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Tamara Falicov
University of Missouri Kansas City, Media, Art, and Design, Faculty Member
- Latin-American Film, Latin American Cinema, Film Industries, Cultural Policy, Argentinean cinema, Economics of Film Festivals, and 45 moreCritical Media Studies, Media Industries, Global media, Globalization, 'Third Cinema' Theory and Third World Radical Films, Film Festivals, Film funding schemes, Film Industry Economics, Film and Media Studies, Film Festival Studies, New Argentine cinema, Runaway Productions, Cinema Argentino, Cine Movil, La historia oficial, Comodines, Film Studies, Latin American Studies, Documentary Film, National Cinemas, Transnational Cinema, Globalization and Transnationalism, Latinamericanism, Post-Colonialism, Media Studies, Media and Cultural Studies, Cultural Sociology, Creative Industries, Co productions, Nation Branding, film festivals, Hubert Bals Fund, Chilean Cinema, Nuevo Cine Argentino, Cultural Industries, International Film Markets and Festivals, Cine Chileno, Economics Of Film Festivals (Business), Cultural Exchange, Uruguayan cinema, Indústria Cultural, Cultural Politics, Sociology of Culture, Film Distribution, Film Exhibition, and Industrias Culturalesedit
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State funding is arguably the most essential component in fostering a film industry in Latin America. This chapter examines the histories of various film institutes throughout the region to understand how these state-run funding bodies... more
State funding is arguably the most essential component in fostering a film industry in Latin America. This chapter examines the histories of various film institutes throughout the region to understand how these state-run funding bodies have diversified their roles and policy mechanisms throughout the region in order to help sustain national film industries . The state has been fundamental in enforcing laws to help foster national film industry growth through film institute programmes, support to the private sector via legislation and funding to film schools. Moreover, more recently, it has boosted its assistance in marketing and branding national cinema, along with its commitment to foster transnational exchange with the Ibero-American film finance fund , Programa Ibermedia. Methodologically, the research takes a historical and comparative approach to various state funding mechanisms, with an emphasis on the most established industries, Argentina, Brazil and Mexico. I argue that neoliberalism, or the shift from a state-funded system to a privately owned market economy, is not solely an economic policy but also a cultural one. As Latin American public film policies have turned neoliberalist, they have taken on branding and marketing policies as dominant ideology.
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Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-Blackwell, April 2017, pp. 85-98. More info here http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118552881.html Email me if you are... more
Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-Blackwell, April 2017, pp. 85-98.
More info here
http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118552881.html
Email me if you are interested in learning more
More info here
http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118552881.html
Email me if you are interested in learning more
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From: Revista Reflexiones 91 (1): 299-312, 2012. El Programa Ibermedia (de aquí en adelante, Ibermedia) es un fondo de co-producción de films auspiciado por España, Portugal y dieciocho países miembros en Latino América. Su propósito... more
From: Revista Reflexiones 91 (1): 299-312, 2012.
El Programa Ibermedia (de aquí en adelante, Ibermedia) es un fondo de co-producción de films auspiciado
por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover
el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España
y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo
audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para
comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores
españoles en films Latino Americanos, para así cumplir con los requisitos “técnicos-artísticos” de una
co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa
fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho
observaciones críticas que sugieren que España es el mayor beneficiario de todos.
Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales
ibero-americanas.
El Programa Ibermedia (de aquí en adelante, Ibermedia) es un fondo de co-producción de films auspiciado
por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover
el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España
y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo
audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para
comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores
españoles en films Latino Americanos, para así cumplir con los requisitos “técnicos-artísticos” de una
co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa
fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho
observaciones críticas que sugieren que España es el mayor beneficiario de todos.
Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales
ibero-americanas.
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This paper explores the cultural dimensions of regional integration that could result from the regional trade pact of the Latin American Southern Cone called MERCOSUR. The aim of this study is to understand whether cultural industries... more
This paper explores the cultural dimensions of regional integration that could result from the regional trade pact of the Latin American Southern Cone called MERCOSUR. The aim of this study is to understand whether cultural industries such as film can be aided by state policies that work to erase borders between neighbouring countries and to facilitate interchange and trade through regional integration. Despite grassroots mobilization by filmmakers, this cultural dimension of MERCOSUR has not been realized in any material fashion. This research explores the various reasons for the failure of this policy. The Uruguayan film industry serves as a case study of some of the obstacles to cultural integration.
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This is a summary of "Central do Brasil" (Central Station) directed by Walter Salles from Sara and Tom Pendergast, eds. International Dictionary of Films and Filmmakers. 2001.
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This is a lecture I gave at the University of the West Indies (UWI) St. Augustine, Trinidad on Monday, September 28, 2015. Please let me know if you decide to use it in your classes or any other use (tfalicov@ku.edu) . The talk is the... more
This is a lecture I gave at the University of the West Indies (UWI) St. Augustine, Trinidad on Monday, September 28, 2015. Please let me know if you decide to use it in your classes or any other use (tfalicov@ku.edu) . The talk is the result of a forthcoming book chapter.
