- Department of Film, TV & Digital Media
Bibliotecas, Room # 2540
School of Communication
University of Navarra
31080 Pamplona (Spain) - +34 948 425 600 ext. 80-2852
Alejandro Pardo
Universidad de Navarra, Film, TV & Digital Media, Faculty Member
- Associate Professor of Production for Film & TV and Audiovisual Project Management at the School of Communication, Un... moreAssociate Professor of Production for Film & TV and Audiovisual Project Management at the School of Communication, University of Navarra (Spain), where he teaches both undergraduate and graduate courses. Former Head of the Department of Film, TV & Digital Media. He holds Certificate Programmes in Production for Film and Television (UCLA Extension) and in Entertainment & Media Management (UCLA Anderson School of Management). In addition, he is graduated from the European Master in Audiovisual Management (Media Business School, Madrid). He has been Visiting Researcher at the UCLA School of Theater, Film & TV, as well as Guest Scholar at the DeSantis Business and Economics Center for the Study and Development of the Motion Picture and Entertainment Industry, Florida Atlantic University. Among his publications, it accounts The Europe-Hollywood Coopetition: Cooperation and Competition in the Global Film Industries (2007), and The Audiovisual Management Handbook (2002, editor). He has also written a number of contributions to collective books and journal articles, like The International Journal on Media Management, Film International and Wide Screen. He is member of the Society of Cinema and Media Studies (SCMS), the European Network for Cinema and Media Studies (NECS), and the European Media Management Association (EMMA). His research is focused on the entertainment industry, and more particularly on the impact of digitization and globalization on the film and TV industries.edit
La industria del cine ha sido posible gracias a los productores ejecutivos, principales promotores del proyecto cinematográfico, de cuya génesis son responsables y al que acompañan y ayudan a crecer, hasta convertirlo en la obra... more
La industria del cine ha sido posible gracias a los productores ejecutivos, principales promotores del proyecto cinematográfico, de cuya génesis son responsables y al que acompañan y ayudan a crecer, hasta convertirlo en la obra audiovisual destinada a la gran o pequeña pantalla. Para ello, necesitan un saber de tipo enciclopédico, que abarque cuestiones creativas, legales, económico-financieras y comerciales. Como empresarios creativos, sus decisiones están marcadas por un punto de vista estratégico y de gestión, basado en un entendimiento de la producción audiovisual como gestión de proyectos (project management) y como una tarea creativa.
No resulta fácil conseguir el adecuado perfil de empresario creativo, sometido a la constante dualidad ente lo artístico y lo comercial, en una actividad marcada por el riesgo financiero y la incertidumbre de mercado. A lo largo de estas páginas se abordan las principales competencias básicas del productor ejecutivo como son la negociación de derechos, el desarrollo del proyecto, el plan de financiación y amortización, las modalidades de producción, los contratos y seguros, o el lanzamiento y explotación comercial de la película.
No resulta fácil conseguir el adecuado perfil de empresario creativo, sometido a la constante dualidad ente lo artístico y lo comercial, en una actividad marcada por el riesgo financiero y la incertidumbre de mercado. A lo largo de estas páginas se abordan las principales competencias básicas del productor ejecutivo como son la negociación de derechos, el desarrollo del proyecto, el plan de financiación y amortización, las modalidades de producción, los contratos y seguros, o el lanzamiento y explotación comercial de la película.
Research Interests:
A lo largo de su primer siglo de vida, la industria audiovisual ha consolidado su saber-hacer (know-how) al ritmo de una doble dinámica: por un lado, un aprendizaje autodidacto, intuitivo, basado en la acumulación de experiencia y, por... more
A lo largo de su primer siglo de vida, la industria audiovisual ha consolidado su saber-hacer (know-how) al ritmo de una doble dinámica: por un lado, un aprendizaje autodidacto, intuitivo, basado en la acumulación de experiencia y, por otro lado, un aprendizaje por emulación, adaptando el modus operandi de otras actividades empresariales basadas en la producción en serie. Este último es el caso de la dirección o gestión de proyectos (project management), disciplina que se ha ido incorporando paulatinamente al ámbito audiovisual. Al fin y al cabo, la producción no consiste en otra cosa que en la planificación, organización y control de un proyecto (sea un largometraje, una serie de televisión o un videojuego), mediante el equilibrio de las tres variables principales: tiempo, coste y calidad. El reto del productor no es otro que realizar el proyecto en el plazo previsto, dentro del presupuesto y con un determinado nivel de calidad. El libro aborda de manera sencilla y sintética las claves de la dirección o gestión de proyectos, con el objetivo de contribuir a formar productores con un grado mayor de competencia, de pensamiento estratégico y de eficacia en la gestión.
Research Interests:
When The Lord of the Rings was published in the middle of the last century, it became a cultural and countercultural icon at once, thanks to its evocative power and character of open book. However, the work of J.R.R. Tolkien has not been... more
When The Lord of the Rings was published in the middle of the last century, it became a cultural and countercultural icon at once, thanks to its evocative power and character of open book. However, the work of J.R.R. Tolkien has not been limited to the literary field. Thanks to Peter Jackson, The Lord of the Rings has once again revived with renewed vigor and led the limits of Middle-earth to unsuspected horizons. Indeed, this trilogy has not only become the most profitable franchise of all time, and the most awarded film saga to date, but also an unprecedented popular phenomenon. The Lord of the Rings film adaptation will go down the annals of cinema for the huge challenge accomplished at a creative, logistical and technological levels. Throughout this volume the step by step creation process of this great work is analyzed in detail: from the book to the script, from the script to the film, and from the film to the phenomenon. As noted by Tom Shippey, one of the foremost experts on Tolkien, “we now have two paths to Middle-earth, two roads on the map: Tolkien himself and Tolkien interpreted by Jackson.” Welcome to this audiovisual journey to Middle-earth.
Cuando El Señor de los Anillos se publicó a mediados del siglo pasado, se convirtió en un icono cultural y contracultural a un tiempo, gracias a su poder de evocación y a su carácter de libro abierto. Sin embargo, la obra de J.R.R. Tolkien no ha quedado circunscrita al ámbito literario. Gracias a Peter Jackson, El Señor de los Anillos ha vuelto a revivir con renovado ímpetu y ha llevado los límites de la Tierra Media hasta un horizonte insospechado. En efecto, esta trilogía no sólo se ha convertido en la franquicia más rentable de todos los tiempos, y en la saga más premiada hasta la fecha, sino también en un fenómeno popular sin precedentes. La adaptación cinematográfica de El Señor de los Anillos pasará a los anales del séptimo arte por el enorme desafío que ha supuesto a nivel creativo, logístico y tecnológico. A lo largo de este volumen se analiza paso a paso el proceso de creación de esta magna obra: del libro al guión, del guión a la película, y de la película al fenómeno. Como apunta Tom Shippey, uno de los mayores expertos en Tolkien, “ahora tenemos dos caminos hacia la Tierra Media, dos caminos en el mapa: Tolkien mismo y Tolkien interpretado por Jackson”. Bienvenidos a este viaje audiovisual hacia la Tierra Media.
