Nobuko Kawashima – författare

Global Film Policies challenges conventional analyses of film policy as a stand-alone public policy confined within national boundaries and usually focused on supports for film production. The book argues for a more multi-faceted approach, extending beyond national boundaries and broadening its scope to recognise how other forms of policy pertain to film, including tax, labour, language and education.

A team of experts in various areas of film and media studies critically analyse specific areas of film policy and engage with other public policy programmes, related concepts and/or phenomena. Each chapter brings together a general discussion of the conceptual and critical issues at stake, with specific references to particular territorial or historical contexts, institutions and policy initiatives that illuminate the more general issues. Case studies from different continents illustrate how film-related policies work with other public policies to maintain their influence not just on the film sector but also society more generally.

This book will be an important resource for scholars and students studying global film policy in the areas of film, media or creative industries and business.

Global Film Policies challenges conventional analyses of film policy as a stand-alone public policy confined within national boundaries and usually focused on supports for film production. The book argues for a more multi-faceted approach, extending beyond national boundaries and broadening its scope to recognise how other forms of policy pertain to film, including tax, labour, language and education.

A team of experts in various areas of film and media studies critically analyse specific areas of film policy and engage with other public policy programmes, related concepts and/or phenomena. Each chapter brings together a general discussion of the conceptual and critical issues at stake, with specific references to particular territorial or historical contexts, institutions and policy initiatives that illuminate the more general issues. Case studies from different continents illustrate how film-related policies work with other public policies to maintain their influence not just on the film sector but also society more generally.

This book will be an important resource for scholars and students studying global film policy in the areas of film, media or creative industries and business.

The past two decades have witnessed major changes in film industries worldwide in response to both economic globalisation and technological developments. The dominant position of Hollywood movies in the global film market has remained largely uncontested, but Hollywood itself has become increasingly international in its operations whilst ‘regional’ screen industries such as those in East Asia and in the Indian subcontinent have (re-)emerged and developed new forms of collaboration. The advent of digital technologies has also transformed the content of films and the ways in which they are made and consumed. Such changes, in turn, have posed new economic and cultural challenges for policy-makers around the world and led to a degree of rethinking of how film policy objectives are to be conceived, defined and implemented.

This collection brings together a range of international scholars from the USA, Europe and Asia to consider how film policy has responded to the various economic, technological and political shifts shaping the global film industry; and to identify the many tensions between global and local, economic and cultural, and public and private policy objectives that have been the result of these changes. This book was originally published as a special issue of the International Journal of Cultural Policy.

The past two decades have witnessed major changes in film industries worldwide in response to both economic globalisation and technological developments. The dominant position of Hollywood movies in the global film market has remained largely uncontested, but Hollywood itself has become increasingly international in its operations whilst ‘regional’ screen industries such as those in East Asia and in the Indian subcontinent have (re-)emerged and developed new forms of collaboration. The advent of digital technologies has also transformed the content of films and the ways in which they are made and consumed. Such changes, in turn, have posed new economic and cultural challenges for policy-makers around the world and led to a degree of rethinking of how film policy objectives are to be conceived, defined and implemented.

This collection brings together a range of international scholars from the USA, Europe and Asia to consider how film policy has responded to the various economic, technological and political shifts shaping the global film industry; and to identify the many tensions between global and local, economic and cultural, and public and private policy objectives that have been the result of these changes. This book was originally published as a special issue of the International Journal of Cultural Policy.

This book investigates economic, political, and cultural conditions that have led to transnational flows of culture in Asia. Coverage also looks at the consequences of an increasingly interconnected Asian regional culture as well as policy makers and cultural industries'' response to it. The book features essays written by researchers from different countries in Asia and beyond with diverse disciplinary backgrounds. The volume also contains engaging examples and cases with comparative perspectives.

The contributors provide readers with grounded analysis in the organizational and economic logics of Asian creative industries, national cultural policies that promote or hinder cultural flows, and the media convergence and online consumers'' surging demand for Asianized cultural products. Such insights are of crucial importance for a better understanding of the dynamics of transnational cultural flows in contemporary Asia. In addition, the essays aim to “de-westernize” the study of cultural and creative industries, which draws predominantly on cases in the United States and Europe. The contributors focus instead on regional dynamics of the development of these industries.

The popularity of J-Pop and K-Pop in East and Southeast Asia (and beyond) is now well known, but less is known about how this happened. This volume offers readers theoretical tools that will help them to make better sense of those exciting phenomena and other rising cultural flows within Asia and their relevance to the global cultural economy.

This book identifies emerging trends, issues, and problems in such policy shifts. The book breaks a new ground in the bourgeoning studies of tourism, heritage, and cultural policy by adopting an international, inter-disciplinary approach. The chapters on Japan in particular make an original contribution to these fields in the English literature in which discussion of Japan despite its economic and cultural presence on the globe has hitherto been less available.