source guides

1990s european cinema

National Library 1990s European Cinema 16 + Source Guide

contents

THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY

INFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

INTRODUCTION ...... 1

NATIONAL CINEMAS ...... 2

THE INDUSTRY ...... 9

BOX OFFICE ...... 12

FESTIVALS ...... 14

WEBSITES ...... 16

Compiled by: Sean Delaney Anastasia Kerameos Tessa Forbes

Layout/Design: Ian O'Sullivan

Project Manager: David Sharp

© 2001 BFI National Library, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full de- tails of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other rele- vant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with signifi- cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the li- brary first if you wish to visit. 16+ students under the age of 18 will need to make an appoint- ment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in de- tail, you might have some existing information about names, faces, relationships, issues and ac- tivities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conven- tions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any dis- cussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thor- ough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public li- braries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of prod- uct, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical ar- ticles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming in- volved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the di- rector, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library v 16 + Source Guides: 1990s European Cinema T BFI National Library National BFI All the materials selected are based on the holdings of the BFI National Library,National BFI English. the in areof and holdings the on based are selected materials the All example. for office box and culture of terms in US the of domination the from itself disengage to Europe of efforts the and Oscars; the to comparison in or right own their in festivalsEuropean of otherwise or success the industry,EU,the and of individual co-productions;aspects both various governmentparticipation concerns; and movements,identities and national cinemas national examine:Wewhich materials haveincluded introduction where appropriate.where points specific illustrate to examples havehoweveras films Individual used films. been individual than rather1990s. bibliographythemes the centralWe this is on concentrateof haveto focus chosen main he 1 (thriller) and ‘cinema du look’ (the BONDANELLA, Peter National Cinemas work of Beineix, Besson, Carax). Italian cinema from neorealism to The book also explores the hugely the present. (3rd ed.) books successful heritage film revival New York: Continuum, 2001. looking at the filming and funding 546p.illus.bibliog.videog.index. ANDREW, Geoff of films such as GERMINAL, LA The ‘Three Colours’ trilogy. REINE MARGOT and LES VISI- Key text on post war Italian cine- British Film Institute, 1998. (BFI TEURS. ma and not surprisingly concen- Modern Classic series). 96p. illus. trates upon the international suc- (some col.).credits.bibliog. cess of the neorealist auteurs and BEUMERS, Birgit (ed.) their 1960’s successors. The chap- The high point of European art Russia on reels: the Russian idea ter on the 1980s is a production cinema in the 1990s? This short in post-Soviet cinema. overview. It notes that Italian cin- paperback provides a background London: I.B. Tauris, ema was lacking directorial/auteur of Kieslowski’s earlier work and 1999.218p.illus.filmog.bibliog.index. champions of international note discusses the making and recep- and cinema was noticeably light- tion of the trilogy. The author Cinema was the ‘most important weight compared to the more focuses upon the film’s emotional of all arts’ under Communism. Yet illustrious past. This third edition and spiritual themes in this self- post-Soviet cinema was in crisis contains an extra chapter ‘Italian confessed personal and ‘auteurist’ for much of the 1990s. In 1990, 300 cinema enters the Third appreciation of the ultimate films were released in the Millennium’. Italian cinema did European co-production. Glasnost era but this had dwindled not return to the dizzy heights of to a mere 28 in the centenary year the 1950’s and 1960’s. There was a of cinema in 1996. Using the dramatic drop in the number of AUSTIN, Guy ‘Russian Idea’ as a focal point, the cinemas from over 4800 in 1985 to Contemporary French cinema. essays examine the impact of the just 2600 in 1998. As elsewhere Manchester University Press, 1996. collapse of communism upon the the domestic market was domi- 190p.illus.filmog.index. ‘most important of arts’. It looks nated by Hollywood product. The at the legacy of Soviet cinema and author uses the later work of Author concentrates upon the whether Soviet and Russian are Fellini as indicator in the way cin- reception and debates of major distinct or essentially similar ema is heading and his collabora- films within a genre or period. terms in a film sense. The views tion with Roberto Benigni, whose Attention is given to a broad range of contemporary filmmakers are LIFE IS BEAUTIFUL went on to Oscar of topics: documentary; depiction also included and they discuss winning, critical and commercial of historical events (the what is the role/duty of filmmak- success. The last chapter also Occupation, the Holocaust, retreat ers in depicting contemporary notes the developments in the from Indochina, Algeria); the society in either a posi- 1990s. Nanni Moretti continued to 16 + Source Guides: 1990s European Cinema impact of the “porno” era; and rep- tive/negative/inspirational/sensati make his social comment films resentations of sexuality through onal light, which has echoes out- but largely for a small segment of the work of women filmmakers side Russia. the Italian cinema audience. from Duras and Varda to Kurys Internationally acclaimed directors and Serreau. It also looks at such as Bertolucci and Zefferelli recent popular film types and were making ‘international’ films styles such as ‘le film polar’ that were either in English such as THE SHELTERING SKY or TEA WITH MUSSOLINI and/or had internation- Life is Beautiful (1997) al appeal such as THE LAST EMPER- OR or IL POSTINO. The 1990s sta- ples of European cinema, the indigenous comedy (MEDITERAN- NEO) and nostalgia/heritage cine- ma (CINEMA PARADISO) were also successful in Italy as they were all over Europe. Neo-realism rein- vented itself in film such as STOLEN CHILDREN and AMERICA to move with the times and distance themselves from the onslaught of the parody ‘auteurs’ such as Nichetti who often took neo-realist films and themes as their refer- ence points (THE ICICLE THIEF).

BFI National Library 2 CIMENT, Michel and HERPE, Noel (eds.) DEVENY, Thomas G. Franco legacy and region- Projections 9: French film-makers Cain on screen: contemporary al/national identity. on film-making. Spanish cinema. London: Faber and Faber, 1999. Metuchen, NJ; London: Scarecrow 193p.illus. Press, 1993. 345p.illus.bibliog.index. EVERETT, Wendy (ed.) European identity in cinema. Selection of interviews from Positif Explores the impact of the Civil Exeter: Intellect Books, 1996. magazine with some of the great- War upon Spanish cinema and 112p.bibliog. est French filmmakers over the although may be useful for the last 50 years. The interviews student studying Spanish cinema Collection of essays that attempt include Jean-Pierre Jeunet (DELI- in depth, it may not contain to answer the question: is there a CATESSEN); Jacques Audiard (UN enough material on recent films notion of European cinema? The HEROS TRES DISCRET) and Mathieu and filmmakers (including even contributors discuss the many dif- Kassovitz (LA HAINE). Almodovar) for most researchers. ferences and features as well as some of the similarities in European filmmaking. The careers COWIE, Peter EDWARDS, Gwynne of Wim Wenders and Louis Malle Scandinavian cinema: a survey of Indecent exposures: Buñuel, are examined in light of their films and filmmakers in Denmark, Saura, Erice & Almodóvar. Hollywood careers. The difficulties Finland, Iceland, Norway and London: Marion Boyars Publishers, in transferring one success from Sweden. 1995 one national market to another London: Tantivy Press, 1992. are also highlighted in a continent Useful introduction of how and of differing nationalities and First major study in English of the why a lively and subversive cine- regional identities. The concluding subject. It is a brisk introduction ma emerged in Spain from the chapter, however, discusses the to Scandinavian cinema up to 1991 Franco yoke after the war to the continuing appeal of the past for covering the likes of Dreyer, 1980s heyday. many European filmmakers Bergman and the Kaurismakis. It contains a detailed chronology, national surveys, filmographies, ELSAESSER, Thomas and WEDEL, FORBES, Jill and STREET, Sarah and a dictionary of directors. Michael (eds.) (eds.) The BFI companion to German European cinema: an introduction. cinema. Basingstoke: Palgrave, 2000. COWIE, Peter London: British Film Institute, 1999. 216p.bibliogs/credits.indices. Straight from the heart: modern 259p.illus.bibliog. Norwegian cinema 1971-1999. Does exactly what it says on the Kristiansund: Kom/Norwegian Film Useful guide to German language tin. The book aims to offer an