Cuando El Señor de los Anillos se publicó a mediados del siglo pasado, se convirtió en un icono cultural y contracultural a un tiempo, gracias a su poder de evocación y a su carácter de libro abierto. Sin embargo, la obra de J.R.R. Tolkien no ha quedado circunscrita al ámbito literario. Gracias a Peter Jackson, El Señor de los Anillos ha vuelto a revivir con renovado ímpetu y ha llevado los límites de la Tierra Media hasta un horizonte insospechado. En efecto, esta trilogía no sólo se ha convertido en la franquicia más rentable de todos los tiempos, y en la saga más premiada hasta la fecha, sino también en un fenómeno popular sin precedentes. La adaptación cinematográfica de El Señor de los Anillos pasará a los anales del séptimo arte por el enorme desafío que ha supuesto a nivel creativo, logístico y tecnológico. A lo largo de este volumen se analiza paso a paso el proceso de creación de esta magna obra: del libro al guión, del guión a la película, y de la película al fenómeno. Como apunta Tom Shippey, uno de los mayores expertos en Tolkien, “ahora tenemos dos caminos hacia la Tierra Media, dos caminos en el mapa: Tolkien mismo y Tolkien interpretado por Jackson”. Bienvenidos a este viaje audiovisual hacia la Tierra Media.
Research Interests:
Along the first century of cinema, the history of the relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process —internationalization of... more
Along the first century of cinema, the history of the relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process —internationalization of capital, talent and infrastructures—, it has become a ‘marriage of convenience’. In fact, this peculiar romance is sustained by paradoxical strategies of cooperation and competition —especially in the case of Europe.
This book identifies these two series of cooperative and competitive strategies developed by Hollywood and the European film industries during the last decade, and attempts to figure out whether it could be considered a case of ‘coopetition’, as it is understood by the business management theory. Distribution partnerships, financial co-productions, runaway productions, European ‘blockbusters’, European public and private financial initiatives and the promotion of national or local cinema are just some of the tactics explored in these pages.
Far from being balanced, these relationships between Europe and Hollywood are asymmetrically evolving on a global scenario, adopting new forms under the cooperation-competition dynamic. The quid of the question, of course, is to determine up to what point this ‘marriage of convenience’ is really based on mutual reciprocity or if it could be described more like a kind of ‘sleeping with the enemy’ situation.
"
This book identifies these two series of cooperative and competitive strategies developed by Hollywood and the European film industries during the last decade, and attempts to figure out whether it could be considered a case of ‘coopetition’, as it is understood by the business management theory. Distribution partnerships, financial co-productions, runaway productions, European ‘blockbusters’, European public and private financial initiatives and the promotion of national or local cinema are just some of the tactics explored in these pages.
Far from being balanced, these relationships between Europe and Hollywood are asymmetrically evolving on a global scenario, adopting new forms under the cooperation-competition dynamic. The quid of the question, of course, is to determine up to what point this ‘marriage of convenience’ is really based on mutual reciprocity or if it could be described more like a kind of ‘sleeping with the enemy’ situation.
"
Research Interests:
Producing films has always been an ignored craft. Those who want to enter into the movie industry are wishing to become either screenwriters or directors. Nevertheless, very few film directors and screenwriters would ultimately succeed in... more
Producing films has always been an ignored craft. Those who want to enter into the movie industry are wishing to become either screenwriters or directors. Nevertheless, very few film directors and screenwriters would ultimately succeed in this industry without the support of those other professionals who are working behind the scenes, anonymously for the audience: the producers.
There are no many film producers considered as celebrities. David Puttnam is one of them. Among his best known films are Chariots of Fire (1981), The Killing Fields (1984) and The Mission (1986). These three pictures have left an unremovable wake of quality and prestige –10 Oscars (including Best Picture) and 24 BAFTAs, not to mention the Palm D’Or at Cannes. In addition, Puttnam was one of the protagonists in the rennaisence of the British Cinema during the 80s, propelling the film careers of directors such as Alan Parker, Ridley Scott, Adrian Lyne, Hugh Hudson and Roland Joffé. And he even run a Hollywood studio.
If anything explains Puttnam’s success is his approach to film production and to the role of the producer itself. He is so involved in the making of his movies, that he leaves a personal imprint or mark on them. These pages offer the cue to discover this “touch”, “method” or “style”. In other words, the know-how all the great filmmakers are distinguished by. It is not properly a handbook, but a systematic exposition of the criteria that Puttnam puts into place through the production process, from the searching for the idea to the movie release strategy. As a British expert remarks, Puttnam is “the closest example to a Hollywood (classic) producer that Europe has seen in the last years”.
La producción de películas ha sido siempre una profesión desconocida. Quienes quieren dedicarse al cine, sueñan ante todo con ser guionistas o directores. Y, sin embargo, pocos directores o guionistas triunfarían sin la ayuda de esos otros profesionales que trabajan entre bastidores, de modo anónimo para el gran público: los productores.
No abundan los productores de cine que puedan considerarse emblemáticos. David Puttnam es sin duda uno de ellos. Sus películas incluyen títulos como Carros de fuego (1980), Los gritos del silencio (1984) o La misión (1986), y han dejado una estela imborrable de calidad y prestigio –10 Oscars (entre ellos, a la Mejor Película) y 24 premios BAFTA (los “Goya” británicos), sin olvidar la Palma de Oro en Cannes. Protagonista del resurgir del cine británico durante los años ochenta, impulsó las carreras de directores como Alan Parker, Ridley Scott, Adrian Lyne, Hugh Hudson o Roland Joffé, y llegó a estar al frente de un estudio de Hollywood.
Pero si algo explica el éxito de Puttnam es su modo de entender la producción y el papel del productor. Hasta tal punto se involucra en sus películas, que puede hablarse de un sello o impronta personal. Estas páginas ofrecen las claves de ese “toque”, “método” o “estilo”, es decir, ese saber hacer (know-how) que distingue a los grandes profesionales. No se trata propiamente de un manual, pero sí de una exposición sistemática de los criterios que pone en juego a lo largo todo el proceso de producción, desde la búsqueda de la idea hasta el estreno de la película. Como apunta un autor inglés, Puttnam es “lo más cercano al productor de Hollywood que Europa ha visto en los últimos años.
There are no many film producers considered as celebrities. David Puttnam is one of them. Among his best known films are Chariots of Fire (1981), The Killing Fields (1984) and The Mission (1986). These three pictures have left an unremovable wake of quality and prestige –10 Oscars (including Best Picture) and 24 BAFTAs, not to mention the Palm D’Or at Cannes. In addition, Puttnam was one of the protagonists in the rennaisence of the British Cinema during the 80s, propelling the film careers of directors such as Alan Parker, Ridley Scott, Adrian Lyne, Hugh Hudson and Roland Joffé. And he even run a Hollywood studio.
If anything explains Puttnam’s success is his approach to film production and to the role of the producer itself. He is so involved in the making of his movies, that he leaves a personal imprint or mark on them. These pages offer the cue to discover this “touch”, “method” or “style”. In other words, the know-how all the great filmmakers are distinguished by. It is not properly a handbook, but a systematic exposition of the criteria that Puttnam puts into place through the production process, from the searching for the idea to the movie release strategy. As a British expert remarks, Puttnam is “the closest example to a Hollywood (classic) producer that Europe has seen in the last years”.
La producción de películas ha sido siempre una profesión desconocida. Quienes quieren dedicarse al cine, sueñan ante todo con ser guionistas o directores. Y, sin embargo, pocos directores o guionistas triunfarían sin la ayuda de esos otros profesionales que trabajan entre bastidores, de modo anónimo para el gran público: los productores.
