Creative Arts and Business Research Methods: a Marriage of Qual and Quant
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CREATIVE ARTS AND BUSINESS RESEARCH METHODS: A MARRIAGE OF QUAL AND QUANT Gregory Wee Lik Hoo*, Dr. Ernest Cyril De Run** *Cinematography Programme, Faculty of Applied and Creative Arts **Faculty of Economics and Business Universiti Malaysia Sarawak Email: [email protected] Abstract Research in the creative arts have traditionally been perceived to be more qualitative rather than quantitative as compared to other fields such as business. However, in a case when the arts have to be studied in correlation with funding, involving researchers from two different fields, it raises several interesting questions about how such a research can be carried out, and its data can be shared, analysed and become useful for both parties. In highlighting this experience, this paper will present an ongoing research on the different perspectives of film funding in Malaysia among different parties involved in the filmmaking industry such as bankers, governmental film bodies and filmmakers. The research uses Cognition Affect Behavior (CAB) Paradigm as its conceptual model basis. Initial data is obtained via in-depth interviews, which then acts as the basis for a quantitative methodology for further data gathering and analysis. This paper will discuss the initial data gathering procedures and findings. 1.0 Introduction The number of films being produced in Malaysia is relatively few compared to those of its neighboring countries like Thailand and the Philippines, which produced 84 films (NationMaster.com., 2004) and 50 films (Thai World View, 2004) respectively in 2003. With 16 films in 2003, Malaysia shares similar output figures with Vietnam and Indonesia, despite the differences in the general population size (UNESCO, 2001). Malaysian films face intense competition from Hollywood and Hong Kong films at the local box-office. In 2003, Malay films raked in a total of RM13,950,933.90 as opposed to RM73,371.565 earned by imported films (FINAS, 2004). This small turnover continues to place the film business as a high-risk investment industry, which lacks the appeal, found in other larger film industries areas such as Bollywood or Hollywood. Producers and filmmakers in Malaysia have very limited access to film funding as commercial banks do not fund films. In Malaysia, there is only one bank that offers a special package for funding film production – Bank Pembangunan. The new RM50 million fund initiated by the Ministry of Culture, Arts and Heritage, and administered by Bank Pembangunan is one step up for film funding. The previous fund initiated in 1996 has been more for TV production where a contract offer from RTM will guarantee payment back to the bank. Now, the new revolving fund works the same way for film. The collateral is now an agreement from theatrical distributors to screen the film at hand, and from other channels like VCD distribution and television stations. The new fund has extended loans for television production to feature film. It is now still too early to be able to assess the effectiveness of this new package. On the other hand, the Malaysian government has a different perception of film. It sees film as not only a commercial commodity but also as a cultural product capable of portraying the national identity and culture (Mingguan Malaysia, 2002). It understands that the film industry needs assistance in order to develop. Therefore, the Malaysian government, through its National Film Development Corporation (FINAS), offers several loans and grants through its production assistance schemes (FINAS, 2004). FINAS functions to help boost the film industry and also to fund less commercially viable films which serve as cultural products. However, the amount allocated by the Malaysian government in general is still limited. For instance, FINAS’ Special Government Production Support of RM12 million was given to only two films, Embun and Paloh in 2002 (Mingguan Malaysia, 2002). There have always been complaints from the filmmaking community on the lack of funding for films, the financial institutions’ reluctance to assist, and on FINAS’ management of the funds (Suhaimi Baba, 2002). These opinions could have arisen from a different understanding and perception of film funding amongst the financial institutions, FINAS and the local filmmaking community. Therefore, this study intends to explore, determine and compare the different perspectives on film funding from the financial institutions, government (FINAS) and filmmakers’ viewpoints. This is in order to understand where the problem lies in film funding. This study will use Cognition Affect Behavior (CAB) Paradigm as its conceptual model basis in order to explore and analyze these three perspectives to determine if their perception affects their behavior on film funding in Malaysia. 