The book's twelve chapters analyze the chronological development and geographical spread of trends in the relationships between national public bodies and the domestic film industry, other national cinemas, and Hollywood. They address four key concepts:
• the need to go beyond merely protectionist measures, which guided early post-war policies;
• the shift from an automatic support to the film industry to the promotion of national art cinemas;
• the idea of an alternative to capitalist systems, which characterized Eastern Bloc countries;
• finally, the challenge to the very idea of national cinema, posed by systems based on a high degree of regionalization.
The book focuses on a wide range of case studies, paying equal attention to major and peripheral film industries, as well as the production and distribution sectors. Adopting a bottom-up approach, it starts from archival documents to take into account the negotiation activity conducted between public bodies and external stakeholders, such as film distributors' and producers' associations, unions, and cultural, political, and religious pressure groups.
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