No abundan los productores de cine que puedan considerarse emblemáticos. David Puttnam es sin duda uno de ellos. Sus películas incluyen títulos como Carros de fuego (1980), Los gritos del silencio (1984) o La misión (1986), y han dejado una estela imborrable de calidad y prestigio –10 Oscars (entre ellos, a la Mejor Película) y 24 premios BAFTA (los “Goya” británicos), sin olvidar la Palma de Oro en Cannes. Protagonista del resurgir del cine británico durante los años ochenta, impulsó las carreras de directores como Alan Parker, Ridley Scott, Adrian Lyne, Hugh Hudson o Roland Joffé, y llegó a estar al frente de un estudio de Hollywood.
Pero si algo explica el éxito de Puttnam es su modo de entender la producción y el papel del productor. Hasta tal punto se involucra en sus películas, que puede hablarse de un sello o impronta personal. Estas páginas ofrecen las claves de ese “toque”, “método” o “estilo”, es decir, ese saber hacer (know-how) que distingue a los grandes profesionales. No se trata propiamente de un manual, pero sí de una exposición sistemática de los criterios que pone en juego a lo largo todo el proceso de producción, desde la búsqueda de la idea hasta el estreno de la película. Como apunta un autor inglés, Puttnam es “lo más cercano al productor de Hollywood que Europa ha visto en los últimos años.
Research Interests:
"Movies, television programs, the new electronic media −they are all much more than fun, and far more than just so many new business opportunities; they serve to reinforce or undermine most of the wider values of society. As filmmakers... more
"Movies, television programs, the new electronic media −they are all much more than fun, and far more than just so many new business opportunities; they serve to reinforce or undermine most of the wider values of society. As filmmakers our responsibility is immense. We play around with people’s minds, leaving them with images, messages and thoughts that last a life”. Thus spoke some years ago the British film producer David Puttnam, the man behind titles like Chariots of Fire (1981), The Killing Fields (1984) and The Mission (1986). If something has marked Puttnam’s career is his committed defence of the filmmaker’s sense of social responsibility.
His most famous movies are an example of a cinema that inspires and motivates beyond usual standards. Puttnam trusts the grandeur of the human being. In his own words, “my films tend to be about men dealing in areas of moral crises with a definite objective in view –to make the world a place where all of us are likely to be more comfortable”. And continues: “The films I've produced are about people trying to be better and succeeding”. This epic and deeply human sense has converted Chariots of Fire, The Killing Fields and The Mission in memorable movies for viewers all over the world.
This book summarises –from Puttnam’s perspective– the keys to understand why movies are so powerful and why film and TV professionals should be aware of it. At the same time, these pages offer a deep anthropological and thematic analysis of Puttman’s most significant movies.
"Las películas, los programas de televisión, los nuevos medios electrónicos son mucho más que entretenimiento y muchísimo más que simples oportunidades de negocio. Sirven para reforzar o socavar la mayoría de los valores presentes en la sociedad. Como cineastas, la responsabilidad de hacer películas es inmensa, porque jugamos con la mente de las personas y dejamos una impronta de imágenes, mensajes y pensamientos que dura toda una vida”. Así se expresaba hace unos años el productor británico David Puttnam, responsable de títulos como Carros de fuego (1981), Los gritos del silencio (1984) o La misión (1986). Si algo ha marcado la trayectoria profesional de Puttnam ha sido su encendida defensa de la responsabilidad social del cineasta.
Sus películas más conocidas son un ejemplo de cine que inspira y motiva más allá de lo habitual. Puttnam confía en la grandeza del ser humano, porque, en sus propias palabras, “dentro de toda persona existe una lucha interior, y dentro de ella un límite potencial para convertirse en héroe. Hay momentos en la vida de un hombre en que éste debe dar lo mejor de sí mismo”. Por eso, continúa, “mis películas versan sobre personas que luchan por ser mejores y lo consiguen”. Y es ese sentido épico y profundamente humano, lo que ha convertido a Carros de fuego, Los gritos del silencio y La misión en títulos memorables para millones de espectadores en todo el mundo.
Estas páginas abordan –siempre desde la perspectiva de David Puttnam– las claves para entender por qué influyen tanto las películas y por qué los profesionales del cine y la televisión han ser conscientes de este poder. De igual modo, ofrecen un pormenorizado análisis temático y antropológico de sus tres películas más representativas."
His most famous movies are an example of a cinema that inspires and motivates beyond usual standards. Puttnam trusts the grandeur of the human being. In his own words, “my films tend to be about men dealing in areas of moral crises with a definite objective in view –to make the world a place where all of us are likely to be more comfortable”. And continues: “The films I've produced are about people trying to be better and succeeding”. This epic and deeply human sense has converted Chariots of Fire, The Killing Fields and The Mission in memorable movies for viewers all over the world.
This book summarises –from Puttnam’s perspective– the keys to understand why movies are so powerful and why film and TV professionals should be aware of it. At the same time, these pages offer a deep anthropological and thematic analysis of Puttman’s most significant movies.
"Las películas, los programas de televisión, los nuevos medios electrónicos son mucho más que entretenimiento y muchísimo más que simples oportunidades de negocio. Sirven para reforzar o socavar la mayoría de los valores presentes en la sociedad. Como cineastas, la responsabilidad de hacer películas es inmensa, porque jugamos con la mente de las personas y dejamos una impronta de imágenes, mensajes y pensamientos que dura toda una vida”. Así se expresaba hace unos años el productor británico David Puttnam, responsable de títulos como Carros de fuego (1981), Los gritos del silencio (1984) o La misión (1986). Si algo ha marcado la trayectoria profesional de Puttnam ha sido su encendida defensa de la responsabilidad social del cineasta.
Sus películas más conocidas son un ejemplo de cine que inspira y motiva más allá de lo habitual. Puttnam confía en la grandeza del ser humano, porque, en sus propias palabras, “dentro de toda persona existe una lucha interior, y dentro de ella un límite potencial para convertirse en héroe. Hay momentos en la vida de un hombre en que éste debe dar lo mejor de sí mismo”. Por eso, continúa, “mis películas versan sobre personas que luchan por ser mejores y lo consiguen”. Y es ese sentido épico y profundamente humano, lo que ha convertido a Carros de fuego, Los gritos del silencio y La misión en títulos memorables para millones de espectadores en todo el mundo.
Estas páginas abordan –siempre desde la perspectiva de David Puttnam– las claves para entender por qué influyen tanto las películas y por qué los profesionales del cine y la televisión han ser conscientes de este poder. De igual modo, ofrecen un pormenorizado análisis temático y antropológico de sus tres películas más representativas."
Research Interests:
Written by leading industry executives from various areas of the audiovisual business, The Audiovisual Management Handbook is an impressive compilation of information explaining the rules of the game in the European audiovisual industry.... more
Written by leading industry executives from various areas of the audiovisual business, The Audiovisual Management Handbook is an impressive compilation of information explaining the rules of the game in the European audiovisual industry. This publication offers a unique managerial insight to both the experienced audiovisual professional as well as those entrepreneurs just getting started in the business, providing a complete manual which has been considered the ‘bible’ of the audiovisual business. It outlines in detail all management issues involved in audiovisual production: from acquiring scripts, developing a business plan and pre-production; to purchasing insurances, financing, designing advance marketing strategies and maximising revenues from all windows, in the film, television and new media markets in Europe today.