16 + Source Guides: 1990s European Cinema Institute, 1999. 131p.illus.(mostly cinema, which also covers the fre- accessible and authoritative intro- col.).filmog.indices. quently ignored Austrian and duction to the history and the Swiss cinemas. It covers a wide major themes and issues of Brisk introduction to contempo- range including the silents, the European cinema. Part I gives an rary Norwegian cinema by the cinema of Weimar and the Third overview of the all important eco- British champion of Scandinavian Reich, New German cinema and nomic history of European cinema cinema. Author selects over 80 the recent successful comedies. from the impact of the First World films to highlight distinct The introduction also looks at the War to the role of the European Norwegian themes and overlaps turbulent 1990’s and the push & Union. It also examines ideology, with other Scandinavian cinemas. pull effect of regional-based pro- aesthetics and style. Part II con- It features passages on interna- duction. tains twelve case studies from tional hits such as the splendid silent classics such as BATTLESHIP JUNKMAIL and INSOMNIA. POTEMKIN to modern classics such EVANS, Peter (ed) as LA HAINE and TRAINSPOTTING. Spanish cinema: the auteurist tra- COWIE, Peter dition. Finnish cinema. Oxford: Oxford University Press, GRANTHAM, Bill Helsinki: VAPK-Publishing, 1990. 1999. 350p.[8]plates.index. ‘Some big bourgeois brothel’: con- texts for France’s culture wars Updated study of Finnish cinema Adopting a (self-confessed) with Hollywood. which then looked to be emerging unfashionable ‘auteur’ approach, University of Luton Press, 2000. from the dark shadows left by this accessible work takes a film 184p.tables.biliog.filmog. other Scandinavian cinemas led by and its director/auteur to explore the Kaurismaki brothers. how they reflected the period in Study of the cultural relations which they were made. They also between France and the USA and analyse how Hollywood, the nou- how these impacted upon French COWIE, Peter velle vague and post-Franco liber- trade policy covering the infamous Icelandic films. alisation impacted upon Spanish spat of 1993 GATT talks between Rejkjavik: Icelandic Film Fund, 1995. cinema. Films selected include the two countries. 79p.illus.(mostly col.).biogs.index. JAMÓN JAMÓN, BELLE EPOQUE and VACAS. The chapters also explore Short introduction to Icelandic some familiar themes in Spanish cinema. cinema: the past, the war, the

BFI National Library 3 HAYWARD, Susan and VINCEN- HJORT, Mette and MACKENZIE, politan cultural centre to war torn DEAU, Ginette (eds.) Scott (eds.) mediascape. The author, however, French film: texts and contexts. Cinema and nation. also examines the wealth of (2nd ed) London: Routledge, 2000. Balkan cinema and TV made prior London: Routledge, 2000. 332p.illus.bibliogs.indices. to the war and assesses the conse- 348p.illus.bibliog..index. quences of cultural exclusion from Collection of essays examining the mainstream European cinema. Excellent and well thought out relationship between cinema and analysis of French cinema. audiences, cultures, nations, and Contributors cover 22 key films governments. It contains sections JORDAN, Barry and MORGAN- ranging from the 30s classics on: the sociology of nationalism; TAMOSUNAS, Rikki through the New Wave to contem- the concept of national cinema; Contemporary Spanish cinema. porary successes such as CYRANO film policy, nationalism and the Manchester University Press, 1998. DE BERGERAC, NIKITA and LA state; the production of national 216p.illus.index HAINE. The chapter on CYRANO images; the reception of national suggests that the film’s literary images. Within these sections, Readable survey of the vicissitudes origins, its celebration of past glo- contributors analyse topics such of Spanish cinema from the post- ries and its re-assertion of an as the emergence of European co- Franco liberalisation, the golden uncertain masculinity make it a productions, new Scottish cinema, days of the 1980s to the difficult useful model for looking at 1990’s nationalism in Polish cinema, and days of the mid/late 1990s. It France. filmmaking in Germany from New notes the importance of historical German Cinema to after the Wall themes in Spanish cinema and The chapter on NIKITA offers an came down. how the past has been “recon- interesting introduction on the The impact of cultural globalisa- structed”, “relocated”, “re- making of the film and how it tion is also discussed. imag(in)ed”. It examines how evolved. The rest of the chapter genre has remained popular and contains some interesting readings examines the popular success of on female dis/empowerment, sex- IORDANOVA, Dina comedies, thriller, musicals and ual identity and the postmodern Cinema of flames: Balkan film, horror/fantasy. It also analyses in the film. The chapter on LA culture and the media. how men and women and their HAINE discusses its representation British Film Institute, 2001. sexuality have been portrayed in of Paris and explores whether the 322p.illus.bibliog.filmog.index. recent works and also how nation- film’s stylish auteurist features alist identity emerges. undermines its realistic message. The violent break-up of Yugoslavia It would appear not judging by its not only put images of the conflict successful critical and commercial on television screens (and placed KELLY, Richard reception and controversy it the Balkans at the heart of Europe The name of this book is

16 + Source Guides: 1990s European Cinema stirred with the authorities. as well) it also prompted a flurry Dogme95. of films of the region and its trou- London: Faber and Faber, 2000. bles too: ULYSSES’ GAZE, WELCOME 230p.illus.appendices. HAYWARD, Susan TO SARAJEVO and UNDERGROUND. French national cinema. A chapter is dedicated to latter Investigation into the “spectre of London: Routledge, 1993. film, which provided international Dogme95”. It contains the 325p.illus.bibliog.index. acclaim for its director, Emir Dogme95 ‘Vow of Chastity’ and Kusturica. The impact of the war how a frustrated Lars von Trier Author applies her film based and the representation of “villains, invited fellow Danish filmmakers approach rather than an auteur victims, women and ethnic Thomas Vinterberg, Kristian centred analysis of French cinema. minorities” are key topics and are Levring and Soren Kragh-Jacobsen Much of the work focuses upon analysed in depth as is the chang- to join up and form the the interaction of, and contest ing vision of Sarajevo from cosmo- ‘Brotherhood’. The main body of between, popular cinema and the contemporary movements and Welcome to Sarajevo (1997) avant-garde, and how both influ- enced the other.

HJORT, Mette and BONDEBJERG, Ib The Danish directors: dialogues of a national cinema. Bristol: Intellect Books, 2001. 288p.illus.gloss.bibliog.

This work contains interviews and profiles of nineteen Danish film- makers from Gabriel Axel (BABETTE’S FEAST) to Dogme dar- ling, Lars von Trier. The introduc- tion examines how a small nation- al cinema copes in a global culture and includes a copy of the Dogme vow of chastity.

BFI National Library 4 the work is made up of interviews cial structures of Spanish cinema QUIET MAN and FAR AND AWAY but with the Dogme ‘brothers’ and and the increasing important role could also include the British ODD those who adhere to their creed of television (especially after the MAN OUT. At the other extreme from all over Europe. The ‘brother- 1993 elections) and that of the Art there is the grim political thriller s’ discuss FESTEN, THE IDIOTS and Museum in Bilbao in film produc- with its own equally fixed vision. MIFUNE amongst others and their tion. The Irish cinema has had to evolve challenge to the mediocrity of taking on these conventions and mainstream cinema and to the representations and also struggle meaning of the legacy of the likes LANDY, Marcia against two much larger film of Jean-Luc Godard. The freedom Italian film. industries on its doorstep i.e. and burdens of chastity and the Cambridge: Cambridge University Britain and America, and even many accusations of hype are Press, 2000. Europe. The book explores the some of the other themes and 434p.illus.bibliog.filmog.index. growing pains and representations issues raised in this very readable and links them to social, economic reportage. Study of Italian cinema from the and cultural developments espe- silents to the present day. Instead cially in the last 30 years as of tackling chronological historical Ireland itself has looked to new KINDER, Marcia chunks, the author explores the identities. The author notes that Blood cinema: the reconstruction themes of representation, reflec- in spite of Irish successes in the of national identity in Spain. tion and reception. The author 1990s, its contemporary cinema Berkeley, CA; London: University of examines the changing ways in still tackles issues of family strife California Press. which Italian cinema has dealt and abuse and suggests it is still 553p.illus.notes.bibliog.index. with femininity, masculinity, child- dealing with traumas of its rural hood, family, justice, the Church past. The last chapter draws Key text on Spanish cinema. This down the years. She also looks at together the book’s strands with a dense work examines Spanish cin- the interaction of film with other detailed reading of THE BUTCHER ema in the light of the Franco art forms such as painting and BOY as the author suggests that legacy and the 1980s when popular music, and with other this film encapsulates many of Spanish films won much critical media such as television. The these themes. acclaim and attracted huge audi- author also stresses the impor- ences. Embracing the full range of tance of studying genre films such theoretical concepts, the books is as the comedies and melodramas MAZDON, Lucy divided into four parts: the “rein- that are ever present rather than Encore Hollywood: remaking scription” of genre and conven- just the 1950s/1960s when Italian French cinema. tion; representation of violence; films and filmmakers dominated British Film Institute, 2000. the themes of exile, in particular the international art house scene. 169p.bibliog.index. to Bunuel; and how the micro and

