COVID e industria del cinema in Italia. Una cronistoria critica
L'Avventura. International Journal of Italian Cinema and Media Landscapes, 7(2): 209-226, 2021
The COVID pandemic had a huge impact on the Italian film industry. This article aims to provide a... more The COVID pandemic had a huge impact on the Italian film industry. This article aims to provide a critical chronicle of the events that happened from March 2020 to the present, in order to understand and discuss the decisions undertaken by the many stakeholders of the film value chain. In doing that, the article devotes particular attention to film distribution and to the dilemma between waiting to re-open theaters and the direct-to-stream solution. The final section provides suggestions for the post-pandemic period, wishing for greater flexibility in managing film distribution/circulation, and more cooperation between traditional stakeholders and VOD platforms.
This article investigates transcultural communication taking film commissions as case study. Film... more This article investigates transcultural communication taking film commissions as case study. Film commissions are non-profit organisations looking to attract audiovisual productions to their areas and supply these audiovisual productions with services free of charge. Although relatively recent and little studied, film commissions are spreading fast worldwide. Combining the political economy approach with the most recent production studies, the article contends that film commissions can stimulate transcultural phenomena on three levels. First, they act as intermediaries between the audiovisual production and the host area. Second, they encourage collaboration between different production cultures. Third, they incentivise brand-new collaboration between the audiovisual production and the tourist sector.
Il saggio analizza i concetti di Global, World e National Cinema, tre categorie che complessivame... more Il saggio analizza i concetti di Global, World e National Cinema, tre categorie che complessivamente racchiudono larga parte della produzione cinematografica odierna. L’analisi viene condotta in relazione a due cardini: da una parte l’intenso dibattito che si è sviluppato attorno a questi concetti nel corso degli ultimi anni da diverse prospettive di ricerca; dall’altra le più recenti evoluzioni del mercato cinematografico, segnate soprattutto dalla comparsa dei servizi on-demand. Il saggio si interroga su come le categorie di Global, World e National Cinema vengano oggi ridefinite da questo nuovo segmento di mercato, prendendo come caso di studio l’uso che ne fa Netflix (soggetto precursore, leader e trendsetter del business on-demand) per conseguire i propri obiettivi aziendali.
Learning from Switzerland in the Brexit era. The MEDIA programme case study
Studies in European Cinema, 2021
European film production and distribution is currently regulated and shored up by a great many pu... more European film production and distribution is currently regulated and shored up by a great many public policies drawn up by a range of institutions: the European Union (the supra-national level), central governments (the national level) and local governments (the sub-national level). This tripartite hierarchy creates a vertical policy axis in which the European Union plays an especially important role. Not only does the European Union fund areas in which national and local governments are traditionally weak, but it also sets out guidelines which all governments must follow when establishing policies and funds for films. But what would happen if the supra-national level suddenly vanished? Would national policies be capable of replacing European Union action in an effective and efficient way? The article answers this research question through the case study of Switzerland, which in 2014 has been excluded from the MEDIA programme (the main European initiative in the audio-visual field) after the results of a national referendum on mass immigration. The analysis of the compensatory measures introduced by the Swiss government for supporting films shows that a single State could successfully replace European initiatives only when these initiatives are not specifically inspired by the subsidiarity principle.
In the past fifteen years, governments with different ideological views edited many times the Ita... more In the past fifteen years, governments with different ideological views edited many times the Italian film policy. All these changes share a common feature: the progressive shift from the support of merit goods to the support of merit companies. This article is composed of two parts. The first one illustrates and critically discusses the evolution of the Italian film policy. The second one, instead, takes Indigo Film as case study: a production company famous for producing Paolo Sorrentino’s films. In the past few years, Indigo developed a successful production formula that perfectly embodies the spirit of the national policy. As the case study demonstrates, this new path undertaken by policymakers allows public supported films to reach a wide audience and therefore to refund the State. Despite that, it tends to discourage experimentation in film production. Moreover, even these policies cannot cancel the uncertainty that comes with each film sold in the market.