Research Interests:
Perhaps it could be surprising to find a book about the life and work of a film producer, but the truth is that, among these crafted people, David Puttnam is a rara avis. Along his large and successful career –with memorable titles like... more
Perhaps it could be surprising to find a book about the life and work of a film producer, but the truth is that, among these crafted people, David Puttnam is a rara avis. Along his large and successful career –with memorable titles like Chariots of Fire, The Killing Fields and The Mission–, Puttnam has distinguished himself by working creatively –a quality not very frequent among producers–, as well as by understanding movies as an influent mean of communication.
His figure is a point of reference for producers all over the world, and his films have left a remarkable path of quality and prestige: 10 Oscars, 24 BAFTA Awards and the Cannes Palm d’Or. On top of that, he established himself in the political arena and was recently appointed as Lord of England.
Together with his outstanding talent and professional achievement, he shows a complex personality, passionate and contradictory. This book tries to offer a rigorous profile of one of the most famous European film producers.
Quizá pueda sorprender un libro sobre la vida y obra de un productor, pero lo cierto es que, dentro de su oficio, David Puttnam es una rara avis. A lo largo de su carrera profesional –jalonada de éxitos como Carros de fuego, Los gritos del silencio o La misión–, Puttnam se ha distinguido por actuar creativamente –algo no del todo frecuente en la producción audiovisual–, y por entender el cine como un influyente medio de comunicación.
Su figura es un punto de referencia para productores de todo el mundo, y sus películas han dejado una estela imborrable de calidad y prestigio: 10 Oscars, 24 Premios BAFTA (los "Goya" británicos) y la Palma de Oro en Cannes. A todo eso une también una brillante carrera política. Es Lord de Inglaterra.
Junto a su indudable talento y valía profesional, posee una personalidad compleja, apasionada y contradictoria. Estas páginas pretenden ofrecer una rigurosa semblanza profesional de este prestigioso hombre de cine, para que el lector pueda sacar sus propias conclusiones.
His figure is a point of reference for producers all over the world, and his films have left a remarkable path of quality and prestige: 10 Oscars, 24 BAFTA Awards and the Cannes Palm d’Or. On top of that, he established himself in the political arena and was recently appointed as Lord of England.
Together with his outstanding talent and professional achievement, he shows a complex personality, passionate and contradictory. This book tries to offer a rigorous profile of one of the most famous European film producers.
Quizá pueda sorprender un libro sobre la vida y obra de un productor, pero lo cierto es que, dentro de su oficio, David Puttnam es una rara avis. A lo largo de su carrera profesional –jalonada de éxitos como Carros de fuego, Los gritos del silencio o La misión–, Puttnam se ha distinguido por actuar creativamente –algo no del todo frecuente en la producción audiovisual–, y por entender el cine como un influyente medio de comunicación.
Su figura es un punto de referencia para productores de todo el mundo, y sus películas han dejado una estela imborrable de calidad y prestigio: 10 Oscars, 24 Premios BAFTA (los "Goya" británicos) y la Palma de Oro en Cannes. A todo eso une también una brillante carrera política. Es Lord de Inglaterra.
Junto a su indudable talento y valía profesional, posee una personalidad compleja, apasionada y contradictoria. Estas páginas pretenden ofrecer una rigurosa semblanza profesional de este prestigioso hombre de cine, para que el lector pueda sacar sus propias conclusiones.
Research Interests:
The relationship between cinema and technology has been present since the very inception of motion pictures, looking to offer a more immersive and believable experience. This chapter presents a comprehensive compilation of key scholarly... more
The relationship between cinema and technology has been present since the very inception of motion pictures, looking to offer a more immersive and believable experience. This chapter presents a comprehensive compilation of key scholarly literature – mainly in the English language – while identifying some of the theoretical issues, emerging concepts, current and further research, as well as lists of references with regard to this topic. In order to accomplish this task, it is divided into three main sections. The first one focuses on the relationship between the arts and technology, and specifically between cinema and the arts, and between cinema and technology. The middle section draws a brief historical sum- mary on the technological development of the (audio)visual media, moving from the primitive canvas to the first photographic plates and from the birth of cinema to the digital image. Finally, the third part is a synthesis of some of the most relevant theoretical and critical issues regarding the imbrication of art, technology and cinema, all of it in the words of well-known experts and scholars. An epilogue with some final thoughts closes this chapter
Research Interests:
From its very inception, the history of the movie industry has been closely linked to the history of technological development. However, the changes caused by the digital revolution are transforming the film industry in a more fast-paced... more
From its very inception, the history of the movie industry has been closely linked to the history of technological development. However, the changes caused by the digital revolution are transforming the film industry in a more fast-paced and more far-reaching scale than anything that came before. Producers, distributors and exhibitors are being forced to respond to the popularity of the Internet and the success of the digital platforms. As a consequence the ways of consuming movies are dramatically changing and the film industry is desperately trying to readapt itself to this new scenario.
This chapter is focused on the profound transformations the film industry is undergoing at every level due to the disruptive power of digitisation. In particular, I will address here the main changes affecting distribution, exhibition and consumption of movies. The first section can be considered a framework to contextualise this change of paradigm, from analog to digital. In there, I will approach two key issues, closely linked to each other, in regard to this new matrix: the emergence of a new type of consumer and the consolidation of the online markets. The core of the chapter is devoted to identify and explain the main changes in distributing, exhibiting and consuming movies. In the case of distribution, the disruptive power of digitisation is demanding new forms of disintermediation, whereas conventional windows need to be reformulated. In addition, exhibitors need to readapt themselves to the new digital scenario, upgrading cinemas’ technological standards and diversifying their business model. Regarding consumption, audience demands a customized way of enjoying entertainment, with freedom of choice, unlimited access and a high grade of flexibility and portability. Finally, I will draw some conclusions and remarks, although they will be necessarily open
This chapter is focused on the profound transformations the film industry is undergoing at every level due to the disruptive power of digitisation. In particular, I will address here the main changes affecting distribution, exhibition and consumption of movies. The first section can be considered a framework to contextualise this change of paradigm, from analog to digital. In there, I will approach two key issues, closely linked to each other, in regard to this new matrix: the emergence of a new type of consumer and the consolidation of the online markets. The core of the chapter is devoted to identify and explain the main changes in distributing, exhibiting and consuming movies. In the case of distribution, the disruptive power of digitisation is demanding new forms of disintermediation, whereas conventional windows need to be reformulated. In addition, exhibitors need to readapt themselves to the new digital scenario, upgrading cinemas’ technological standards and diversifying their business model. Regarding consumption, audience demands a customized way of enjoying entertainment, with freedom of choice, unlimited access and a high grade of flexibility and portability. Finally, I will draw some conclusions and remarks, although they will be necessarily open
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The history of Hollywood runs in tandem with the history of technological develop- ment. The inclusion of sound, followed by that of color, along with the need to adapt to new audiovisual media (first television and then video), are... more
The history of Hollywood runs in tandem with the history of technological develop- ment. The inclusion of sound, followed by that of color, along with the need to adapt to new audiovisual media (first television and then video), are milestones in the history of the largest entertainment factory in the world. Each of these forms of technological development in turn marked a growing pain or turning point at the time of its invention, by which the Hollywood industry was ultimately strengthened. However, the changes over the last decade have been both more fast-paced and more far-reaching than anything that came before. The digital revolution and globalization have transformed the film and TV industry in ways that could never have been foreseen. The big Hollywood studios have been forced to respond to the uncertainty—and potential for profit—prompted by the popularity of the Internet and the success of new digital platforms, especially among young people.