16 + Source Guides: 1990s European Cinema macroregionalism within Spanish Hollywood loves remaking French cinema impact upon its funding McLOONE, Martin films. The author calculates at (i.e. via coproduction and/or televi- Irish film: the emergence of a con- least 30 have been remade since sion). temporary cinema. 1980. A variety of motives are London: British Film Institute, 2000. explored from the low risk pre- 234p.illus.bibliog.index. tested strategy of re-makes to KINDER, Marsha (ed.) whether French cinema is a victim Refiguring Spain: cine- Important recent work on Irish of American cultural imperialism ma/media/representation. cinema. Emigration returned to striving to undermine its cultural Durham, NC; London: Duke the fore in Ireland in the 1990s. It uniqueness. The mechanisms and University Press, 1997. was also the decade when Irish perceptions of reception are 370p.illus.bibliog. index. culture reached a global stage. analysed and the conclusions may The Irish “diasporic imagination” not be as pessimistic as one might Building upon the previous work, found a wide international audi- think. this very useful work highlights ence: Seamus Heaney’s Nobel the importance of cinema to the Prize; Riverdance; the success of Spanish inter/national (self) image. the football team; the emergence MAZDON, Lucy In discussing the role of the of the ‘Celtic Tiger’ economy. France on film: reflections on pop- Socialist governments’ film poli- There was also Oscar success for ular French cinema. cies, it further illustrates the vital MY LEFT FOOT and THE CRYING London: Wallflower Press, 2001. role of government in European GAME and a sustainable though 180p.biogs.bibliog.index. cinema. Divided into similar parts low budget indigenous Irish cine- and themes as the above work, ma emerged. The book initially Very recent work on the subject. Part 1 deals with historical recu- looks at the legacy of cultural The author sets out to examine peration and how through cinema nationalism. This is the corner- French cinema in terms of films both left and right have attempted stone of most recent works. The that have enjoyed commercial suc- to re-draw Spain. Part 2 Sexual book examines how Irish cinema cess to explore how France is Reinscription looks at the repre- has been affected by it, con- reflected, following the lead that sentation of gender and sexuality, tributed to it or even attempted to others have suggested. The author especially masculinity in recent challenge it. The cinematic vision looks into the familiar co-produc- Spanish films. Part 3 Marketing of Ireland has two wide poles. tion and intertextuality chestnuts transfigurism: money/ politics/ There is the romantic or stereotyp- of what makes a film French. regionalism examines the finan- ical Hollywood vision from THE (Language? Style? Location?

BFI National Library 5 Funding?) It examines the legacy Useful introduction to Italian cine- Gibbons (Croom Helm, 1987). The of the ‘cinema du look’ (the films ma. It contains a historical book examines the representation of Beineix, Besson et al.), and the overview with the main body from of Ireland on the big and little popularity of heritage cinema Antonioni to Zurlini. Also includes screens. Part I deals with Irish cin- (JEAN DE FLORETTE), the comedy a section on key European themes ema, which the author believes is blockbuster (LES VISITEURS, TAXI) and genres and appendices on the pre-eminent way Ireland proj- and the social realism films (LA production and statistics. ects herself audiovisually. The HAINE, L.627). The author also author provides a short and useful looks at the recurrent themes of background to the cultural and gender, locality and community, NOWELL-SMITH, Geoffrey and political developments which the past, childhood in films and RICCI, Steven underpin the themes and vicissi- feel-good movies. Hollywood and Europe: econom- tudes of Irish cinema and how ics, culture, national identity: Ireland has been reflected by film 1945-1995. and television. The author also MOSLEY, Philip British Film Institute, 1998. covers overlooked areas of non-fic- Split screen: Belgian cinema and 164p.tables.index. tion film and television. The cultural identity. analysis of television in Part II par- New York: SUNY Press, 2001. Is Hollywood such a cultural and allels the themes in Part I. The 251p.illus.bibliog.index. economic spectre to the European concluding chapters look at recent film industry? The introduction television programmes (such as First study of Belgian cinema in contains an interesting and FATHER TED) and films such as FAR English. The Belgian cinema has informative review of the com- AND AWAY, IN THE NAME OF THE been beset by two problems since plexities of the relationship FATHER, THE BUTCHER BOY and The its inception. Belgium is split by between Europe and Hollywood. GENERAL with a view to dissecting language into French and Flemish As the introduction states between Irish “National(ist)” cinema. The speakers with their own cultures. 1980 and 1994, the market share of appendices contain useful statis- As a small country, Belgian cinema French films in France fell from tics on cinema attendance and box has not only had to compete with 47% to a lowly 32 %. There have office takings. Hollywood but also the stronger been many voices decrying the film industries and fellow lan- onslaught of American cultural guage speakers of France and the imperialism since the 1920s. Yet POWRIE, Phil (ed.) Netherlands. The role of Brussels Hollywood has been and is heavily French cinema in the 1990s: conti- as a distinct ‘European’ enclave influenced by European cinema. nuity and difference. rather than a Belgian cultural cen- This collection of essays examines Oxford University Press, 1999. tre is also noted. The author the art film market, Italian genre 286p.[8]plates.filmog.bibliog.index. explores the cultural complexities films, ‘New Wave‘ interchanges, faced by Belgian cinema, and in New German cinema. Key study on French cinema of the

16 + Source Guides: 1990s European Cinema spite of recent international suc- 1990s. The introductory chapter cesses such as TOTO THE HERO and provides a summary of the key MAN BITES DOG, seeks to shine a PETTITT, Lance events and themes of this decade light upon an under-rated and Screening Ireland: film and televi- and an overview of the issues undervalued cinema in a glob- sion representation. raised by the familiar contributors. alised world. Manchester University Press, 2000. Part I examines the ‘heritage’ 320p.illus.tables.appendices.bibliog.i genre which continued to domi- ndex. nate. It examines sub-genres of NOWELL-SMITH, Geoffrey and ‘official’ (based on a literary text VOLPI, Gianni and HAY, James This work deals with very similar especially those featuring the likes The companion to Italian cinema. themes to the McLoone book of Gerard Depardieu in GERMINAL), London: Cassell/British Film above. Both works attempt to ‘pastiche’ (REVOLUTION), ‘postcolo- Institute, 1996. extend and update the seminal nial’ (INDOCHINE) and ‘Vichy’ (UN 168p.[16]plates.bibliog.appendices. work ‘Cinema and Ireland’, by HÉROS TRÈS DISCRET). These devel- Kevin Rockett, John Hill and Luke opments mirrored contemporary political developments almost as La Haine (1995) much as the return of the political film and the greater involvement of French filmmakers in political issues. Part II ‘Inscribing Differences’ looks at representa- tion of gender, sexuality and eth- nicity in a wide range of films such as LES NUITS FAUVES, GAZON MAUDIT and ROMUALD ET JULIETTE. The emergence of the ‘cinema de banlieu’ is also dis- cussed and not surprisingly a chapter is dedicated to LA HAINE. Part III ‘Defining the “National”’ includes essays on masculinity in LES AMANTS DU PONT-NEUF, pater- nity in MON PERE CE HEROS, the