2.0 Literature Review Governmental support in terms of funding has always been critical in any country that has a comparatively smaller film industry. Financial support is seen as necessary as the local films cannot compete against the gigantic blockbuster films from Hollywood. Numerous authors have indicated the importance of governmental support to develop a film industry, while upholding national cinema (Hill, 1996; Turner, 1993; O’Regan, 1996). However, there are opinions that the idea of a film industry and national cinema does not seem to go well hand-in-hand. After decades of public funding in Canada and Australia, their film industries have become ‘dualistic’ in structure (Dorland, 1996). Their national cinema scene remains small, detached and relies heavily on government funding, while their industry counterpart becomes mere ‘junior members of the Anglo-American team, … markets for media exports, … competitive broadcast programming importers, and offshore centers [for Hollywood productions]’(Dorland, 1996:118). The negative aspect of government funding is that it removes certain responsibilities from the film producer/filmmaker who is now less likely to make sure that their films are commercially viable (Finney, 2002). This is detrimental towards the development of a ‘real’ film industry. Therefore, there is a need to find the right balance between culture and industry in film, fusing them together to create an ‘industrial package’ that is commercially viable. In Malaysia, this dual package has yet to emerge. We have had commercially made films which were box office hits (Sembilu), as well as many commercial films which were flops or marginal, and we have had the more artistically and culturally inclined films (Embun) which were flops. Therefore, the risk factor is still high for all films, whether commercial or cultural. Financial institutions in Malaysia are seen as not assisting the film industry as banks in general require collaterals for funding loans (Suhaimi Baba, 2002). There is help from FINAS (appendix A), who fund less commercially viable films that serve as cultural products. However, the amount allocated by the Malaysian government in general is still limited (Mingguan Malaysia, 2002). This duality in funding is therefore explored in this study by using the CAB Paradigm as its conceptual model to explore, determine and compare the different perspectives on film funding. The CAB paradigm (e.g. cognition determines affect which determines behavior) (Holbrook, 1986; Holbrook and Batra, 1987), particularly describes the role of normative belief as detailed in the theory of reasoned action (Fishbein and Ajzen, 1975; Ryan and Bonfield, 1975) and depicted in Figure 1. Figure 1 CAB Paradigm with Normative Beliefs C A B Nb Note: C = Cognition, Nb = Normative belief, A = Affect, B = Behavior. Consumer behavior literature suggests that emotional reaction is an important aspect of behavior. In the case of this research, the cognitive component is the processing of the application details for a loan. The normative belief relates to the contextual issues of film making and the Malaysian context for film making, including beliefs of the expectations of important referent others and motivation to comply with those referents. This, in theory, determines affective responses and then behavior, which can be seen by the reactions of bankers who are unwilling to lend huge sums of money for cultural and normative films that may not make a return. However, actions by the government indicate another affective and behavioral response, which indicate a different viewpoint of the paradigm. Based on the discussion here and the CAB Paradigm, the following 2 x 3 factorial design is offered to be tested in this research. Figure 2 Conceptual Model of Perspectives on Film Funding in Malaysia Film as Art/cultural commodity Film as Commercial product Perspective of Unprofitable High-risk investment Banks Perspective of Important to the country’s cultural Important as an industry to Government and national identity development contribute towards the country’s economy Perspective of Important to advance creativity Important for survival of Filmmakers and artistry in the film industry filmmakers The CAB Paradigm basically denotes that one behaves according to how one thinks. The government and the filmmakers have always believed that art is as important and therefore worthwhile to produce, either as a cultural or commercial product. Financiers like banks have different agendas. As capitalists, the bottom dollar is the most important issue. Their perspective on filmmaking is influenced by financial gains as the first priority. This study intends to determine if this Paradigm holds in the context of film funding in Malaysia. Referring to the 2 by 3 factorial design above, this research defines the following propositions in the context of CAB Paradigm: 1) When film is made as an artistic or cultural product, the banks perceive it to be unprofitable. This results in the banks’ reluctance to finance such films. The government on the other hand may see it as important to the country’s cultural and national identity development and therefore will fund it. Good artistic and cultural films can reflect and represent a country’s identity at the international arena. Therefore, the government encourages the production of such high quality and high-budgeted films with funding assistance.