Film 3 was to increase the creative development of the region (Sand 2017(Sand , 2020. Today, the Norwegian Film Institute (NFI) operates as the main film financing body in Norway. ...
The book offers an interdisciplinary overview of the film and place relationship from an intercultural perspective. It explores the complex domain of place and space in cinema and the film industry's role in establishing cultural connections and economic cooperation between India and Europe.
With contributions from leading international scholars, various case studies scrutinise European and Indian contexts, exploring both the established and emerging locations. The book extends the dominantly Britain-oriented focus on India’s cinema presence in Europe to European countries such as Italy, Switzerland, Poland, Slovenia, Finland, and Sweden, where the Indian film industry progressively expands its presence. The chapters of this book look at Indian film production in Europe as a cultural bridge between India and Europe, fostering mutual understanding of the culture and society of the two regions.
This interdisciplinary book will be of interest to researchers in film studies, cultural anthropology, cultural geography, tourism, economics, sociology, and cultural studies. It will also be interest to practitioners working in local authorities, destination management, tourism, and creative business, all of whom see the value of film production in attracting visitors, investment, and creating new networks with local economic actors. The book offers much-needed data and tools to translate their professional goals and potentials into effective regional strategies and activities.
... On the other hand, in more remote regions with a scattered populace, developing a strong and sustainable film milieu is often a great challenge (Sand 2017). Therefore, trying to impact the emergence of these types of structures or clusters in peripheral and/or not so densely populated regions through external influences can be demanding, for reasons such as poor production volume, brain drain, and lack of resources in the form of sufficient critical mass. ...
... Inspired by their Nordic neighbours, local investors and public authorities established Norway's first regional fund, Film 3 in Lillehammer in 2001. At the time, the film industry in the region was more or less non-existent, and the intention of Film 3 was to increase the creative development of the region (Sand 2017(Sand , 2020. Today, the Norwegian Film Institute (NFI) operates as the main film financing body in Norway. ...
... The regional film funds would contribute with new and fresh capital, since they had to equally match the funding from the state. This arrangement furthered interest in regional development and the economic benefits of film production (Ministry of Culture, 2007;Sand, 2017). ...
The creative industries have had a major impact on cultural policy, and it is often argued that these industries can be a vehicle for regional growth. Using regional film production in Norway as a case, I discuss the creative industries, the cluster concept and its impact on policy. I analyse two film policy documents from 2007 and 2015 in order to show how the issue of size and critical mass is an unsettled topic within the creative industries, and I question the relevance of film as an economic and regional development tool in a country with a small film industry, such as Norway. This article shows that the creative industries concept, adopted from international discourses, especially creative industries policies in the UK, has influenced Norwegian film policy, reducing the importance of cultural objectives and increased the focus on the business potential and economic aspects of culture.
This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made Monster a good fit for the American market. The series is a result of strategic changes within NRK Drama and a commitment to the private and regional film business. Furthermore, NRK views drama productions as key for reaching audiences and has increased their budgets significantly. The analysis encompasses the industry context, media articles, the ‘North’ as location, the series itself and interviews with important stakeholders.
This article addresses the regionalisation of screen culture in Norway and Denmark, focusing on how regional screen entities in Tromsø and Aarhus are working to professionalise production and talent development at the peripheries of both countries. We outline their distinctive characteristics and circumstances as regional hubs and delineate the key actors that constitute the respective screen ecosystems. We analyse the interplay between regional film policy, production, and talent development in relation to regional development, geography, creativity, innovation, and the economy of culture. Based on an analysis of policies, strategy documents, and interviews conducted with practitioners in Aarhus and Tromsø over the period 2014–2019, we explore the diverse strategies that these regional production hubs employ to develop and—more challengingly—retain talents in the region, and argue that despite the increased attention given to ‘diversity’ in film policy, structural and cultural obstacles remain in the way of sustainable growth.
This chapter examines the decentralisation of film production, which it sees as having three different angles: geographic decentralisation, the crossing or pushing of boundaries of the form, and the shift towards less-standardised processes of film production. It maps the European film landscape and discusses decentralisation in the Northern European context, then goes on to consider Greece as a particular example within the European periphery, not just because of its geographic location but also because of the ongoing crisis and its implications. The case study discusses Attenberg (Athina Rachel Tsangari 2010), incorporating the elements mentioned in the previous sections. The chapter offers a view of the issues and tensions that film currently faces in the Northern and Southern European peripheral regions: standing between economic considerations and technological developments, as well as cultural objectives and the production of culture.
