This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today’s global challenges in the film industry such as industry change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries. This highly informative book will help both scholars and practitioners in the film industry to understand the complexity of issues and the requirements necessary to preserve the social benefits of film as an important cultural good.

British Film and Television Industries--Decline or Opportunity?, Volume II: Evidence

An indispensable resource for professionals who work with multiple state tax jurisdictions, this reference offers return preparation guidance for use by taxpayers subject to corporate income or income-based taxes in more than one state.

How has American cinema engaged with the rapid transformation of cities and urban culture since the 1960s? And what role have films and film industries played in shaping and mediating the “postindustrial” city? This collection argues that cinema and cities have become increasingly intertwined in the era of neoliberalism, urban branding, and accelerated gentrification. Examining a wide range of films from Hollywood blockbusters to indie cinema, it considers the complex, evolving relationship between moving image cultures and the spaces, policies, and politics of US cities from New York, Los Angeles, and Boston to Detroit, Oakland, and Baltimore. The contributors address questions of narrative, genre, and style alongside the urban contexts of production, exhibition, and reception, discussing films including The Friends of Eddie Coyle (1973), Cruising (1980), Desperately Seeking Susan (1985), King of New York (1990), Inception (2010), Frances Ha (2012), Fruitvale Station (2013), Only Lovers Left Alive (2013), and Doctor Strange (2016).

This expanded, updated, and revised third edition of Lorene Wales’ The Complete Guide to Film and Digital Production offers a comprehensive introduction to the positions/roles, procedures, and logistics of the film and digital video production process, from development and pre-production all the way to marketing and distribution. Lorene Wales offers a hands-on approach suitable for projects of any budget and scale, explaining every stage and key role/position in the life of a film and providing a wealth of sample checklists, schedules, accounting paperwork, and downloadable forms and templates for practical use. Other topics include a description of the latest mobile apps used in production, tax incentives, the DIT, set safety, and an expanded chapter on copyright, fair use and other legal matters. A companion website includes video tutorials, a personnel hierarchy, a guide to mobile apps useful during production, PowerPoints for instructor use, and a complete set of sample production forms and templates for download, including schedules, accounting paperwork, releases, and production checklists.

This book is for working film/TV professionals and students alike. If you're a line producer, production manager, production supervisor, assistant director or production coordinator--the book has everything you'll need (including all the forms, contracts, releases and checklists) to set up and run a production--from finding a production office to turning over delivery elements. Even if you know what you're doing, you will be thrilled to find everything you need in one place. If you're not already working in film production, but think you'd like to be, read the book -- and then decide. If you choose to pursue this career path, you'll know what to expect, you'll be prepared, and you'll be ten steps ahead of everyone else just starting out. New topics and information in the fourth edition include: * Low-budget independent films, including documentaries and shorts * Information specific to television production and commercials * The industry's commitment to go green and how to do it * Coverage of new travel and shipping regulations * Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout

This is a complete guide to film finance around the world, from first web short film to mainstream international multi-million dollar co-production.

John W. Cones has updated his now classic 43 Ways toFinance Your Feature Film: A Comprehensive Analysis of Film Finance with a substantially reorganized and expanded third edition. An essential reference guide for film professionals on every side of film financing, 43 Ways answers the question that every filmmaker and producer ultimately faces, the issue that can make or break any venture into the film industry: How do I finance my feature film? The third edition includes updated information and coverage of new options for financing. In his clear and concise style and with expertise amassed over his nearly twenty years of experience in the film finance industry, Cones breaks financing options down into six main areas: gifts and grants, investor financing, domestic government subsidies and tax incentive programs, lender financing, international finance options, and studio or industry financing. Beginning with the forms of financing most likely to be accessible to independent feature film producers, Cones proceeds to other forms that become increasingly available as the producer’s career matures. As an objective adviser, Cones provides specific, concise information regarding the many possible financing strategies and lists the distinct pros and cons of each strategy. This guide covers the options for film financing in rich detail so that even first-time producers and filmmakers will be able to make educated and informed decisions about the best approaches to financing their films. An extensive bibliography contains additional information about each form of film finance. Cones also counters much of the bad advice being provided by pseudoprofessional film finance consultants and points out scams that may separate unwary film producers from their money. Although the book focuses on financing feature films, much of its information is relevant to the financing of other kinds of projects, such as short films, documentaries, videos, and multimedia and theatrical endeavors. Anyone considering making or investing in a feature film will be well served by this practical and helpful guide.

Creativity, Law and Entrepreneurship explores the idea of creativity, its relationship to entrepreneurship, and the law's role in inhibiting and promoting it. Our inquiry into law and creativity reduces to an inquiry about what people do, what activities and actions they engage in. What unites law and creativity, work and play, is their shared origins in human activity, however motivated, to whatever purpose directed. In this work contributors from the US and Europe explore the ways in which law incentivizes particular types of activity as they develop themes related to emergent theories of entrepreneurship (public, private, and social); lawyering and the creative process; creativity in a business and social context; and, creativity and the construction of legal rights.