BFI National Library 6 idea of nationality in the THREE TALENS, Jenaro and ZUNZUNEGUI, ma. Using the premise of personal COLOURS trilogy and how French Santos journeys, the author uses this as a LA CINQUIÈME ÉLÉMENT may or Modes of representation in means to explore recent French may not be. Spanish cinema. cinema. This is applied from the Minneapolis: Minnesota University nouvelle vague, the political Press, 1998. 1960s/1970s through the ‘cinema QVIST, Per Olov and BAGH, Peter du look’ of the 1980s to the re- von Largely due to the isolation of the emergence of heritage and gritty Guide to the cinema of Sweden Franco era, Spanish cinema social dramas of the 1990s. and Finland. evolved a distinct style from the Westport, CT; London: Greenwood neorealist and nouvelle vague Press, 2000. trends. Although most of the book deals with cinema under the journal articles Encyclopaedia in two parts with Republican and Franco eras, there short overviews of both national are chapters on the transitional AMERICAN CINEMATOGRAPHER cinemas with the main body period and the Socialist decade. Vol.81.No.1.January 2000, pp.19-26 devoted to actors, actresses, direc- Part V looks at representation in tors and films. Entries often con- the Spanish cinema. The Idiots plays by Von Trier’s tain an extensive filmography and rules, by Patricia Thomson a short bibliography. TAYLOR, Richard et al. (ed.) Thomson provides a detailed The BFI companion to Russian overview of the emergence and SOILA, Tytti and SODERBURGH and Eastern European cinema. characteristics of Dogme 95, ‘the WIDDING, Astrid and IVEREN, London: British Film Institute, 2000. provocative, anti-status-quo pro- Gunnar 288p.bibliog. duction rules’ that Trier and Nordic national cinemas. Thomas Vinterberg drew up in London: Routledge, 1998. Latest in the BFI Companion 1995. The author considers the 262p.illus.indices. series, its comprehensive coverage reasons Trier produced such rules includes over 200 entries from and the technical difficulties of Interesting introduction to the Animation to Yugoslavia Break-Up implementing them in filmmak- Nordic cinemas. The chapters on in Film. ing, especially in relation to Trier’s the national cinemas highlight the film THE IDIOTS. many differences that exist in the five Nordic cinemas, which are VINCENDEAU, Ginette (ed.) often lumped together. The con- Encyclopaedia of European BLACK FILMMAKER cluding chapter attempts to draw cinema. Vol.3.No.9.2000, p.6 together some familiar themes, London: Cassell/British Film

16 + Source Guides: 1990s European Cinema some of which are often based Institute, 1995. 475p.bibliog. East Goes West – British Asian upon Anglo-American assump- themed film, East is East, smashes tions and clichés (the outdoors, Single volume offering neat sum- box office. Leslie Udwin, producer nature, melancholia, religion, sex). maries from the greatest living of East is East, is interviewed by It also notes the importance of Swiss resident, Jean-Luc Godard to Sonali Bhattachaaryya central governments in supporting Cliff Richard. ‘Mother book’ of the filmmaking near the top of the BFI companion series. The question and answer format world. Another entry in the of the article covers the raising of Routledge series that only goes up the finance of the film and the as far as the very early 1990’s. VINCENDEAU, Ginette problems raised by seeing the film Dogme95 had not been thought of The companion to French cinema. as essentially Asian. The market- and von Trier is just a young pup London: Cassell/British Film ing of the film in the UK and over- in this study. Institute, 1996. seas, targeted particularly young people, and focused on the univer- Handy volume covering the major sality of the subject and the come- SORLIN, Pierre personalities and themes of dy in the film rather than on the Italian national cinema 1896-1996. French cinema. In discussing Asian aspects. Yet the success of London: Routledge, 1996. aspects of the impact of French the film has caused a reconsider- 202p.filmog.bibliog.indices. cinema in Europe certain non- ing in the UK of what is ‘Asian French personalities are included material’. Useful introduction to Italian cine- such as Kieslowski. (This series ma. Familiar themes of region and includes a Key European concepts politics emerge as well as the & genres section and a statistics CINÉASTE impact and influence of section). Vol.21.No.3.July 1995, pp.28-30 [illus] Hollywood. The American film market often demanded that The cinema of ambivalence: Italian cinema supplied well- WILSON, Emma recent films from Central and known genres such as the sword French cinema since 1950: person- Eastern Europe, by Katharine and sandals epics, spaghetti west- al histories. Cornell erns and, later, soft porn produc- London: Duckworth, 1999 tions. 160p.[8]plates.bibliogs.gloss.index. Overview of the changes which are affecting the central and eastern Useful introduction to French cine- European film industries following

BFI National Library 7 the sudden collapse of commu- nism, and analysis of the effect this has had on the work of film- makers from the region.

EMPIRE No.97.July 1997, pp.62-68

The future is now, by Adam Smith

Smith considers Luc Bessons’s career after the release of his sixth film THE FIFTH ELEMENT in 1997. With his films often criticised for their preference of visuals over plot and narrative, and for reject- ing the New Wave tradition in France, Besson defends his films in anti-nationalistic terms, while stating he has never made a Hollywood film. Declaring his independence as a director, he Black Cat, White Cat (1998) outlines the contributions from different European nations Reality, Totalitarianism: Endurance explored, by Keith Reader towards the film, but vows he in the Name of the Children, and doesn’t care about the nationality Harsh Realities of Post-Communist Reader analyses LA HAINE in terms of a film. Times: Survival. of its connection to unrest in the French suburbs or ‘banlieue’, FILM COMMENT which house largely unemployed Vol.33.No.5.Sept/Oct 1997, pp.44-49 MONTAGE young people. He compares the Winter 2001, pp.17-19 [illus] film to Spike Lee’s DO THE RIGHT When Kusturica was away on THING and considers how race, business, by Katherine Dieckmann New voices in European cinema, class and the attitude of the police by Raúl Galvez are central to the film. Noting the Article outlines and reviews the general positive reception of the film career of Kusturica, focusing Brief interviews with three new film by French critics, the author

16 + Source Guides: 1990s European Cinema on the national identity of his European directors: Hans Peter aligns the film with other recent films and their connection with Moland, ABERDEEN, Norway; French films, especially ETAT DES the culture, war and politics of Baltasar Kormákur, 101 REYKJAVIK, LIEUX, seeing them as responsible Serbia and Yugoslavia, his home- Iceland; and Costas Kapakas, PEP- for revitalising French cinema. land. Providing detailed analyses PERMINT, Greece. of UNDERGROUND, TIME OF THE GYPSIES and WHEN FATHER WAS SIGHT AND SOUND AWAY ON BUSINESS, Dieckmann SCREEN INTERNATIONAL Vol.7.No.8.August 1997, pp.12-14 shows how not only politics, but No.1208.14 May 1999, p.39 [illus] the world of rituals and customs informs Kusturica’s work. Lola Runs Across Europe, by Angels to earth, by Paul Julian Martin Blaney Smith

FILM CRITICISM Short but informative article pro- Interview with director Julio Vol.21.No.2.Winter 1996/7, pp.24-39 viding details of the varying Medem on his film TIERRA, and on degrees of success of RUN LOLA the Spanish film industry. The Women in New Balkan Cinema: RUN in a number of European interviewer asks whether he Surviving on the Margins, by Dina countries. Blaney highlights how believes there is such a thing as Iordanova different marketing campaigns Basque cinema. may have had some affect on the Iordanova discusses the represen- reception of the film in France and tation of women in Balkan films in Czech Republic. SIGHT AND SOUND the 1990s, all of which are directed Vol.7.No.12. December 1997, pp.10-13 by men. Although the themes addressed relate to women’s SIGHT AND SOUND Gypsy Time: After his satire issues, the author argues these Vol.5.No.11.November 1995, pp. 12-14 UNDERGROUND was condemned concerns to not serve any feminist as pro-Serb. Emir Kusturica cause. Under three headings she After the Riot. LA HAINE – it ‘retired’. Now he is back shooting considers how women are por- means ‘hate’ – has been compared the ‘non-political’ WHITE CAT, trayed in relation to patriarchy, to DO THE RIGHT THING. Mathieu BLACK CAT, by John Wrathall totalitarianism and post commu- Kassovitz’s searing account of life nist poverty. These are: Patriarchy: in the French suburbs is one of a Article includes an interview with Tradition and Contemporary series of violent ‘banlieue’ films the director and focuses on the