This chapter is an attempt to trace the recent evolution of the present and future challenges the Hollywood industry is facing up in this paradigm shift—from analogical to digital. In order to respond to the complex nature of this phenomenon, I will try to cover, in an exploratory way, a different set of topics, going from the change in consumption habits and the emergence of new virtual markets to the clash of management mentalities, the search for the right business model and a summary of some of the key transformations the entertainment industry is experiencing.
This chapter is an attempt to trace the recent evolution of the present and future challenges the Hollywood industry is facing up in this paradigm shift—from analogical to digital. In order to respond to the complex nature of this phenomenon, I will try to cover, in an exploratory way, a different set of topics, going from the change in consumption habits and the emergence of new virtual markets to the clash of management mentalities, the search for the right business model and a summary of some of the key transformations the entertainment industry is experiencing.
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The audiovisual entertainment business is undergoing a key moment due to several reasons: the Internet boom, its convergence with television, the prominence of the user as well as the digitalization of the production and distribution... more
The audiovisual entertainment business is undergoing a key moment due to several reasons: the Internet boom, its convergence with television, the prominence of the user as well as the digitalization of the production and distribution processes. Although this phenomenon was initially originated by technological factors, its consequences affect to the whole audiovisual industry and, more specifically, to the very core of the business—contents. In this context, fiction and entertainment contents must be developed since its first stage for a multimedia and interactive consumption in order to be enjoyed by the audience on a wide range of platforms. From this perspective, successful contents demands capability to be multi-platform distributed and customized by the consumer. In this regard, its interactive options, its potential to create a prestigious brand and a profitable business model, and, last but not least, its power to tell an original transmedia story. This chapter tries to figure out the most innovative trends in production, distribution and commercialization of multi-platform contents in the case of the main television networks in Spain. In this sense, we are presenting a comparative analysis of their different multi-platform strategies following a two-step methodology: firstly, a descriptive study of their respective websites, online players, mobile apps and social networks’ profiles; secondly, questionnaires to the multimedia managers of the chief networks together with some personal interviews. The preliminary results of this research prove that, in the Spanish case, the convergence of television and the Internet is revolutionizing the production and commercialization of audiovisual contents, although it is also clear that is still in a challenging first stage.
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The history of Hollywood runs in tandem with the history of technological development. However, the changes over the last ten years have been both more fast-paced and more farreaching than anything that came before. The digital revolution... more
The history of Hollywood runs in tandem with the history of technological development. However, the changes over the last ten years have been both more fast-paced and more farreaching than anything that came before. The digital revolution and globalization have transformed the film and TV industry in ways which could never have been foreseen. The big Hollywood studios have been forced to respond to the uncertainty-and potential for profit-prompted by the popularity of the internet and the success of new digital platforms, especially among young people. Thus, Hollywood would appear to be standing at a new digital (and global) crossroads, charted by two basic movements: on one hand, the emergence of a new market for the commercialization of audiovisual products (internet, IPTV, digital reproduction devices, mobile telephones), referred to as the long tail market; and, on the other, the emergence of new type of consumer, known collectively as the iPod or net-generation. The two, linked questions set out below sum up the challenges facing the major studios in Hollywood: What new consumer habits define this emerging viewer/audience profile? What business model will define the network of relations on the internet with regard to the commercial practices of the film and TV series industry; or, in other words, what are the rules governing this new market? These two questions are closely bound up together; the response to one conditions any response to the other. This paper is an attempt to trace the framework of present and future challenges facing the entertainment industry. First, the defining features of the consumer profile shaped by the development of new technologies are examined. Second, the latest operational strategies of the entertainment industry, which also shed light on the alliance between Hollywood and Silicon Valley, are discussed. Then, the business models adopted by major American studios in relation to the downloading of films and TV programs are described. Finally, the most significant elements of the new digital economy are addressed, giving rise to a more structured conclusion in the form of a SWOT analysis of the new window of commercial opportunity opened on the internet for entertainment products.
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Co-productions have been a usual formula in most of the Europe- an film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies... more
Co-productions have been a usual formula in most of the Europe- an film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies and multicultural implications. Some authors have offered different typo- logies of international films, trying to combine both aspects. This article analyzes 202 Spanish international co-productions made between 2000 and 2004 and proposes a new typology aimed at clarifying the hybrid nature of this formula of coopera- tion. At the same time it determines how much Spanish co-productions rely on economic strategies rather than on multicultural ties.
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As a process subject to time and planning, movie production can be broken down into three different phases: development, production, and commercialisation. The first two constitute the core of the production process and a producer must be... more
As a process subject to time and planning, movie production can be broken down into three different phases: development, production, and commercialisation. The first two constitute the core of the production process and a producer must be competent in both. The third belongs to the market exploitation process and requires the collaboration of other players in each window (distributors, exhibitors, television networks).
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This chapter examines the contemporary audiovisual product and the structure of today’s industry in its basic components to provide an overall picture of current market power and key player strategies. Business environments tend toward... more
This chapter examines the contemporary audiovisual product and the structure of today’s industry in its basic components to provide an overall picture of current market power and key player strategies.
Business environments tend toward either extreme competition or alternatively, mutual co- operation. The result of the interplay between industry structure and individual company behaviour is the performance of the industry as a whole, expressed in economic terms: efficiency, productivity, technological progressiveness and profitability.
Business environments tend toward either extreme competition or alternatively, mutual co- operation. The result of the interplay between industry structure and individual company behaviour is the performance of the industry as a whole, expressed in economic terms: efficiency, productivity, technological progressiveness and profitability.
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The amount of leisure time has been slowly increasing, if at all, in recent years. At the same time, entertainment has become one of modern society’s essential pastimes, once a certain level of disposable income is achieved. As a result,... more
The amount of leisure time has been slowly increasing, if at all, in recent years. At the same time, entertainment has become one of modern society’s essential pastimes, once a certain level of disposable income is achieved. As a result, audiovisual enterprises primarily focus on producing information and entertainment, the latter being the more profitable.
It has been said that a motion picture takes two years to make, two hours to watch, two minutes to criticize and two seconds to forget. Moviemaking is very often an ungrateful enterprise, with no relationship whatsoever between effort and result, suffering and applause.
Some people would argue that audiovisual production is about money and negotiation. A well-known European producer who temporarily ran a Hollywood studio once said that they make deals, not movies. However, the bottom line is not the only aspect to consider when making a picture. Entertainment also has creative, social, cultural and governmental implications. Being responsible for the project, it is the producer’s job to find the difficult balance between artistic quality, social and cultural values and business profitability.
It has been said that a motion picture takes two years to make, two hours to watch, two minutes to criticize and two seconds to forget. Moviemaking is very often an ungrateful enterprise, with no relationship whatsoever between effort and result, suffering and applause.
Some people would argue that audiovisual production is about money and negotiation. A well-known European producer who temporarily ran a Hollywood studio once said that they make deals, not movies. However, the bottom line is not the only aspect to consider when making a picture. Entertainment also has creative, social, cultural and governmental implications. Being responsible for the project, it is the producer’s job to find the difficult balance between artistic quality, social and cultural values and business profitability.
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"Globalization has been re-opened the debate on the concentration of media companies. Whereas some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the... more
"Globalization has been re-opened the debate on the concentration of media companies. Whereas some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience, others, on the contrary, argue that is the control of the distribution system what explains the Hollywood success. This paper analyses the Spanish film market, focused on the theatrical distribution sector. For this, it addresses a triple aim: first of all, to identify the degree of concentration in the Spanish film distribution market; secondly to analyse the links between U.S. movies’ box office success and the dominant position of the Hollywood majors; and, lastly, to evaluate the effects of this situation on the performance of Spanish and European films in the domestic market.
