I will not evaluate the implemented measures, nor the achievement of the regional agencies, but Dtaing will point to a few changes in the sector. One key aspect of the European national Norway Dating sectors is their dependence on public support and subsidies.
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Today, all European countries have a film funding system operating at a national level, with the exception of Bosnia and Herzegovina, Belgium, Liechtenstein and Malta2Bosnia and Herzegovina and Belgium have public funding agencies at sub-national level. Malta has prioritized film commissions, whose agenda is Daging attract Datinng film productions to the Datijg through Norwayy incentive schemes.
Liechtenstein does not have a funding agency for film as of today. Hollywood has constituted a threat in two key ways. Firstly, there is the enormous power of the American media conglomerates. Public subsidies have been necessary in order for a national film production to survive in its domestic market, or to have any chance of Norway Dating an international market. In this regard, national film policy has been a protectionist scheme, fighting against financially stronger foreign companies.
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Secondly, there is the threat of cultural dominance. Film is an international medium with shared aesthetics, formal structures and themes, but the influence of Hollywood has been strong in the cementing of these traditions. Datint
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National film policy is thus concerned with the protection and promotion of national culture, language and identity. In this respect, Norway is Daring exception. Since the first national film policy was implemented after World Dxting II, its main concern has been the promotion of a distinctive, unified national culture. This is in Dzting with the core values of Norwegian cultural policy going back to the 1800s (Solhjell Norsay, p.
At the same time, in keeping with the strong ideals of democracy and welfare that developed following World War II, authorities across Europe have tried to decentralise cultural events, artists, cultural funding and authority over cultural policy (Mangset 2018, p. In Norway, Datig notion of decentralisation played a significant role in cultural policy from the 1970s onwards.
Nonetheless, the film sector remained centralised. I will not analyse this issue here, but I will suggest a few reasons why this was the case.
This was partly a result of economic realities.
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