This week some papers on the relationship between different national film industries and between different scales of the film industry within the same country. These papers emphasise cinemas that we get to hear about only infrequently in the UK (and very likely elsewhere).
As ever, the version of the paper linked to may not necessarily be the final version.
Barnard H and Tuomi K 2008 How Demand Sophistication (De-)limits Economic Upgrading: Comparing the Film Industries of South Africa and Nigeria (Nollywood), Industry and Innovation 15 (6): 647-668.
More sophisticated demand is typically seen as an enabler of economic upgrading. This study questions this linearity and extends demand theory through a case analysis of the film industry in two developing countries. When unsophisticated local demand results in well-matched supply- and demand-side elements, benefits do accrue. Low exposure to technically superior products in Nigeria allowed a fully fledged film value chain to develop, as consumers were willing to support lower quality output. Although the industry is too weak to seriously threaten incumbents from the developed world on the global stage, it has substantial impact in its home country. In contrast, if demand is far more sophisticated than supply, local industry will struggle to respond to broad-based demand signals and will achieve accelerated learning only in niche areas. South Africa has become a niche producer in the global film industry rather than film producer in its own right partly because the widespread demand for Hollywood-quality products could not be met by local supply capabilities.
Durmaz, B, Yigitcanlar T and V K 2008 Creative cities and the film industry: Antalya’s transition to a Eurasian film centre, The Open Urban Studies Journal 1: 1-10.
In the knowledge era, cites are competing to attract and retain creative industries and workers for securing their economic, social and urban growth as well as ensuring their creative city formation. During the last decade rapidly growing popularity of creative cities has encouraged many cities seeking creativity to specialise in specific sectors of the creative industries. In this context, the paper explores creativity strategies and the role of film industry in creative city formulation. Antalya, Turkey is investigated as an emerging film industry-oriented creative city due to recent industry developments, its natural and constructed assets and amenities along with its openness to creativity. This paper also examines some of the creative city examples, scrutinises potentials and constraints of Antalya and Turkish film industry, and provides discussion and recommendation for Antalya’s transition to a Eurasian film centre.
Edwards JR 2008 Building a Self-Sustaining, Indigenous Film Industry in Kenya, World Story Organization.
In August of 2008, the World Story Organization (WSO) met with the Kenya Film Commission to discuss the current state of the Kenyan film industry, specifically regarding local productions indigenous to Kenya (as opposed to external production companies that use Kenya
as a backdrop and setting). WSO, founded in April of 2008 as a non-profit organization, seeks to provide filmmaking and storytelling education for developing film industries around the world.
As part of its partnership with the Kenya Film Commission, WSO plans to deliver screenwriting and production workshops in Nairobi, Kenya in 2009. The hope is that these pilot courses will lay the foundation for a School of Excellence in Film Production in Kenya. This school would offer a one-year program in film production for Kenyans, by Kenyans. Currently no such film school program exists in all of East Africa.
The challenges that face building a self-sustaining, indigenous film industry in Kenya are varied and numerous. The purpose of this study is to address these challenges and define the role that the World Story Organization hopes to fill in accomplishing this goal.
Garcia, Jr. L and Masigan C 2001 An In-depth Study of the Film in the Phillipines.
The paper aims to define the industry and its structure, examine the laws that hinder or facilitate its growth as well as the existing associations and what they have done; look into the market potential of the film industry and its foreign market demand; examine supply capability; identify opportunities and threats confronting the industry; prepare an action plan to enhance competitiveness; and recommend a performance monitoring scheme.
Harabi N 2009 Creative industries: case studies from Arab countries, Learning Event on Developing Knowledge Economy Strategies to Improve Competitiveness in the MENA Region by the World Bank Institute, 17-21 May 2009, Alexandria Egypt.
The paper describes and explains empirically the economic performance of four key creative industries (the book publishing, music sound recording, film production and software industries) in five Arab countries (Morocco, Tunisia, Egypt, Jordan and Lebanon). Using the Porter (Diamond) model as its theoretical background, a survey was conducted in the years 2002-03 among 242 experts, covering firm representatives, industry and government experts. The results were incorporated into five national case studies. This paper synthesizes the results of those national reports, giving a comparative account of the performance of the four creative industries in these Arab countries. The overall results of the study suggest that creative industries in Arab countries are substantially underdeveloped, and there remains a great potential that should systematically be mobilized. A discussion of how this can be achieved is offered, based upon a well-designed and implemented process of upgrading and innovation in companies, industries and clusters related to creative activities. Public policy can play in this process an important role, as shown in the example of promoting Shanghai creative industries, where the Municipal Government has played a key role.
Nogueira JC 2009 Film and Video Festivals in South America: A Contemporary Analysis of Flourishing Cultural Phenomena. Unpublished MA Thesis, Ohio University.
This research mapped 175 audiovisual festivals that took place in South America in 2008 and analyzed them regarding the types of events they are, the place and time of the year they take place, what kind of films/videos they exhibit and the number of years that they have been happening. The research also compared the data with the population of each country, their GDP and number of internet users. The research also performed case studies of successful events and events that have been discontinued and compared their analysis in order to identify reasons and elements that can turn an audiovisual festival into a success or a failure.
Rosnan H and Ismail MN 2010 The impact of cultural industries on national economies, Business Management Quarterly Review 1 (2): 33-42.
The main objective of this paper is to examine the impact of cultural industries in general and film industry in particular on national economy. Globally, cultural industries have contributed to economic development of many developed and developing countries. For example, in the United States, film industry (which fall under the category of cultural industries) contribution is greater than its aerospace industry. In the case of third world countries, film industry has been neglected in the academic literature despite its huge potential contribution to the economy. Based on the reviews of earlier studies, it was found that little attention has been given by scholars to study the impact of cultural industries and national economic development. Most studies on economic development focused on other industries deemed significant, especially manufacturing industry. Hence, this paper highlights the importance of cultural industries and its potential contribution to national economy. It also highlights some important points that need to be considered by national government in their effort to benefit from the development of their national film industry.
Wong C, Kim J-B, and Matthews JH 2010 Managing creativity and its paradoxes in the film industry, INBAM Conference: Creativity and Innovation in an International Context, 1-4 June 2010, Valencia, Spain.
Purpose: The purpose of this paper is to illustrate the various types of paradoxes underlying the nature of creativity, which in turn affect the foundations of organizations and organization change in the 21st century. The film industry best illustrate the interaction of such paradoxes, creativity and organizational change. This paper examines how small and medium-sized firms in the emerging Singapore film industry stay competitive by managing or not managing these paradoxes.
Design/methodology/approach: The study reported in this paper explores the opinions, attitudes and experiences of key decision-makers in the Singaporean film industry.
Findings: This paper introduces the idea that an analysis of the various paradoxes driven by creativity in today’s society provides hints on a deeper understanding of organizational change and development in the 21″ century.
Practical implications: The findings indicate that managers need practical tools that will enable them to comprehend and better manage these emerging contradictions and fully understand the implications of paradoxical situations and organizational change.
Research limitations: The distinctive nature of the Singaporean firms means that certain factors examined may be more or less significant in the film industry in other countries.
Originality/value: The value of this paper lies in the knowledge that paradox considerations are becoming significant in understanding pluralism and the processes of organizational change.