La globalización ha reavivado el debate sobre la concentración de los medios de comunicación. La industria cinematográfica, a este respecto, representa un caso paradigmático. Mientras algunos autores consideran que la posición dominante de las companías estadounidenses proviene de una mayor identificación del público con el cine norteamericano, otros en cambio defienden que el éxito de Hollywood se debe a su control del sistema de distribución. Este artículo analiza la situación del mercado cinematográfico en España, y en particular, del sector de la distribución. Para ello, aborda un triple objetivo: en primer lugar, identificar el grado de concentración del mercado cinematográfico español; en segundo término, analizar la relación existente entre el éxito de las películas norteamericanas y la posición dominante de las majors hollywoodienses; y, finalmente, evaluar los efectos de esta situación en el funcionamiento de las películas españolas y europeas en el conjunto del mercado nacional.""""
La globalización ha reavivado el debate sobre la concentración de los medios de comunicación. La industria cinematográfica, a este respecto, representa un caso paradigmático. Mientras algunos autores consideran que la posición dominante de las companías estadounidenses proviene de una mayor identificación del público con el cine norteamericano, otros en cambio defienden que el éxito de Hollywood se debe a su control del sistema de distribución. Este artículo analiza la situación del mercado cinematográfico en España, y en particular, del sector de la distribución. Para ello, aborda un triple objetivo: en primer lugar, identificar el grado de concentración del mercado cinematográfico español; en segundo término, analizar la relación existente entre el éxito de las películas norteamericanas y la posición dominante de las majors hollywoodienses; y, finalmente, evaluar los efectos de esta situación en el funcionamiento de las películas españolas y europeas en el conjunto del mercado nacional.""""
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The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from... more
The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience. Others argue that the Hollywood success is mainly due to its control of the distribution system. U.S. films account for an average of 63.4% of the European market. In return, European films represent 3.6% of the North American box office. There are around 450 active film distribution companies in Europe, the majority of them being nationally controlled firms, and only a small percentage of them belong to U.S. majors. Nevertheless, these U.S. subsidiaries are ranked among the top 10 leading film distributors in Europe according to market share. This article attempts to make a further contribution in market concentration analysis, looking at the situation of film distribution in the 5 biggest Western European countries. It also explores if the success of American companies is due to their management and marketing skills or if, by the contrary, it is the consequence of their dominant market positions.
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Along their first century of existence, the European and the American motion picture industries have developed a paradoxical relationship of cooperation and competition. Whereas in the case of Hollywood the historical evolution has been... more
Along their first century of existence, the European and the American motion picture industries have developed a paradoxical relationship of cooperation and competition. Whereas in the case of Hollywood the historical evolution has been one of ‘expansion’ and ‘consolidation’, the development of the European film industry on the contrary is more of ‘survival’ and ‘defense’. This article presents a brief historical evolution of this unbalanced economical and cultural exchange throughout four long periods, in an attempt to offer a panoramic and comparative view as a framework for future research.
A lo largo de su primer siglo de existencia, las industrias cinematográficas de Europa y Hollywood han des- arrollado una paradójica relación de alianza y competencia. Mientras en el caso estadounidense la evolución histórica ha sido de expansión y consolidación, el desarrollo de la industria europea del cine, puede calificarse más bien de defensa y supervivencia. Este artículo presenta una síntesis histórica de este desigual intercambio económico y cultural a través de cuatro grandes etapas, en un intento de ofrecer una visión panorámica comparativa que sirva para encuadrar futuras investigaciones.""
A lo largo de su primer siglo de existencia, las industrias cinematográficas de Europa y Hollywood han des- arrollado una paradójica relación de alianza y competencia. Mientras en el caso estadounidense la evolución histórica ha sido de expansión y consolidación, el desarrollo de la industria europea del cine, puede calificarse más bien de defensa y supervivencia. Este artículo presenta una síntesis histórica de este desigual intercambio económico y cultural a través de cuatro grandes etapas, en un intento de ofrecer una visión panorámica comparativa que sirva para encuadrar futuras investigaciones.""
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‘Runaway productions’ are a major area of cooperation between Hollywood and Europe. US studios seek to produce films overseas for economic, creative and even marketing reasons. This strategy has fostered a number of ‘collateral effects,’... more
‘Runaway productions’ are a major area of cooperation between Hollywood and Europe. US studios seek to produce films overseas for economic, creative and even marketing reasons. This strategy has fostered a number of ‘collateral effects,’ like the establishment of studio facilities and other production infrastructures, the increase of direct and indirect governmental support, the development of clusters of creative industries ⎯all sorts of efforts to increase the synergies between the local and the international film industries.
One specific case is the consolidation of the so-called ‘greenfield studios,’ based in places without previous production infrastructure, usually peripheral to main centres and mostly located in countries for which English is not the first language. This is the case of the Spanish La Ciudad de la Luz (CDLL), on the Mediterranean coast. Since its inauguration in 2005, the CDLL has hosted shoots to the tune of 280 million Euros, including big-budget European film productions such as Asterix at the Olympic Games, some comedies like Annaud’s His Majesty Minor and some minor films like Coppola’s Tetro. Nevertheless, it has failed to attract big Hollywood productions, which usually have ended up landing in other competing studios.
Within this framework, this article analyses the performance of the CDLL in its first years and explores its future viability, combining economic, industrial and political approaches."
One specific case is the consolidation of the so-called ‘greenfield studios,’ based in places without previous production infrastructure, usually peripheral to main centres and mostly located in countries for which English is not the first language. This is the case of the Spanish La Ciudad de la Luz (CDLL), on the Mediterranean coast. Since its inauguration in 2005, the CDLL has hosted shoots to the tune of 280 million Euros, including big-budget European film productions such as Asterix at the Olympic Games, some comedies like Annaud’s His Majesty Minor and some minor films like Coppola’s Tetro. Nevertheless, it has failed to attract big Hollywood productions, which usually have ended up landing in other competing studios.
Within this framework, this article analyses the performance of the CDLL in its first years and explores its future viability, combining economic, industrial and political approaches."
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Co-productions have been a usual formula in most of the European film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies... more
Co-productions have been a usual formula in most of the European film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies and multicultural implications. Some authors have offered different typologies of international films, trying to combine both aspects. This article analyzes 251 Spanish international co-productions made between 2000 and 2005 and proposes a new typology aimed at clarifying the hybrid nature of this formula of cooperation. At the same time it determines how much Spanish co-productions rely on economic strategies rather than on multicultural ties.
Desde hace medio siglo, las coproducciones internacionales son una fórmula habitual en las industrias cinematográficas europeas (40% de las películas producidas anualmente). Más allá de la mera cooperación, las coproducciones exigen un difícil equilibrio entre estrategia financiera e implicaciones multiculturales. Varios autores han propuesto tipologías de películas internacionales atendiendo a estos factores. Este artículo analiza un total de 251 coproducciones internacionales españolas realizadas durante el período 2000-05 y propone una nueva tipología con el ánimo de esclarecer la naturaleza híbrida de esta fórmula de cooperación y determinar hasta qué punto las coproducciones españolas descansan principalmente sobre estrategias económicas o reflejan más bien nexos multiculturales.