The article identifies in film production and distribution the main weaknesses that are currently... more The article identifies in film production and distribution the main weaknesses that are currently affecting European cinema. On the one hand, these weaknesses are related to the geographical, linguistic and cultural configuration of Europe. On the other hand, they are the result of inefficient public policies. Starting from these considerations, the article analyses and critically discusses the policies introduced by the European Union, the Council of Europe, and by national and local governments for supporting film production and distribution, and stresses how the lack of clear goals and brave decisions are preserving the problems that by long time vex the European film industry.
L'avventura. International Journal of Italian Film and Media Landscapes, 2016
The four movies directed by Gennaro Nunziante, starring Checco Zalone, achieved huge success at t... more The four movies directed by Gennaro Nunziante, starring Checco Zalone, achieved huge success at the Italian box-office. Their latest title, Quo Vado?, earned 65,2 million euros and surpassed considerably the incomes of all other successful national comedies released in the past ten years. Starting from these preliminary observations, the article evaluates the relevance of the four movies for the Italian film economics, and investigates how they were financed, promoted and released. The aim of the article is to investigate whether there is a «secret in- dustrial formula» behind the success of Nunziante and Zalone’s movies.
Italian films are typically financed through the same formula and it appears that at this stage o... more Italian films are typically financed through the same formula and it appears that at this stage of the production process there is little room for alternative possibilities. Starting from this prelimi- nary consideration, the article aims to demonstrate that alternative sources of financing exist, and moreover can generate positive benefits for the films themselves, both in economic and aesthetic terms. To do so, the article analyses the financing of In grazia di Dio (Edoardo Winspeare, 2013). To make the film, the producers invented an innovative tool that they called “pacco-baratto”, which is based on the free donation of goods and services by the local community. The article first investigates analogies and differences between the pacco-baratto method, on the one hand, and barter placement and crowd funding on the other. Second, it shows how pacco-baratto can improve the textual and extra-textual qualities of the film.
Il capitale culturale. Studies on the Value of Cultural Heritage, 2016
A partire dalla fine degli anni Novanta l’industria audiovisiva indiana ha intensificato il numer... more A partire dalla fine degli anni Novanta l’industria audiovisiva indiana ha intensificato il numero di riprese effettuate all’estero, in particolar modo nei paesi occidentali. Questa migrazione di riprese rappresenta una grande occasione per i paesi ospitanti. L’industria cinematografica indiana, infatti, è la più prolifica al mondo e i suoi film riscuotono un ampio successo nel mercato domestico, con una quota di mercato stimata attorno al 90-95%. Ma il cinema indiano sta raccogliendo consensi anche all’estero, e i suoi spettatori non appartengono più solo alle classi popolari della società indiana, ma anche a quelle più facoltose, e dunque sono potenzialmente in grado di intraprendere viaggi verso i luoghi visti sul grande schermo. In virtù di queste considerazioni, il saggio analizza innanzitutto le ragioni che hanno spinto i produttori indiani a delocalizzare le proprie riprese all’estero, in particolar modo in Italia. Solo alla luce di questa analisi della domanda, infatti, è poi possibile comprendere come i territori possono aver intercettato le necessità dell’industria del cinema (e di riflesso anche i desideri del suo pubblico) e divenire potenziali mete turistiche per gli spettatori indiani. Da un punto di vista metodologico, invece, il saggio ambisce a mostrare come gli studi condotti nell’ambito dell’economia dei media possano contribuire all’analisi dei fenomeni cineturistici e all’elaborazione di iniziative di successo in grado di intrecciare sviluppo territoriale e industrie creative.
Since the end of the 1990s Indian producers have been outsourcing an increasing number of film productions to Western countries, and this trend represents an important opportunity for the hosting territories. The Indian film industry is the main film producer in the world, and its movies achieve a wide success in the domestic market (where they hold a market share of about 90-95%). Moreover, from few years Indian films are successful not only among a mass audience that belongs to the lower classes of Indian society, but also among affluent spectators who have the economic resources for visiting Indian films’ locations. Finally, Indian films are more and more released abroad, and not just within national borders.