BFI National Library 8 reception of UNDERGROUND, 1995 SIGHT AND SOUND and Kusturica’s response to the Vol.9.No.12.December 1999, pp.8-10 CINEMA EXHIBITION AND DISTRI- political criticism of the film. BUTION IN EUROPE: MARKET Kusturica discusses his political Juggling in the Dark. Lars von ASSESSMENT AND FORECAST views, his ambivalent attitude to Trier is using 100 video cameras London: Screen Digest, 2001. Yugoslavia and the war. He also to shoot a realist musical with pop expresses his interest and admira- star Bjork about amateur dramat- Unpublished at times of going to tion for the gypsies who are the ics, hunger and imprisonment. press. This is likely, however, to subject of his film WHITE CAT, What else did you expect, asks become an invaluable but expen- BLACK CAT which was shot just Stig Bjorkman sive resource produced by the outside Belgrade. highly rated Screen Digest maga- Bjorkman considers the European zine. It contains key statistics and aspects of the film DANCER IN THE tables that are not readily available SIGHT AND SOUND DARK and Trier’s individual elsewhere. (Due late Autumn Vol.9.No.1.January 1999, pp.10-13 approach to producing a musical. 2001). Using the Dogme method of film- The new European cinema wants making as exemplified in THE to outrage us, but are we still IDIOTS, the film is the most expen- CINEMAGOING WESTERN EUROPE shockable, asks Richard Falcon sive shot in Scandinavia. Although Leicester: Dodona Research, 2000. a musical, Trier did not want to Detailed article considering vari- emulate Hollywood musicals and Key report. Contains detailed ous recent European films all of instead aims to create a natural- national profiles with tables on which appear to intend to shock ness in the performances along- cinema attendance and the state its audiences. Constructing a side the artificial. of the exhibition sector including comparison with some horror the forecasts for the future of mul- films from Hollywood, Falcon tiplexes. analyses Ozon’s Sitcom, Trier’s THE THIRD TEXT IDIOTS and Noe’s SEUL CONTRE No.43.Summer 1998, pp.43-57 TOUS and shows how the directors DALE, Martin present perspectives of their sepa- Mytho-poetic Cinema: Cinemas of The movie game: the film busi- rate nations’ cultures and chal- Disappearance, by Kriss Ravetto ness in Britain, Europe and lenge expectations. America. In depth article examining mytho- London: Cassell, 1997. poetic modes of representation in 340p.illus.tables.figs.appendices.index. SIGHT AND SOUND relation to the recent turmoil in Vol.9.No.9.September 1999, pp.28-30 the Balkans via the work of Emir One of the best titles available on Kusturica and Theo Angelopoulos. the workings of the international 16 + Source Guides: 1990s European Cinema A hit in Europe and a big success Areas considered are the national film industry It offers a sound and at Cannes, All About My Mother identities and ethnocultural tradi- readable introduction but goes fur- proves that Pedro Almodovar is tions in the area. Ravetto argues ther, packed with facts, figures, one of the greats of European cin- that the two directors explode tables on revenues, budgets and ema. Blessed with the secret archetypal myths relating to reli- financial breakdowns for films weapon of imagination, argues gious and political identities. Film such as LA HAINE. Its wide range Paul Julian Smith analysed include UNDERGROUND includes short films, Europuddings by Kusturica, and ULYSSES’ GAZE (European co-productions) Smith considers ALL ABOUT MY by Angelopoulos. Hollywood and American inde- MOTHER, which won for pendents. The axis of the book Almodovar the prize for best direc- revolves around how Hollywood tor at Cannes festival, as part of a produces markets and sells its trilogy of the director’s mature product around the world, and the films. Providing first an overview The Industry European response. The author is of his films with their focus on the somewhat critical of the European marginal, Smith then focuses on response and chapters are entitled ALL ABOUT MY MOTHER in terms of books “Fortress Europe” and ”Cultural the film techniques the director Ghetto”. uses. Seeing a radical humanism ANNUAIRE EUROPÉEN DES FESTI- and a direct engagement with VALS DE CINÉMA ET AUDIOVISU- DIRECTORY OF INTERNATIONAL social issues in the director’s work, AL/DIRECTORY OF EUROPEAN FILM AND VIDEO FESTIVALS Smith connects Almodovar’s films FILM AND AUDIOVISUAL FESTI- 2001/2002 with various political events in VALS London: British Council, 2001. Spain, for example, anti-govern- Bonnieres-sur Seine: Carrefour des ment strikes, the celebration of Festival, 2000. democracy, the spread of AIDS and Key directory that provides infor- the prospective trial of General Key directory. Festivals are mation for British entries to inter- Pinochet. indexed by theme, city and film national festivals. and a handy summary of the year is provided. Now available: www.britfilms.com

BFI National Library 9 DURIE, John (ed.) EUROPEAN VIDEO YEARBOOK probably of more use to the stu- PHAM, Annika and WATSON, Neil 2000/2001 dent as it contains case studies of The film marketing handbook: a London: Screen Digest, 2000. thirteen European films. The case practical guide to marketing studies contain sections on pro- strategies for independent films. Guide to European video markets duction history, funding, reviews, Madrid: Media Business School, 1993. and trends. As well as compara- marketing and description, rev- 192p.tables.appendix.gloss.index tive tables on sales, prices, rentals, enues, producers’ remarks, com- it contains a chronology of the mentary and conclusions. Although aimed at insiders, this is year, a European overview plus one of the clearest examinations national profiles. of the workings of the film indus- MORAN, Albert (ed.) try. By tackling the necessity of Film policy: international, national marketing, it offers an insight into FINNEY, Angus and regional perspectives. the realities of the European film A dose of reality: the state of London: Routledge, 1996. industry. Sections 1 and 2 discuss European cinema. 283p.tables.index. the necessity of marketing with European film Academy/Screen regard to European films. The International, 1993. Collection of essays examining the strategies of how to sell English 111p.illus.tables.bibliog. state of film production in the and Foreign language films, and 1990s. It looks at how various where and when to do it (i.e. Although nearly ten years old, this national governments have sup- which festivals and markets), are key work is still worth reading. ported their own industries and discussed in Section 3 and 4 Based on the input of a number of their motives for doing so. Part 1 respectively. The workings of dis- filmmakers, producers, distribu- may be most useful to students as tribution and exhibition are tack- tors and commentators, it exam- it analyses the reality of a led in Sections 5 and 6 looking at ines how the European film indus- Hollywood dominated industry what kind of audience, type of try got itself into the mess it did in and the European responses. Part release, prints and advertising the 1990s and what might be the II reviews the policies of national budget for marketing and how art ways forward. In the section ‘How governments from around the house/European film can be to make a European box office hit’, world. Part III examines how film shown in a market where the films such as DAMAGE, CYRANO DE policies have taken account of audience is shrinking. It also con- BERGERAC, ORLANDO, DELI- regional issues, differing cultures tains an excellent glossary. (Much CATESSEN, THE CRYING GAME and and even indigenous populations. of the material above has been has the biggest Spanish overseas suc- been revised and repackaged by cess WOMEN ON THE VERGE OF A the same team for ‘Marketing and NERVOUS BREAKDOWN are dis- THE STATISTICAL YEARBOOK: selling your film around the world: cussed for some kind of blueprint. CINEMA, TELEVISION, VIDEO AND a guide for independent filmmak- NEW MEDIA IN EUROPE 2001