Desde hace medio siglo, las coproducciones internacionales son una fórmula habitual en las industrias cinematográficas europeas (40% de las películas producidas anualmente). Más allá de la mera cooperación, las coproducciones exigen un difícil equilibrio entre estrategia financiera e implicaciones multiculturales. Varios autores han propuesto tipologías de películas internacionales atendiendo a estos factores. Este artículo analiza un total de 251 coproducciones internacionales españolas realizadas durante el período 2000-05 y propone una nueva tipología con el ánimo de esclarecer la naturaleza híbrida de esta fórmula de cooperación y determinar hasta qué punto las coproducciones españolas descansan principalmente sobre estrategias económicas o reflejan más bien nexos multiculturales.
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Among the different professional categories related to the film industry, the craft of the producer is probably the less recognised and the most difficult to define. It implies a wide variety of skills and know-how, not only in financing... more
Among the different professional categories related to the film industry, the craft of the producer is probably the less recognised and the most difficult to define. It implies a wide variety of skills and know-how, not only in financing or managing aspects, but also as a creative input. Nevertheless, the creative side is not as common as the others one. This article offers some insights on the creative role of the film producer, trying to face two questions: up to what point “creativity” is really an issue in film production and how it is managed.
Entre todas las profesiones relativas a la industria cinematográfica, el oficio del productor es probablemente el menos reconocido y el más difícil de precisar. Su trabajo implica una gran variedad de saberes y destrezas, no sólo en el ámbito financiero o de gestión, sino también creativo, aunque ésta última sea la cualidad menos común. Este artículo ofrece algunas luces a favor de la índole creativa del trabajo del productor cinematográfico, buscando respuesta a dos interrogantes: hasta qué punto puede hablarse de creatividad en la producción de películas y de qué modo se ejerce.
Entre todas las profesiones relativas a la industria cinematográfica, el oficio del productor es probablemente el menos reconocido y el más difícil de precisar. Su trabajo implica una gran variedad de saberes y destrezas, no sólo en el ámbito financiero o de gestión, sino también creativo, aunque ésta última sea la cualidad menos común. Este artículo ofrece algunas luces a favor de la índole creativa del trabajo del productor cinematográfico, buscando respuesta a dos interrogantes: hasta qué punto puede hablarse de creatividad en la producción de películas y de qué modo se ejerce.
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Abstract: This article seeks to shed new light on our understanding of the work of the film producer, discussing the creative nature of this craft. It does that by searching for answers to two questions: Firstly, up to what point can we... more
Abstract: This article seeks to shed new light on our understanding of the work of the film producer, discussing the creative nature of this craft. It does that by searching for answers to two questions: Firstly, up to what point can we talk about creativity in the producing of films? And secondly, how is that creativity practiced? To deal with both these questions it offers a historical overview of the creative producer and how it is presently considered. Finally, it also briefly addresses the influence of digital revolution in the production process. The ‘Unsung Heroes’ “Most people have absolutely no concept of what producers do, even people in the film business…” ⎯BARBARA BROCCOLI (co-producer of James Bond movies). “Every producer is different ⎯it’s been so different on every movie that I’ve worked on. For me, there is no definition” ⎯SYDNEY POLLACK (producer and director). (Quoted by De Winter, 2006: ix) As the previous quotes illustrate, of all the professions related to the ...
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Los acontecimientos dramaticos del 11-S retrasaron los estrenos de varias peliculas para no herir la sensibilidad del publico, traumatizado por la tragedia del World Trade Center. Pero el cine americano tiene tendencia a ocuparse de la... more
Los acontecimientos dramaticos del 11-S retrasaron los estrenos de varias peliculas para no herir la sensibilidad del publico, traumatizado por la tragedia del World Trade Center. Pero el cine americano tiene tendencia a ocuparse de la historia inmediata y a hacer de la politica y de sus escandalos un tema obligado de sus peliculas. Aunque el trauma aun sigue, el tema ha dejado de ser tabu. Olivier Stone presento en Cannes veinte minutos de World Trade Center, una obra de 60 millones de dolares de presupuesto que debe abordar el ataque terrorista en su conjunto. Mas modesto es el presupuesto ?entre 15 y 20 millones? de United 93, de Paul Greengrass, que aborda el ataque terrorista centrado en el vuelo del cuarto avion secuestrado por los islamistas de Al Qaeda, el unico avion que no llego a su destino: la Casa Blanca.
Research Interests: Humanities and Art
La industria de la televisión en nuestro país ha experimentado estos últimos años un crecimiento sostenido, que no hace sino confirmar la solidez de un sector en alza como industria (producción) y como mercado (consumo). La proliferación... more
La industria de la televisión en nuestro país ha experimentado estos últimos años un crecimiento sostenido, que no hace sino confirmar la solidez de un sector en alza como industria (producción) y como mercado (consumo). La proliferación de cadenas (se han multiplicado por diez en los últimos doce años, sin contar el cable y las locales) y de canales temáticos (más de cien) ha traído consigo la expansión de la producción independiente (externa o asociada). Este capítulo analiza las estrategias entre cadenas y productoras y analiza con profundidad el sector de la producción independiente en la televisión española
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Un conocido dicho hollywoodiense afirma: ?Una pelicula es algo que se tarda dos anos en hacer, dos horas en ver, dos minutos en criticar? y dos segundos en olvidar?. En efecto, en muchos casos el publico de a pie desconoce el enorme... more
Un conocido dicho hollywoodiense afirma: ?Una pelicula es algo que se tarda dos anos en hacer, dos horas en ver, dos minutos en criticar? y dos segundos en olvidar?. En efecto, en muchos casos el publico de a pie desconoce el enorme esfuerzo que se esconde detras de una produccion cinematografica, reflejado en esa interminable lista de nombres que desfilan al final de la pelicula (los llamados ?creditos?) y que nadie suele quedarse a ver, a no ser que nos resulte entretenido el tema musical compuesto para la ocasion.
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From its very inception, the history of the movie industry has been closely linked to the history of technological development. However, the changes caused by the digital revolution are transforming the film industry at a more fast-paced... more
From its very inception, the history of the movie industry has been closely linked to the history of technological development. However, the changes caused by the digital revolution are transforming the film industry at a more fast-paced and more far-reaching scale than anything that came before. Producers, distributors and exhibitors are being forced to respond to the popularity of the Internet and the success of digital platforms. As a consequence the ways of consuming movies are dramatically changing and the film industry is desperately trying to readapt itself to this new scenario.
