Search results

You are looking at 1 - 10 of 12 items for :

  • "Eurimages" x
  • Refine by access: All content x
Clear All
Eurimages and the Funding of Dystopia
Aidan Power

Since its inception by the Council of Europe in 1989, Eurimages has been to the fore in financing European co-productions with the aim of fostering integration and cooperation in artistic and industry circles and has helped finance over 1,600 feature films, animations and documentaries. Taking as its thesis the idea that the CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that frequently undermine both the EU and the continent at large, this article analyses select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural standpoints with a view toward decoding institutionally embedded critiques of the European project.

Film Studies
Annabelle Littoz-Monnet

would be. The project was further discussed during a meeting organised by the Centre National de la Cinématographie (CNC),26 finally taking shape under the name of Eurimages in 1988. Eurimages is now implemented under the aegis of the Council of Europe and aims at promoting co-productions and the circulation of audio-visual works within Europe. The majority (almost 90 per cent) of the fund’s resources – which originate from member states’ contributions – goes to supporting co-production. Eurimages has so far supported the co-production of more than 900 feature films

in The European Union and culture
Gemma King

_King_Printer.indd 31 22/06/2017 11:03 32  Decentring France reflected in the ways in which other languages – and the tensions between French and other languages – are represented on-screen. (Co-)production contexts With its national funding body (the CNC), national film promotion centres (UniFrance), government-mandated financial support from major television networks (Canal+) and EU funding programmes (Eurimages), the French film world has a strong connection with the national cultural economy and government. Indeed, since 1959, the CNC has run a lucrative funding programme

in Decentring France
Abstract only
Kate Ince

, their last two features Le Fils (2002) and L’Enfant (2005) both received support from French producers Archipel, with L’Enfant also getting backing from the CNC, Canal Plus, Arte France Cinéma, and the European Community’s Eurimages fund. On account of the funding, setting and thematics of their films, then, the Dardenne brothers straddle a position across Belgian and French ‘nation-state’ cinemas (Crofts 1998

in Five directors
Abstract only
The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

Secretos del corazón (Montxo Armendáriz, 1997). Aiete Films S.A., Ariane Films, Canal+ France, D.M.V.B. Films, Eurimages, Euskal Media, Fábrica de Imagens, Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA), Sogepaq. personas (Figure 15). This is not the same thing as acting, but one is certainly the lining of the other. Performances that presume to represent Basqueness might be expected to close all gaps between the non-​Basque actor and the role, whether externally by make-​up, costume and accent or by their lining, which in the case of Gómez is

in Performance and Spanish film
Ruth Barton

, much of which was focused on the jobs created through inward and local investment, the tourist potential of an Irish setting, and the ancillary spend on hospitality and so forth, the IFB was saved. Other small pockets of money exist, including the Broadcasting Authority of Ireland’s licence fee-derived Sound and Vision fund, which has been responsible for much of the funding for the documentary sector, the Arts Council of Ireland, and European money from the MEDIA and Eurimages programmes. Some producers raise finance through crowd funding ( Atlantic

in Irish cinema in the twenty-first century
Abstract only
Gemma King

, Inglourious Basterds and Tarantino’s 2004 film, Kill Bill Vol. 1. There is also a frequent overlap between French national and broader European filmmaking practices. Co-production is a clear example of such an overlap, and results in as a number of multilingual Franco-European ‘superproductions’ (Danan 1996: 74) MUP_King_Printer.indd 17 22/06/2017 11:03 18  Decentring France such as Joyeux Noël (Carion 2005). There are also other European cinema regulation bodies, such as the EU-wide film-funding association Eurimages, which directly affect multilingual filmmaking

in Decentring France
John Hill

broadcaster, ZDF, for example, co-funded, amongst others, Terence Davies’ Distant Voices, Still Lives , Ken McMullen’s Ghost Dance and Derek Jarman’s The Last of England and The Garden (1990). However, it is Peter Greenaway’s work in the 1980s and 1990s that probably benefited the most from European investment. Thus, in a striking example, Prospero’s Books (1991) received support from Eurimages, even when the UK was not a member, due to the fact that three other European countries – the Netherlands, France and Italy – were partners in the

in British art cinema
Barry Jordan

-confidence, he approached Abre los ojos with a significant degree of trepidation, primarily because of its scale, risk, bigger budget and international participation. It was a large and much more complex European co-production, involving French and Italian investment, as well as subsidies from Eurimages. 7 Though the lion’s share of the finance was shouldered by Sogecine and Las Producciones del Escorpión, the co-pro nature of the

in Alejandro Amenábar
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

Institute takes centre stage, also attracting much international attention. The current CEO Anna Serner has, since launching a programme for gender equality in Swedish cinema in 2013, held seminars at several top-​tier film festivals and inspired policymaking within the British Film Institute and Eurimages.4 In the midst of the #MeToo campaign, Serner announced that the institute would launch an education programme about sexual harassment, mandatory for all production companies seeking its support (Keslassy, 2017). Against the extraordinary institutionalisation of

in The power of vulnerability