16 + Source Guides: 1990s European Cinema ers’, by John Durie et al, pub. Strasbourg: European Audiovisual Silman-James, 2000). FINNEY, Angus Observatory, 2000. The state of European cinema: a new dose of reality. Key source for European audiovi- EUROPEAN CINEMA YEARBOOK London: Cassell, 1996 sual industry. It contains sum- 2000 maries and tables on film produc- Milan: Media Salles, 2000. Updated review of European cine- tion, distribution, admissions, tele- ma. Case studies include films vision, multimedia, home video, Annual publication packed with such as TRAINSPOTTING, THE NAME and advertising. tables on European cinema admis- OF THE ROSE and BREAKING THE Data available online: sions, market shares, Top 10 WAVES. http://lumiere.obs.coe.int domestic/European films, admis- sions by large town, and so on. FINNEY, Angus THE WORLD FILM AND TELEVI- Available online: Developing feature films in SION MARKET (IDATE REPORT) http://www.mediasalles.it Europe: a practical guide. Montpellier: IDATE, 2000. London: Routledge, 1996. 137p.graphs.appendices.index. Well thought of but expensive EUROPEAN FILMS ON EUROPEAN report in two volumes. TELEVISIONS Specialised volume aimed at film- Volume 1 “industries & markets” is Strasbourg: European Audiovisual makers but will give detailed an analysis of the international Observatory, 2000. insight into the complexities of industry and its major markets; securing production funding in Europe is treated as one market. Table based analysis of when, Europe. Volume 2 “the players” focuses where and on what channel upon the major media organisa- European films are shown by tions from the BBC to Walt Disney. European terrestrial broadcasters. ILOTT, Terry Issued annually. Ireland shows the least amount Budgets and markets: a study of according to the research. budgeting of European film. London: Routledge, 1996. 165p.tables.indices.

Another specialised tome but

BFI National Library 10 Although this article concerns PREMIERE journal articles itself mostly with the television Vol.6.No.3.Nov 1992, pp.58,60,62,64 empire of Silvio Berlusconi it gives AMERICAN CINEMATOGRAPHER fantastic insight into the long- How Columbus discovered Europe, Vol.80.No.5.May 1999, pp.80-87 [illus] standing cultural and ideological by Todd Coleman conflicts between the television European snapshots, by Benjamin and film industries in Italy and the Chronicles the financing campaign Bergery government which regulates them. for Ridley Scott’s indie feature It talks of the protest film made by 1492: CONQUEST OF PARADISE, from Article examining the state of the nine prominent film directors, L’U- meetings at Cannes and at the European film industry, and some NICA PAESE NEL MONDO; Fellini; American Film Market, to co-pro- of the key differences between it the arguments over advertising duction issues, and the competi- and the US film industry. breaks; and the case of LADRI DI tion posed by Alexander and Ilya Concentrates on the role of gov- SAPONETTE. Salkind’s CHRISTOPHER COLUMBUS: ernment; the effect that funding THE DISCOVERY. The strategy initiatives have had on production; focused on three main elements: a the development of facilities for FILMMAKER combination of pre-sale at the both local and US productions; Vol.1.No.4.Summer 1993, pp.24-26 AFM, a strong US distributor deal, and the need for Europe to retain [illus] and co-production. its culture whilst fighting off US domination at the box office. The Queens of England, by Sande Zeig later part of the article focuses on SCREEN DIGEST the industries in Germany and Sally Potter talks about her work June 1995, pp.134-136 [tables] France. The Dogme Vow of on the production of ORLANDO Chastity is also included. (1992) – the financing, working Market profile: European co-pro- with an internationally mixed duction and the role of Eurimages crew, issues of gender politics, DOX: DOCUMENTARY FILM QUAR- other filmic influences. This film Article which claims “to set out, TERLY is an excellent example of for the first time, the statistical No.1.Spring 1994, pp.52-54 [illus] European co-production (Great relevance and importance of the Britain, Russia, Italy, France and Eurimages scheme to the A question of rights, by Vanessa the Netherlands); the effect an European film industry”. Covers Henneman exceptional festival reception can the period 1989-1993. have on box office takings; and the Comment on the difficulties faced importance of distributor backing. by European producers in relation SCREEN DIGEST to the legal aspects of co-produc- October 1999, pp.261-268 [illus. 16 + Source Guides: 1990s European Cinema tions. The author notes that MOVING PICTURES INTERNATIONAL tables.] despite attempts to standardise No.146.29 July 1993, pp.13-14,16 such issues as copyright, broad- [illus] Towards a single European market casting rights, and distribution in film: national characteristics rights more remains to be done. Colour of Money, by Deborah still dominate Wolfson Feature on the European film FILM CRITICISM On the finance available to pro- industry, which asks whether Vol.21.No.1.Fall 1996, pp.13-33 [illus] ducers of big-budget European and European economic integration in Hollywood films, referring to the the film industry is likely to Berlusconi, Italian television and importance of European banks, become a reality. Statistical data recent Italian cinema: re-viewing pre-sales, and subsidy. relates to various aspects of film The Icicle Thief, by Tony Mitchell production within EU member states such as: number of films produced and average investment in production; a breakdown of pro- duction spending; production by genre; cost of film crews, and so on. Figures are given for each EU member state where available but the main focus is on the markets of Great Britain, Germany, France, Ireland, Italy and Spain.

SCREEN FINANCE Vol.12.No.20.11 Nov 1999, pp.5-6

Divorcing Jack highlights “mud- dle” over treaty

On the co-production agreement 1492 Conquest of Paradise (1992) between France and Great Britain,

BFI National Library 11 established in 1995, and the short- lure of Britain for American pro- TELEVISION BUSINESS INTERNA- comings highlighted by the case of ductions. TIONAL DIVORCING JACK. October 1998, pp.108-110,112,114

SCREEN INTERNATIONAL Home grown box office, by various SCREEN FINANCE No.1147.27 Feb 1998, pp.29-30 [illus] authors Vol.13.No.2.4 Feb 2000, pp.6-7 [tables] Rogue element, by Françoise On the growth in broadcaster European film revenue will out- Meaux-Saint-Marc backed feature films, encouraged pace America by the introduction of investment On the reasons behind the devel- quotas. Elena Cappuccio com- On the results of a study by oping trend in France, in the wake ments on the situation in Italy, Schroders, “International media of the success of THE FIFTH ELE- Emma Wright on the UK, Liza and entertainment report 2000”, MENT, to finance productions in Foreman on Germany, Marie- which concludes that European the English language. Agnes Bruneau on France, and film distributors may see better David del Valle on Spain. growth than their American coun- terparts over the next five years. SCREEN INTERNATIONAL No.1211.4 Jun 1999, pp.8-9 [illus] VERTIGO No.9.Summer 1999, pp.38-41 [illus] SCREEN INTERNATIONAL Eurowood, by Patrick Frater No.1008.19 May 1995, pp.14-15 [illus] MAI day! by Julian Petley The author offers an optimistic Producer without frontiers, by report on the future of the Article on the Multilateral Patrick Frater European film industry based on Agreement on Investment, the the then recent success of effect it would have on the Interview with Rene Cleitman European films at the Academy European audiovisual industry, the (chairman of Hachette Premiere Awards (Oscars), the evident avail- actions of the British government, and the European Producers’ Club) ability of finance, and the growing and its response to the Trade and on recent developments – such as strength of European distributors. Industry Select Committee’s third Media II, the revision of the report. Television Without Frontiers direc- tive, the establishment of SCREEN INTERNATIONAL Guarantee Funds – and his views No.1258.12 May 2000, pp.18-20 on what role the United States [illus] Box Office should be playing in the develop- ment of the European market. The international money-go- journal articles 16 + Source Guides: 1990s European Cinema round, by various authors