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La ficción televisiva estadounidense ha evolucionado en las últimas décadas hacia un estilo más cinematográfico. Un ejemplo de ello es la miniserie HERMANOS DE SANGRE (2001), emitida por la HBO. En su realización influye tanto el sello de... more
La ficción televisiva estadounidense ha evolucionado en las últimas décadas hacia un estilo más cinematográfico. Un ejemplo de ello es la miniserie HERMANOS DE SANGRE (2001), emitida por la HBO. En su realización influye tanto el sello de calidad asociado a esta cadena como el renovado interés en la II Guerra Mundial. Estas páginas analizan pormenorizadamente esta miniserie bélica desde el punto de vista de la producción (cómo se hizo), a la vez que aborda las claves de su éxito
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""Movies, television programs, the new electronic media −they are all much more than fun, and far more than just so many new business opportunities; they serve to reinforce or undermine most of the wider values of society. As... more
""Movies, television programs, the new electronic media −they are all much more than fun, and far more than just so many new business opportunities; they serve to reinforce or undermine most of the wider values of society. As filmmakers our responsibility is immense. We play around with people’s minds, leaving them with images, messages and thoughts that last a life”. Thus spoke some years ago the British film producer David Puttnam, the man behind titles like Chariots of Fire (1981), The Killing Fields (1984) and The Mission (1986). If something has marked Puttnam’s career is his committed defence of the filmmaker’s sense of social responsibility. His most famous movies are an example of a cinema that inspires and motivates beyond usual standards. Puttnam trusts the grandeur of the human being. In his own words, “my films tend to be about men dealing in areas of moral crises with a definite objective in view –to make the world a place where all of us are likely to be more comfortable”. And continues: “The films I've produced are about people trying to be better and succeeding”. This epic and deeply human sense has converted Chariots of Fire, The Killing Fields and The Mission in memorable movies for viewers all over the world. This book summarises –from Puttnam’s perspective– the keys to understand why movies are so powerful and why film and TV professionals should be aware of it. At the same time, these pages offer a deep anthropological and thematic analysis of Puttman’s most significant movies. "Las películas, los programas de televisión, los nuevos medios electrónicos son mucho más que entretenimiento y muchísimo más que simples oportunidades de negocio. Sirven para reforzar o socavar la mayoría de los valores presentes en la sociedad. Como cineastas, la responsabilidad de hacer películas es inmensa, porque jugamos con la mente de las personas y dejamos una impronta de imágenes, mensajes y pensamientos que dura toda una vida”. Así se expresaba hace unos años el productor británico David Puttnam, responsable de títulos como Carros de fuego (1981), Los gritos del silencio (1984) o La misión (1986). Si algo ha marcado la trayectoria profesional de Puttnam ha sido su encendida defensa de la responsabilidad social del cineasta. Sus películas más conocidas son un ejemplo de cine que inspira y motiva más allá de lo habitual. Puttnam confía en la grandeza del ser humano, porque, en sus propias palabras, “dentro de toda persona existe una lucha interior, y dentro de ella un límite potencial para convertirse en héroe. Hay momentos en la vida de un hombre en que éste debe dar lo mejor de sí mismo”. Por eso, continúa, “mis películas versan sobre personas que luchan por ser mejores y lo consiguen”. Y es ese sentido épico y profundamente humano, lo que ha convertido a Carros de fuego, Los gritos del silencio y La misión en títulos memorables para millones de espectadores en todo el mundo. Estas páginas abordan –siempre desde la perspectiva de David Puttnam– las claves para entender por qué influyen tanto las películas y por qué los profesionales del cine y la televisión han ser conscientes de este poder. De igual modo, ofrecen un pormenorizado análisis temático y antropológico de sus tres películas más representativas.""
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This article seeks to shed new light on our understanding of the work of the film producer, discussing the creative nature of this craft. It does that by searching for answers to two questions: Firstly, up to what point can we talk about... more
This article seeks to shed new light on our understanding of the work of the film producer, discussing the creative nature of this craft. It does that by searching for answers to two questions: Firstly, up to what point can we talk about creativity in the producing of films? And secondly, how is that creativity practiced? To deal with both these questions it offers a historical overview of the creative producer and how it is presently considered. Finally, it also briefly addresses the influence of digital revolution in the production process.
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Hace escasos meses, muchos espectadores del mundo entero se vieron sacudidos por el espeluznante retrato del genocidio ruandes narrado por el guionista y director Terry George en su ultima pelicula, Hotel Rwanda (2004). Con un realismo... more
Hace escasos meses, muchos espectadores del mundo entero se vieron sacudidos por el espeluznante retrato del genocidio ruandes narrado por el guionista y director Terry George en su ultima pelicula, Hotel Rwanda (2004). Con un realismo contenido, George lleva a la pantalla la historia de Paul Rusesabagina, gerente de un hotel de lujo (el Mille Collins), de raza hutu, casado con una tutsi, que lucha por salvar la vida de su propia familia y la de otros muchos compatriotas cuando estalla el conflicto etnico en aquel pais africano. El filme recibio tres nominaciones a los Oscars de Hollywood (guion y actores) y obtuvo el Premio del Publico en numerosos festivales.
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Research Interests: Business, Geography, Globalization, European Cinema, Film Industries, and 15 moreFilm Production, Film Distribution, Contemporary Hollywood, DISTRIBUTION, Hollywood, Face to Face, Exhibition, Europa, Film industry, Cooperación, Industria del Cine, Coopetition, Media and Entertainment Management, Competencia, and Distribution
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Co-productions have been a usual formula in most of the Europe- an film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies... more
Co-productions have been a usual formula in most of the Europe- an film industries since mid 1950s (40% of films produced annually). Going beyond the mere cooperation, co-productions demand a difficult balance between financial strategies and multicultural implications. Some authors have offered different typo- logies of international films, trying to combine both aspects. This article analyzes 251 Spanish international co-productions
Research Interests: Business, New Media, Film Studies, Digital Media, Advertising, and 14 moreDigitization, Social Media, Digital Business Models, Contemporary Hollywood, The Internet, Film and Media Studies, Hollywood, Business Models, Business Model, Movie Business, Media and Entertainment Management, Digital Business Strategy, Internet, and Springer Ebooks
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... Además del Oscar a la Mejor Película por Carros de fuego, recibió el «Sir Michael Bal-con Award» en 1982 (al mejor productor británico), el premio «Numero Uno» al mejor productor europeo en el festival de Rimini (Italia) en 1984 y el... more
... Además del Oscar a la Mejor Película por Carros de fuego, recibió el «Sir Michael Bal-con Award» en 1982 (al mejor productor británico), el premio «Numero Uno» al mejor productor europeo en el festival de Rimini (Italia) en 1984 y el premio «David di Donatello» al mejor ...
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... La producción. Lanzamiento y distribucion. III.- La promoción en televisión, 8.-Principales estrategias de programación, Descripción, función. ... Título, Marketing en las artes escénicas. Autor, KOTLER P. y SCHEFF J. ... Distribución... more
... La producción. Lanzamiento y distribucion. III.- La promoción en televisión, 8.-Principales estrategias de programación, Descripción, función. ... Título, Marketing en las artes escénicas. Autor, KOTLER P. y SCHEFF J. ... Distribución horaria de la parte presencial: ...
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A lo largo de su primer siglo de existencia, las industrias cinematográficas de Europa y Hollywood han desarrollado una paradójica relación de alianza y competencia. Mientras en el caso estadounidense la evolución histórica ha sido de... more
A lo largo de su primer siglo de existencia, las industrias cinematográficas de Europa y Hollywood han desarrollado una paradójica relación de alianza y competencia. Mientras en el caso estadounidense la evolución histórica ha sido de expansión y consolidación, el desarrollo de la industria europea del cine, puede calificarse más bien de defensa y supervivencia. Este artículo presenta una síntesis histórica de este desigual intercambio económico y cultural a través de cuatro grandes etapas, en un intento de ofrecer una visión panorámica comparativa que sirva para encuadrar futuras investigaciones.
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The audiovisual entertainment business is undergoing a key moment due to several reasons: the Internet boom, its convergence with television, the prominence of the user as well as the digitalization of the production and distribution... more
The audiovisual entertainment business is undergoing a key moment due to several reasons: the Internet boom, its convergence with television, the prominence of the user as well as the digitalization of the production and distribution processes. Although this phenomenon was initially originated by technological factors, its consequences affect to the whole audiovisual industry and, more specifically, to the very core of the business—contents.