In the light of this trend, the article investigates the reasons that are pushing Indian producers to moving abroad their film shoots. In particular it analyses the phenomenon of Indian film shot in Italy explaining why Italy is currently so appealing for Indian producers, which is the first step for attracting shoots and reaching a wide audience of spectators/potential tourists. As regards methodology, the article aims to demonstrate how media economics studies can help in investigating film-induced tourism and in conceiving initiatives able to connect territorial development with creative industries.
The outsourcing of film shoots has long been adopted by US producers to cut costs and improve box... more The outsourcing of film shoots has long been adopted by US producers to cut costs and improve box-office performance. According to the academic literature, outsourc-ing is exploited mainly for low-and middle-budget films, but this article aims to demonstrate that blockbusters are also migrating towards other states and countries to take part in an even more competitive film location market. It investigates 165 block-busters released between 2003 and 2013. The collected data show that blockbuster shoots are not an exclusive to California, but are re-drawing the map of film production in favour of an even more polycentric and polyglot audiovisual panorama.
Le bonheur est dans le prêt ou la (re)territorialisation des politiques de soutien au cinéma: une... more Le bonheur est dans le prêt ou la (re)territorialisation des politiques de soutien au cinéma: une analyse comparée du développement des «commissions locales du film» en France et en Italie Abstract A l'heure où les (re)localisations de tournages deviennent un enjeu majeur des politiques nationales de soutien aux industries cinématographiques en Europe tout autant que des stratégies des états américains, où les « film funds » des régions européennes s'organisent en réseau pour donner une nouvelle impulsion aux critères de sélection des films articulés désormais entre qualité artistique, dynamiques d'emploi local et attractivité touristique des territoires, cette communication interroge ces mutations de l'économie du cinéma au niveau du territoire en observant le modèle original des « commissions locales du film » qui fait éclater les frontières entre global et local. Nous proposons une analyse comparée de la question et des nouveaux enjeux économiques qu'elle sous-tend, à travers les modèles français (44 collectivités territoriales soutenant les longsmétrages cinéma) et italiens (18 commissions locales du film).
Shooting Bollywood Abroad. The Outsourcing of Indian Films in Italy
Journal of Italian Cinema & Media Studies, 2(3): 427-432, 2014
Since the end of the 1990s Indian producers are outsourcing more and more film shoots abroad to ... more Since the end of the 1990s Indian producers are outsourcing more and more film shoots abroad to Western countries (especially in Austria, Italy, Switzerland, Spain, in the United Kingdom and United States, etc.). The outsourcing is part of a corporatization process that is making roots within the Indian film industry and pushing its producers to play an important role in the global media landscape. In light of these trends, the article investigates the reasons that are pushing Indian producers to moving their film shoots abroad. In particular it analyses the phenomenon of Indian films shot in Italy and explains why Italy is currently so appealing for Indian producers. The article is based on some in-depth interviews conducted in India and in Italy with some key-players of their respective film industries, and on a survey submitted to the Italian film commissions.
Nel corso degli ultimi anni le Regioni italiane sono divenute degli importanti attori nell’ambito... more Nel corso degli ultimi anni le Regioni italiane sono divenute degli importanti attori nell’ambito della produzione audiovisiva per risorse e servizi erogati. Tale operosità è oggi accompagnata da un’azione altrettanto vigorosa (ma meno evidente agli occhi dei più) sul piano normativo, volta ad ampliare i poteri e la legittimità del loro intervento. Questa azione si declina a livello regionale (dove sono state emanate numerose leggi-quadro in materia di spettacolo), nazionale (con una lenta ma progressiva rinegoziazione dei poteri tra Stato e Regioni) e comunitario (nel novembre 2013 la Commissione Europea ha rivisto le norme sugli aiuti di Stato in materia di audiovisivo legittimando, non senza sorprese, l’azione delle amministrazioni pubbliche locali, sebbene questa sia potenzialmente distorsiva nei confronti dei principi che regolano il mercato unico europeo). Mai i successi conseguiti e le battaglie in corso (ad esempio la richiesta di un riconoscimento nazionale delle film commission) sono numerose.