SCREEN INTERNATIONAL Feature on co-production funding EUROPEAN CINEMA JOURNAL No.1113.20 Jun 1997, pp.11-19 [illus] available in a number of countries. No.1.April 1999, pp.1-3 Fionnuala Halligan reports on the Focus: Shooting in Europe: initiatives in the UK, Ted Sheehy Cinema Exhibition in Europe in Occupied territory, by Louise Tutt on Ireland, Terry Hicks on 1998, by Elizabetta Brunella Germany, Françoise Meaux Saint Article on the reasons behind the Marc on France, Denis Seguin on Brunella focuses on the general attraction for both European pro- Canada, and Mark Johnson on rise of cinema going in Europe in ductions and for Hollywood studio Benelux. 1998, mainly due to the success of pictures to shoot in European stu- multiplex cinemas. Citing the rise dios. Country by country survey of of domestically produced films, European studio facilities listing SIGHT AND SOUND the author analyses admissions in contact details and recent films. Vol.4.No.5.May 1994, pp.22-24,26 separate European countries. [illus] Article also includes statis- tics/tables covering the market SCREEN INTERNATIONAL Falling stars, by Angus Finney share in European countries 23 Jan 1998, pp.24-26 between domestic film, European The primary focus of this article is films and US films. Production UK Preview 1998: the film industry’s apparent failure Greater expectations, by Louise to produce film stars capable of Tutt commanding mass audience MOVING PICTURES INTERNATIONAL appeal and therefore box office No.189.9 June 1994, p.13 Comments by British producers on success both in Europe and inter- Prime Couleurs. Snubbed by this the announcement by the Arts nationally. The economics of the year’s Cannes jury, Krzysztof Council of England of the film stu- business are seen to be one of the Kieslowski’s Trois Couleurs trilogy dio franchises, the tax write-off for reasons for this as well as the lack is keeping distributors in the black British films budgeted up to of aggressive marketing. Not sur- across Europe £15million introduced by the gov- prisingly there is comparison with ernment, the creation of the Film the success of the US in this area. Policy Review Group, the need to Article considers the popularity of invest in development, and the Kieslowski’s trilogy, especially

BFI National Library 12 European countries and the rela- stars and provides box office fig- tion between domestic and global ures for films of established markets. European actors/actresses. Finally, Brown discusses the growing pop- ularity for locally produced films SCREEN DIGEST within Europe and the effect of June 2000, p.189 this on Hollywood.

US Dominates Fragmented Euro Film Market. Co-production suc- SCREEN INTERNATIONAL cess gives French producers top No.1208.14 May 1999, p.39 spot Lola runs across Europe, by Martin Three Colours Blue (1993) Article outlines the domination of Blaney the European market by US films, THREE COLOURS BLUE, in different and compares the difference Short, but informative article European countries, even though between locally produced films detailing the success of RUN LOLA the films were not well received at and foreign produced films, on RUN in different European coun- the Cannes festival jury, in con- domestic admissions. Also shows tries after its impressive release in trast to the Venice and Berlin festi- the small impact European films its home country Germany. Article vals. The films’ success in Italy, have on the US market and how compares admissions in Belgium, France, Spain. Scandinavia and the French productions take a greater Czech Republic and the UK, is covered - with details of box share of total European admis- Netherlands. office figures included. sions compared to other European countries. Includes a table show- ing percentage of admissions for SCREEN INTERNATIONAL MOVING PICTURES INTERNATIONAL US and the 12 European countries No.1277.22 Sept. 2000, pp.1-2 No.32.November 1997, pp.2-18 in relation to the country of origin of films. Distributor dances with media How European films travel abroad. wolves, by Mike Goodridge P2Moving Pictures and the Media Business School analyse the per- SCREEN INTERNATIONAL Goodridge discusses the controver- formance of European feature No.1153.10 April 1998, pp.13,15 [illus] sy surrounding DANCER IN THE films beyond their national bor- DARK, in terms of its reception by ders, by Annika Pham Tapping the Norse code: US critics and audiences. He notes remakes Nordic films, by Petra how critical reaction affected box Pham evaluates how European Buddrus office in various European coun- 16 + Source Guides: 1990s European Cinema films perform within and beyond tries, after initially encouraging their national borders. Profiles five On the experience of some Nordic figures. Aiming to use divided crit- key territories: France, UK, filmmakers, notably Ole Bornedal ical opinion of the film as a mar- Germany, Italy and Spain – and and his film NIGHTWATCH – Fridrik keting strategy, in conjunction analyses recent successes of home Thor Fridriksson and CHILDREN OF with TV campaigns aimed at the produced films, their success NATURE – John M. Jacobsen and youth audience, Fine Line, the US abroad and the genres which are HEAD ABOVE WATER, who had distributor, hoped to increase most popular. Includes tables hoped to expand into English-lan- interest and box office in the US. which compare how the films guage territories by selling the from the different nations fare in remake rights to their films. On terms of admissions in Europe and the whole there were too many SIGHT AND SOUND in the US, and a table listing films difficulties and the remakes were Vol.5.No.9.September 1995, p.4 alphabetically from 1994-1996 not successful despite having big- detailing total admissions in the ger budgets and a renowned cast. The Business five nations and US. Brief but detailed article outlining SCREEN INTERNATIONAL the success of LA HAINE in France, SCREEN DIGEST No.1161. 5 June 1998, pp.12-13 which was more popular than DIS- August 1997, pp.177-186 CLOSURE. Though originally passed Mid-Atlantic accent, by Colin over at the Cannes festival, where World Cinema Market: Start of the Brown Mathieu Kassovitz won the Best European fightback? Director award, Miramax, after Article considers the increasing noting the box office hit, eventual- Article holds various detailed sta- popularity of European actors in ly bought up the film for US distri- tistics and tables. These include major roles in Hollywood films. bution. comparing the success of US and Showing that such actors need to UK films in Europe, admission for be bilingual, Brown notes how US and EU screens, and indige- their success has an effect on the nous films’ share of domestic box local language films in which they office in Europe. Discussion covers star, as well as on the transfer of growth of US market and EU mar- European films to the US market. ket, how films from individual Article then profiles five European European countries fare in other countries in relation to their rising

BFI National Library 13 mers, administrators and volun- PREMIERE Festivals teers. Vol.2.No.5.June 1994, pp.42-52 [illus]

Hollywood, France, by Henri Béhar journal articles FILMMAKER Vol.7.No.3.Spring 1999, pp.16,85-88 A detailed history of the Cannes BALKAN MEDIA [illus] film festival with recollections by Vol.4.No.2.1995, pp.10-12 [illus] Mike Leigh, Barry Norman, Eric Form follows function, by Noah Fellner, Alexander Walker, and The triumph of the Balkan Cowan Michael Winner, as well as by past cinema, by Mehmet Basutçu winners of the best actor/actress Examination of the meanings award: Rita Tushingham, Article on the success of films pro- associated with the term Dominique Sanda, Terence Stamp, “American independent cinema” Giancarlo Giannini and Jon Voight. duced in the Balkans at the 48th and advice on the financial and Cannes Film Festival, especially critical significance to filmmakers Emir Kusturica’s UNDERGROUND, of the three major winter festivals: PREMIERE Theo Angelopoulos’ ULYSSES’ Sundance, Rotterdam, and Berlin. Vol.5.No.5.June 1997, pp.76-83 [illus] GAZE, and Mircea Daneliuc’s The SNAILS OF THE SENATOR. Cannes: 50 years of Cannes KINEMA No.14.Autumn 2000, pp.75-89 A look back to the highlights of CINEMA PAPERS the Cannes International Film No.135.Oct/Nov 2000, pp.52-53 [illus] Festivals: 53rd Cannes Festival in its first 50 years which includes a brief interview with Desperately seeking an audience, International Film Festival (May Isabelle Adjani, president of the by Emma Sloley 2000), by Ron Holloway jury at the 1997 edition of the fes- tival. The middle pages are domi- Advice on how to enter short film Report on the Cannes nated by images of the posters of festivals: where to find informa- International Film Festival 2000 the Grand Prix/Palme d’Or winners tion about film festivals which which includes a list of the main 1947-1996. include sections on short film; prize winners, notes on veteran when choosing which to enter, directors in the competition and how to decide which are the most reviews of their films: FAST FOOD, SCREEN INTERNATIONAL suitable; the costs involved; and, FAST WOMEN; KIPPUR; CODE No.1157.8 May 1998, p.26 details of some online resources. INCONNU; LA NOCE; and ESTORVO. Although the article is aimed Cannes 1997: how did the winners mainly at Australian first-time 16 + Source Guides: 1990s European Cinema fare at the box office filmmakers it is nevertheless a MOVING PICTURES INTERNATIONAL useful guide for all. No.4.December 1994, pp.41-42 [illus] Short article looking at the win- The nine lives of Felix, by ners at Cannes (1997) and what impact, if any, the prize had on ECRANS D’AFRIQUE Christian de Schutter box office takings. The European No.19.1997, pp.51-66 [in French and films which won awards at the English] [illus] On changes to the presentation and the rules governing the festival were: NIL BY MOUTH, Best 1946-1996. African images at European Film Awards (Felix) on Actress Kathy Burke; WESTERN, Cannes, by Michel Amarger the occasion of its seventh edition. Special Jury Prize; LOVE AND The ceremony is to be a low-key DEATH ON LONG ISLAND, Prix A historical overview of factors affair, films will be selected on Pierrot; and JUNK MAIL, Critic’s affecting the selection of films and quality and national appeal, and Week Prize. in particular the representation of will be chosen by a single commit- African cinema at Cannes from tee, not national ones. 1946-1996, on the occasion of the SCREEN INTERNATIONAL Supplement. Germany.February 2000, celebration of the 50th edition of MOVING PICTURES INTERNATIONAL [whole issue] [illus] the Cannes International Film No.30.September 1997, pp.6-7,10 Festival. The article includes a [illus] Germany in the new millennium listing of the African films entered at the 1997 event and provides Film events in the frame, by Adam Special edition to coincide with th brief synopses for them. Minns the 50 Berlin Film Festival intended to be a feature on the As the number of festivals and festival as well as a guide to the FILM IRELAND markets grows Moving Pictures German film and television indus- No.45.Feb/Mar 1995, pp.13-15 [illus] International conducts a survey tries. Lists the top 100 players of the industry; television companies; where industry personnel get to Festival!, by Laoise McReamoinn post-production facilities, statis- vote on which ones really matter. tics, and so on. There are details of the costs Profiles of the three big Irish festi- involved in attending the markets, vals – Dublin, Galway and Cork, and a comparison in terms of per- with comments from program- centage for top event.

