CALL FOR PAPERS (also available in PDF format here)
Screen Policies in the 21st Century
5th CinEcoSA Conference
17-18 November, 2014
Université Sorbonne Nouvelle - Paris 3, France
Historically, film has been at the centre of
cultural policies around the world. These public policies have striven to support a local film production, for both cultural and economic reasons. After dedicating the previous conference in 2013
to Film and TV policies in the English-speaking world, CinEcoSA (www.cinecosa.com) now wishes to enlarge the discussion to 1) other media, 2) other regions around the world. Over the last three
decades, the media environment has changed, with digitalisation and the development of new forms of screen media (video games, the Internet, mobile media), so much so that screen media is no
longer geographically constrained in its production and distribution. New technologies have also potentially reduced the costs of producing and distributing films around the world. These changes
have consequently challenged government policies aimed at the cultural protection and nurturing of local screen industries.
Since the late 20th century, the traditional
boundaries on which cultural policies were based have been put into question. The idea of local and national film industries have to be dealt with in a context where many films are shot and
post-produced outside the territory where they were developed. Hollywood is renowned for its runaway productions, but filmmakers from other countries, such as France or India, have roamed around
the globe to take advantage of the incentives offered by numerous film production centres. States have thus had to balance the economic effort required to attract foreign productions with the
cultural objective of developing a national screen production industry.
Another boundary which seems to be imploding is
that between media. Film remains a standard bearer, but it is now part of a larger media ecosystem where television series, web series, interactive websites and video games hold their own. The
recent British decision to extend production incentives to video games is a sign that traditional legislation is evolving to incorporate new forms of media. Digital technologies and the Internet
have notably had a momentous impact on the media ecosystem. By easing film circulation, new technologies have also facilitated piracy of content, which has become increasingly rampant, reaching
levels that 1980s VHS and 1990s DVD pirates could not have imagined. The piracy issue pitting State regulation vs. individual liberty has been at the centre of heated debates, from the SOPA
legislation in the USA to the setting up of HADOPI in France. Not all countries have the same film and television policy history and not all react in the same way. One can contrast the situation
in France, which has had a long history of film support, which must now be adapted to the digital environment, with that of the United Arab Emirates which have been developing a State-supported
media industry only in the past decade and have thus immediately embraced the new media paradigm.
This conference aims at exploring the changes that
have taken place in the institutional ecology of the screen media industries around the world since the late 20th century, including the changing role and priorities of governments in the
support, development and protection of the industries, the role of market-based regulation, and the impact of technological innovation. The conference welcomes papers from different disciplinary
perspectives to explore the way screen policies adapt to the transnational and transmedia logics of the digital era. Papers can present theoretical frameworks or focus on case studies. National
analyses are welcome – however, comparative presentations are to be favoured when possible.
Topics may include, but are not restricted to:
• Evolution of State support for media production and distribution, media
training programmes, festivals; support for new media (including video games) vs. old media
• State regulation of content (censorship) and circulation
• Debate around digital piracy, peer-to-peer networks
•Incentive schemes to attract foreign productions or film crews and competition between different
• Interrelationship between regional, national and supra-national institutions
and policy bodies, competition and/or collaboration between jurisdictions
• Co-production treaties
• Impact of digitalisation
Please send your proposals (title, 400-word
abstract, 4 bibliographical references, brief biography) to email@example.com and Nathalie.Dupont@univ-littoral.fr by 25 September 2014.
Working language of the conference: English. There
may be provision for a limited number of delegates to present and participate from outside Europe via video conferencing.
Final papers will be considered for publication in
English following a peer-review process.
Joël Augros (Université Paris 8, Vincennes-Saint
Nathalie Dupont (Université de la Côte
Nolwenn Mingant (Université Sorbonne Nouvelle -
Cecilia Tirtaine (Université Sorbonne Nouvelle -
Joël Augros (Université Paris 8, Vincennes-Saint Denis)
Laurent Creton (Université Sorbonne Nouvelle - Paris 3)
Philip Drake (Edge Hill University, Liverpool)
Nathalie Dupont (Université de la Côte d’Opale)
Frédéric Gimello (Université d’Avignon)
David Newman (Simon Fraser University)
Nolwenn Mingant (Université Sorbonne Nouvelle - Paris 3)
Roger Shannon (Edge Hill University, Liverpool)
Cecilia Tirtaine (Université Sorbonne Nouvelle - Paris 3)
AMIEL Olivier, Le Financement public du cinéma dans l'Union Européenne, Paris:
BILTEREYST Daniel, VANDE WINKEL Roel, Silencing Cinema: Film Censorship Around the World, London: Palgrave
CHAKRAVARTTY Paula, SARIKAKIS Katharine, Media Policy and Globalization, Edinburgh: Edinburgh University
DEVICTOR Agnès, Politique du cinéma iranien, de l’âyatollâh Khomeyni au président
Khâtami, Paris: CNRS, 2004.
DUBET Eric, Économie du cinéma européen: de l’interventionnisme à l’action
entrepreneuriale, Paris: L’Harmattan, 2000.
ELMER Greg, GASHER Mike (eds), Contracting Out Hollywood: Runaway Productions and Foreign Location
Shooting, Lanham: Rowman & Littlefield Publishers, 2005.
FLIBBERT Andrew J., Commerce in Culture: States and Markets in the World Film Trade,
London: Palgrave Macmillan, 2007.
GUGLER, Josef (ed.), Film in the Middle East and North Africa: Creative Dissidence,
Austin: University of Texas Press, 2011.
HEROLD Anna, European Film Policies in EU and International Law: Culture and Trade,
Marriage Or Misalliance?, Centraal Boekhuis, 2010.
IOSIFIDIS Petros, Global Media and Communication Policy, Basingstoke: Palgrave
JUST Natascha, PUPPIS Manuel, Trends in Communication Policy Research: New Theories, Methods and
Subjects, Bristol, UK & Chicago, USA: Intellect, 2012.
LOBATO Ramon, Shadow Economies of Cinema: Mapping Informal Film Distribution,
London: BFI/Palgrave, 2012
MORAN Albert (ed.), Film Policy: International, National and Regional Perspectives,
London: Routledge, 1996.
RABOY, Marc (ed.), Global Media Policy in the New Millennium, Luton:
University of Luton Press, 2002.