L’articolo si propone di indagare il crescente ruolo riconosciuto alle Regioni a livello normativo, i principi (sussidiarietà?), gli obiettivi (economici? culturali?) e le criticità che accompagnano questo passaggio storico (disarmonia di norme, disorientamento per i produttori stranieri, possibili sprechi di denaro, ecc.), e i nuovi scenari che ne potrebbero scaturire: che ruolo avrà lo Stato all’interno di un sistema-cinema sempre più federale? Come potranno gli organi comunitari bilanciare i propri sforzi per slegare le attività produttive dai singoli confini nazionali con i tentativi delle Regioni di ancorare il processo produttivo ai propri territori
Il cinepanettone ha sempre sollevato molte polemiche attorno a sé, ma non è mai stato oggetto di ... more Il cinepanettone ha sempre sollevato molte polemiche attorno a sé, ma non è mai stato oggetto di un’adeguata riflessione in ambito accademico. Solo di recente sono comparsi degli studi dedicati a questa tipologia di film che ormai ha alle proprie spalle una tradizione di più di trent’anni e 25 film all’attivo. Il presente articolo offre per la prima volta un’analisi economica del fenomeno dei cinepanettoni. In particolare il testo indaga in che misura il cinepanettone ha contribuito ad incrementare le quote di mercato del cinema italiano, a confermare la sala cinematografica quale luogo privilegiato per il consumo di film e a contenere il successo delle pellicole statunitensi (replicandone al contempo alcune strategie produttive e distributive). L’articolo si conclude analizzando il lascito del cinepanettone al cinema italiano in termini di principi economici che ne regolano il mercato e di industrializzazione del settore.
From the State to the Regions: the Devolution of Italian Cinema
Journal of Italian Cinema & Media Studies. 1(3): 263-277, 2013
Italian cinema is by long time a battle field between national government and local administratio... more Italian cinema is by long time a battle field between national government and local administrations. Since 1975 many laws and negotiations have been promoted in order to find a compromise between a centralistic control of the cinematographic activities and a more open and collective management able to involve, alongside with the State, local institutions too. Despite the controversies, in the past two decades something has changed. Local administrations became aware of the economic benefits they could have in supporting film production and therefore they are now enacting film-friendly measures (film commissions, film funds, film incentives, etc.). At the same time these local initiatives are pushing the national government to revise its role in this domain. The Ministero per i Beni e le Attività Culturali (Ministry for Cultural Heritage and Activities) itself is reconsidering its mission in terms of gradually moving from a concept of ʹfinancing filmsʹ to the one of ʹfinancing cinemaʹ, from being an economic source for new films to a promoter and regulator of the Italian cinema.
The article analyzes: a) how in the past 35 years the Italian state and regions negotiated their powers regarding cinematographic activities, and b) the development of the two main tools introduced by local administrations for supporting film production: film commissions and film funds. In light of this analysis, the final part of the article suggests that film production in Italy is experiencing a decentralization process related to its managing, financing and shooting stage.
European Journal of Communication, 25(2): 153-167, 2010
This study analyses the economic relevance of the domestic market for national film industries, a... more This study analyses the economic relevance of the domestic market for national film industries, adopting first a historical and theoretical approach, and then by using Switzerland as a case study for quantitative research on film consumption. The analysis of the Swiss film market has a triple purpose:
Negli ultimi due decenni un numero crescente di amministrazioni locali ha iniziato a considerare ... more Negli ultimi due decenni un numero crescente di amministrazioni locali ha iniziato a considerare il cinema come un settore produttivo “utile” in grado di fungere da volano di sviluppo economico. Ciò ha portato molte di esse ad investire denaro in una serie di politiche film-friendly (film commission, film fund, incentivi fiscali, studi di registrazione) con l’obiettivo di attrarre sempre più riprese sui propri territori e, quindi, di incrementare la produttività locale, dirottare localmente nuovi capitali finanziari, creare occupazione e promuovere i propri paesaggi. Politiche che al contempo consentono alle imprese cinematografiche di risparmiare denaro, usufruire gratuitamente di preziosi servizi, e di sfruttare insolite location per intercettare l’interesse di un più ampio (o specifico) pubblico.