BFI National Library 14 SCREEN INTERNATIONAL SIGHT AND SOUND UNIFRANCE FILM INTERNATION- No.1269.28 Jul 2000, pp.1-2 Vol.11.No.10.October 2001, p.6 [illus] AL NEWSLETTER No.20.October 1999, pp.40-42 [illus] Festivals must prove worth as sell- Locarno notes: Soft touches, hard ers pick and choose, by Patrick seats, by Sheila Whitaker Summer festivals in Eastern Frater Europe, by Joel Chapron Report back from the 2001 edition As the number of festivals increas- of the Locarno International Film Reports on the 34th Karlovy Vary es sales companies seek to target Festival with praise for its new International Film Festival, the only the ones they feel will attract director, Irene Bignardi, and the 21st Moscow International Film buyers and either charge “screen- changes she has made. th ing fees” or eliminate many festi- Festival and the 5 Sarajevo Film vals from their calendars. At the Festival, and lists films entered. same time the festival organisers UNIFRANCE FILM INTERNATION- are recognising the need to select AL NEWSLETTER films which will attract sales for [1995], pp.16-17 [illus] UNIFRANCE FILM INTERNATION- their festival to continue to be suc- AL NEWSLETTER cessful. The whole world has The Hate, by No.23.July 2000, p.40 Laurent Valiere and Catherine Benazeth Taxi 2 burns rubber worldwide, by SCREEN INTERNATIONAL Patrick Lamasoure No.1293.26 Jan 2001, p.4 [illus] Following its success at Cannes, LA HAINE is sold worldwide, with the Figures on the box office success International awards look to emu- exception of the USA, where audi- of TAXI 2 in France, Belgium and late Oscars’ lustre, by Denis Seguin ences will not go to see subtitled Switzerland prior to its release in films. A list of distributors, by the international market. Argues that although some inter- country, and the release date in national festivals are slowly each country is supplied. achieving a higher status (such as VARIETY the Goya Awards and the BAFTA’s) 7-13 May 2001, pp.C1-C73, intermit- the Academy Awards are still the UNIFRANCE FILM INTERNATION- tent [illus] only ones likely to affect box office AL NEWSLETTER results. No.20.October 1999, pp.2-3 Cannes 2001

French cinema and international Various articles in a special section SIGHT AND SOUND film festivals, by Maria Manthoulis on the Cannes International Film Supplement. Money.September 1996, and Antoine Khalife and Veronique Festival 2001. Details of the festi-

16 + Source Guides: 1990s European Cinema pp.8-9 [illus] Bouffard val’s agenda and official selection, the market, vendors and products Outside Hollywood: festivals, mar- Article detailing the success of listing, and a section on Variety’s kets and money French films at international festi- 10 producers to watch. vals in 1999. Includes a list of the An assessment of the role a festi- best known festivals by category, val can play in promoting a film, and a list of the prize-winning creating an environment in which French films at the 1999 festivals distribution deals can be secured, of Locarno, Montreal, Venice, and and affecting subsequent box San Sebastián. office takings. The Cannes International Film Festival is used as a primary example because of the role it plays as festival, market, and meeting place.

BFI National Library 15 European Coordination of Film lections (i.e. news releases, key Useful Websites Festivals indicators, catalogues etc.) are offered on the following themes: British Council www.eurofilmfest.org General Statistics; Economy and Finance; Population and Social www.britfilms.com The Coordination of European Film Conditions; Industry, Trade, and Festivals (European Coordination Services; Agriculture and Fisheries; Site of the British Council, provid- of Film Festivals) is a network of External Trade; Transport; ing access to The British Film more than 130 film festivals with Environment and Energy; and Catalogue online. Lists many new strong roots in the regions of Research and Development. British features and shorts either Europe. The European in production or released in 2001. Coordination of Film Festivals, Entries include synopsis, still, sales supported by the European Lumiere agent, production company, cast Commission, was and crew. Users can search by film, created to promote the distribu- http://lumiere.obs.coe.int/web/EN/ title, director etc. Site also holds tion of European films and raise search.php the Directory of International Film awareness of European cinema, and Video Festivals online with and also to represent its members’ Database provided by Lumiere on over 500 international festivals interests in contacts with admissions of films released in listed. Information includes con- European and national institu- Europe since 1996. Users can tact details and good search index- tions. search by title and director. es. Designed for the needs of distribu- tors and public bodies who require European Audiovisual Observatory financial and admissions informa- Europa Cinemas tion. www.obs.coe.int/ www.europa-cine- mas.org/en/index.php Focal point for business informa- Media Salles tion on the audiovisual section in Promoted as ‘The first Cinema net- Europe. Provides information on www.mediasalles.it work promoting European films’, news, publications, an information website networks 52 countries, 234 service and on the EAO and its The Media Salles project operates cities and 374 cinemas. Includes a network in English, French and within the framework of the database of the films released in German. Includes details of publi- European Union’s Media II pro- Europe, details on events and up- cations for purchase, plus full text gramme, with the support of the to-date information of releases of online publications. Also provides Italian government. It aims to fos- European films by country. Plus access to Lumiere database (see ter theatrical distribution of 16 + Source Guides: 1990s European Cinema production and distribution infor- below), the EAO statistical year- European audiovisual projects. Site mation on film titles. book online, (via subscription) and includes European Cinema Online other information services. Database, online version of European Cinema Journal and European Cinema – resources overview of European cinema his- guide Eurostat tory and development. Also includes information on current www.academicinfo.net/filmintereu http://epp.eurostat.ec.europa.eu/po productions, the promotion of rope.html rtal/page?_pageid=1090,30070682,1 European cinema and holds a use- 090_33076576&_dad=portal&_sche ful list of links to European insti- Useful site which lists various ma=PORTAL tutes and film centres. sites holding information on European cinema. Includes links to Aims to provide the European film institutes, European directors, Union with a high quality statisti- film museums and film databases. cal information service. A variety Arranged by country. of free and paid services and col-

BFI National Library 16