Culture Economy and the Regulation of the Film Industry: a comparative approach between Brazil, Argentina, Italy, France and USA.
Name: DIEGO GONÇALVES FAVORATO
Publication date: 28/06/2019
Advisor:
Name |
Role |
|---|---|
| ALAIN PIERRE CLAUDE HENRI HERSCOVICI | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ALAIN PIERRE CLAUDE HENRI HERSCOVICI | Advisor * |
| ROBSON ANTONIO GRASSI | Internal Examiner * |
Summary: The objective of this dissertation is to analyze the mesoeconomic
regulation of the industries of cinema in countries that are considered
cinematographic exponents both by the quantity of films they produce, the aesthetic quality and ways of operating this industry. The analyzed countries were The United States of America, France, Italy and Argentina. In an attempt to find solutions for the Brazilian cinematographic production, we have used the theoretical framework from the Cultural Economics, through which we were able to verify how the cultural goods undergo autonomization, how the economic valorization happens and how the techno-esthetical pattern and the
economic specificities of these goods take place. By studying the emergence of this industry in each country, we verified the existence of State support, which in turn, when followed by public policies and laws allowed us to delineate the type of mesoeconomic regulation each country follows. While the USA practices a private type of regulation meeting the global rationales of accumulation, France, Italy and Argentina constitute regulations with a Public Character, which varies according to the production chain in each country. In this way, it is noticeable that the Brazilian structure still has not taken a robust regulation form, transiting between the Public and the Public-Private regulation, thus resulting in a developing production when compared to the other countries. Therefore, it is necessary to reformulate the existing regulatory propositions in the country, focusing on the
intra-media relations and seeking the best existing production models from the greatest film producers in the world. Furthermore, it is imperative to foment the relationship between production, distribution and exhibition turning the chain into a cohesive mechanism.