Alla luce di queste considerazioni, in prima istanza l’articolo analizza come le imprese cinematografiche e le amministrazioni locali stiano stringendo un’alleanza sempre più solida basata sullo sfruttamento di location cinematografiche. In secondo luogo il testo propone un modello attraverso il quale interpretare il mercato delle location cinematografiche che si sta venendo a creare e che coinvolge sempre più di frequente anche il pubblico.
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In virtù di queste considerazioni, il saggio analizza innanzitutto le ragioni che hanno spinto i produttori indiani a delocalizzare le proprie riprese all’estero, in particolar modo in Italia. Solo alla luce di questa analisi della domanda, infatti, è poi possibile comprendere come i territori possono aver intercettato le necessità dell’industria del cinema (e di riflesso anche i desideri del suo pubblico) e divenire potenziali mete turistiche per gli spettatori indiani. Da un punto di vista metodologico, invece, il saggio ambisce a mostrare come gli studi condotti nell’ambito dell’economia dei media possano contribuire all’analisi dei fenomeni cineturistici e all’elaborazione di iniziative di successo in grado di intrecciare sviluppo territoriale e industrie creative.
Since the end of the 1990s Indian producers have been outsourcing an increasing number of film productions to Western countries, and this trend represents an important opportunity for the hosting territories. The Indian film industry is the main film producer in the world, and its movies achieve a wide success in the domestic market (where they hold a market share of about 90-95%). Moreover, from few years Indian films are successful not only among a mass audience that belongs to the lower classes of Indian society, but also among affluent spectators who have the economic resources for visiting Indian films’ locations. Finally, Indian films are more and more released abroad, and not just within national borders.
In the light of this trend, the article investigates the reasons that are pushing Indian producers to moving abroad their film shoots. In particular it analyses the phenomenon of Indian film shot in Italy explaining why Italy is currently so appealing for Indian producers, which is the first step for attracting shoots and reaching a wide audience of spectators/potential tourists. As regards methodology, the article aims to demonstrate how media economics studies can help in investigating film-induced tourism and in conceiving initiatives able to connect territorial development with creative industries.
L’articolo si propone di indagare il crescente ruolo riconosciuto alle Regioni a livello normativo, i principi (sussidiarietà?), gli obiettivi (economici? culturali?) e le criticità che accompagnano questo passaggio storico (disarmonia di norme, disorientamento per i produttori stranieri, possibili sprechi di denaro, ecc.), e i nuovi scenari che ne potrebbero scaturire: che ruolo avrà lo Stato all’interno di un sistema-cinema sempre più federale? Come potranno gli organi comunitari bilanciare i propri sforzi per slegare le attività produttive dai singoli confini nazionali con i tentativi delle Regioni di ancorare il processo produttivo ai propri territori
The article analyzes: a) how in the past 35 years the Italian state and regions negotiated their powers regarding cinematographic activities, and b) the development of the two main tools introduced by local administrations for supporting film production: film commissions and film funds. In light of this analysis, the final part of the article suggests that film production in Italy is experiencing a decentralization process related to its managing, financing and shooting stage.
Alla luce di queste considerazioni, in prima istanza l’articolo analizza come le imprese cinematografiche e le amministrazioni locali stiano stringendo un’alleanza sempre più solida basata sullo sfruttamento di location cinematografiche. In secondo luogo il testo propone un modello attraverso il quale interpretare il mercato delle location cinematografiche che si sta venendo a creare e che coinvolge sempre più di frequente anche il pubblico.