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Tourism, transnational romance and anxieties of authenticity
Mariana Johnson

and auteur models to analyse the relationship between tourism and representation in Spanish-Cuban co-productions. It expands the purview of what typically falls under the heading of Spanish cinema by looking at recent Spanish films set in Cuba, or that represent Cuban immigrants in Spain, as well as films by Cuban directors that are supported by Spanish funding. Such a contrapuntal approach is useful in understanding

in Contemporary Spanish cinema and genre
the cases of Lucrecia Martel and Isabel Coixet
Paul Julian Smith

unprecedented scale in an attempt to increase budgets and widen the appeal of their films around the world’ (32). Co-productions within the Spanish-speaking world have long benefited from Ibermedia, a transnational scheme that encourages collaborative projects between different countries. Based on a point system, which allots a set rating according to the national origin of directors, actors, technical staff and shooting locations

in Hispanic and Lusophone women filmmakers
Coreen McGuire
Jaipreet Virdi
, and
Jenny Hutton

could be used while driving. 12 As Coreen McGuire and Havi Carel have elucidated, the elements of co-production in its origins of design involved engagement with the patient's needs beyond the strictly medical. 13 The story of Bragg and Halahan's friendship and collaboration encapsulates many of the themes we explore in this chapter, in which we analyse how bodily knowledge and insight influenced the design of technological support

in Patient voices in Britain, 1840–1948
Russ Hunter

European horror films have often been characterised by a tendency towards co-production arrangements. Recent developments within regional European funding bodies and initiatives have led to a proliferation of films that combine traditional co-production agreements with the use of both regional and intra-regional funding sources. This article examines the extent to which the financial structuring of Creep(Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon their final form. Sometimes, such European horror films are part of complex co-production deals with multiple partners or are derived from one-off funding project. But they can also utilise funding schemes that are distinctly local.

Film Studies
Sara Wong

grassroots artist collectives in conflict-affected places in academic research settings. Using as a case study the collaborative co-production of our animated short film ‘Colombia’s Broken Peace’, 1 as part of a wider international research project, I reflect on our experiences in co-producing this piece by drawing out lessons that might be relevant for others interested in undertaking similar inter-disciplinary work. In doing so, I aim to re-frame notions of

Journal of Humanitarian Affairs
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
Exclusions and Exchanges in the History of European Horror Cinema
Peter Hutchings

British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, Eurohorror. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative per- sonnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the Eurohorror category reveals limitations in that category, particularly its idealisation of continental European horror production.

Film Studies
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan
Réiseal Ní Chéilleachair

historians bring an emphasis on scale and context, built on deep reading of archival and other sources, to bear on the policy-making process. Our experience of the ‘Humanitarian History’ project suggests that working together in a space of mutual exploration and the co-production of knowledge has enormous value. Note 1 The research for this article was funded by a New Foundations Grant from the

Journal of Humanitarian Affairs
Open Access (free)
Digital Bodies, Data and Gifts
Kristin Bergtora Sandvik

conceptualised as smart devices that can be placed on or inside aid recipients’ bodies for many purposes, including tracking and protecting health, safety and nutrition. This may involve delivering or monitoring reproductive health, producing security and accountability through more efficient registration, or monitoring or delivering nutrition. I argue that, to unpack this co-production, it is necessary to look beyond technological innovation and subsequent processes of adoption and

Journal of Humanitarian Affairs
Future Earth, co-production and the experimental life of a global institution
Eleanor Hadley Kershaw

6 Leviathan and the hybrid network: Future Earth, co-production and the experimental life of a global institution Eleanor Hadley Kershaw In the opening words of A Sociology of Monsters, John Law caricatures a middle-class white male, middle-aged, non-disabled person’s perspective on the history of sociology: ‘We founded ourselves on class; then, at a much later date we learned a little about ethnicity; more recently we discovered gender; and more recently still we learned something … about age and disability’ (Law, 1991: 1). Thus, the hypothetical sociologist

in Science and the politics of openness