Journal Issue of SPECTATOR Topic Title "Follow the money: financing and industrial practices in contemporary inter

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SPECTATOR

Topic Title
"Follow the money: financing and industrial practices in contemporary international cinema"

Vol. 32, no 2, Fall 2012
Description of topic

No matter where and how films are made, the reality of how budgets are raised and spent ultimately determines the final product. Around the world, national and transnational institutions such as studios, coproduction entities and film boards have established various models of financing, which have been challenged by recent developments such as the spread of globalization, the merging of economic markets, political and social movements, the rapid change in media technologies and legislation changes. With the advent of new digital technologies and the Internet, new practices have emerged, while institutions such as film festivals and non-profit organizations have become more and more involved in packaging, distributing and therefore shaping the film product. While it is a commonplace statement to say that the analysis of industrial practices reveals why today's cinematic landscape looks the way it does, the need is arising for more scholarly work dedicated to non-US, out-of-the-mainstream industrial and financing practices, as well as to their newest shifts and developments. Especially in the light of recent American debates regarding the limits of government participation in certain industries, the relevance of government (non)intervention and regulation becomes more clear and it is necessary to examine alternative policy models and their comparative degrees of success.

We invite contributions that take a scholarly approach to the question: Where does the money come from, and how do the financing sources and practices result in quantity, quality and content of cinema products? While we welcome historical approaches of transformations, shifts and ruptures in industrial environments as well as essays that offer a new approach or reveal new historical data about the American studio system, we are hoping to focus this journal issue on international and non-mainstream American modes of financing in a contemporary global context. We are looking for quantitative studies that trace the relationship between financing, production and changing audiences, analyses of the correlation between various industrial models and the emergence of national cinemas, auteurs or "waves" and essays that reveal the importance of various institutional factors (festivals, guilds and unions, local and national governments, but also bankable stars and innovative technologies) as well as the emergence of new modes of financing and their potential. Some suggested topics are outlined below.

Deadline for Submission November 23, 2011
Spectator is a biannual publication and submissions that address the above topics in the following areas are now invited for submission:

Successful industrial models in non-western countries (Bollywood, Nollywood, Iran); how are the content and the critical success of the product influenced by the financing models?

European models – public national and regional financing, its downsides and upsides, European Union, state, regional and local policies

US policy, legislation and financing sources. Local and state-level financing, tax incentives, union regulations and how they influence the choice of locations, crew, casting and story

Models of industrial transition: Eastern Europe, other post-revolutionary or post-colonial situations

Changes of financing and industrial practices in the light of new technological developments. Did the digital revolution really democratize the process of filmmaking, as some had hoped? Are there more films, more accessible to the public, are they more personal and more industry-resistant?

Transnational industrial practices (coproductions, language-determined international distribution, DVD region restrictions, policy of supporting foreign-language productions) and their consequences

Trends and shifts in revenue streams – how do films make money around the world today, and how do changes in exhibition practice change the production of content?

The role and functioning of film festivals, film markets, competitions, awards and grants, and how they encourage the creation of a festival-driven, critically-acclaimed auteur both in Europe and in the US

New and unconventional modes of financing and fundraising, and how they shape the industry

Dogmas and manifestos: when artistic practice meets financial practicality. Relationship between auteur cinema and financial autonomy/independence.

How is cinema defined through financing and industrial practices? How does it fit in the media industrial landscape of today?

Contact information

Ioana Uricaru
2657 Van Buren place, Los Angeles, CA, 90007
323-252-1149

ioana.uricaru@gmail.com

Manuscripts to be considered for publication should be sent to:

University of Southern California
School of Cinematic Arts
Critical Studies
SCA, Room 320
Los Angeles, CA 90089-2211
Attn: Ioana Uricaru

One copy of manuscript should be submitted as well as a copy on disk. Submissions can also be e-mailed directly. Manuscripts should include the title of the contribution and the name (s) of authors. As well as the postal address, e-mail address, and phone numbers for author who will work with the editor on any revisions. All pages should be numbered consecutively. Contributions should not be more than 5,000 words. They should also include a brief abstract for publicity. Authors should also include a brief biographic entry. Rejected manuscripts will not be returned.
Articles submitted to the Spectator should not be under consideration by any other journal.
Book Reviews may vary in length from 300 to 1,000 words. Please include title of book, retail price and ISBN at the beginning of the review.
Forum or Additional Section contributions can include works on new archival or research facilities or methods as well as other relevant works related to the field.
Electronic Submissions and Formatting. Authors should send copies of their work via e-mail as electronic attachments. Please keep backup files of all disks. Files should be Microsoft Word in PC or Mac format, depending on the editor's preference. Endnotes should conform to the Chicago Manual of Style.
Upon acceptance, a format guideline will be forwarded to all contributors as to image and text requirements.
Current Board for Spectator
Founding Editor:
Marsha Kinder
Managing Editor:
William Whittington
Issue Editor:
Ioana Uricaru

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