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oapen-20.500.12657-588632022-10-15T03:26:02Z Screen Industries in East-Central Europe Szczepanik, Petr Films, cinema bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema This book is available as open access through the Bloomsbury Open programme and is available on www.bloomsburycollections.com. This book provides an alternative perspective into the audiovisual and media industries of eastern and central Europe, namely the Czech Republic, Poland and Hungary. In doing so, it offers insight into the ways the screen industries of small nations are positioned in and respond to globalization and digitalization. Petr Szczepanik suggests that for these ‘digital peripheries’, globalization and digitalization are as yet incomplete, stumbling processes, closely intertwined with and mediated by deeply local circumstances and players. Instead of a top-down economic or political overview, this book places central focus on the lived realities of producers as key initiators, facilitators, and cultural intermediaries. Drawing on in-depth interviews, it looks closely at how their agency is circumscribed by the limited scale and peripheral positioning of the markets in which they operate, and how they struggle to come to terms with these constraints through their business strategies, creative thinking and professional self-perceptions. Each of the seven chapters provides a close study of one such production practice. This includes but is not limited to independent producers limited by the size of their home markets; the ‘service producers’ working on large Western projects in Prague and Budapest and short-form online video production with its promise of dynamic growth in the era of mobile. However diverse, all these cases illustrate that while many industry practices and actors remain territorially and nationally bound, it is impossible to understand the full complexity of media markets and producer practices in the internet era without considering transcultural networks and flows. Theoretically building on the literature in critical media industry studies, this book offers a comparative analytical framework for studying small and/or peripheral media industries beyond east-central Europe. 2022-10-14T14:55:09Z 2022-10-14T14:55:09Z 2021 book ONIX_20221014_9781839022753_194 9781839022753 9781839022746 https://library.oapen.org/handle/20.500.12657/58863 eng International Screen Industries application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781839022753.pdf Bloomsbury Academic British Film Institute 10.5040/9781839022760 10.5040/9781839022760 066d8288-86e4-4745-ad2c-4fa54a6b9b7b 9781839022753 9781839022746 British Film Institute 256 London open access
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This book is available as open access through the Bloomsbury Open programme and is available on www.bloomsburycollections.com. This book provides an alternative perspective into the audiovisual and media industries of eastern and central Europe, namely the Czech Republic, Poland and Hungary. In doing so, it offers insight into the ways the screen industries of small nations are positioned in and respond to globalization and digitalization. Petr Szczepanik suggests that for these ‘digital peripheries’, globalization and digitalization are as yet incomplete, stumbling processes, closely intertwined with and mediated by deeply local circumstances and players. Instead of a top-down economic or political overview, this book places central focus on the lived realities of producers as key initiators, facilitators, and cultural intermediaries. Drawing on in-depth interviews, it looks closely at how their agency is circumscribed by the limited scale and peripheral positioning of the markets in which they operate, and how they struggle to come to terms with these constraints through their business strategies, creative thinking and professional self-perceptions. Each of the seven chapters provides a close study of one such production practice. This includes but is not limited to independent producers limited by the size of their home markets; the ‘service producers’ working on large Western projects in Prague and Budapest and short-form online video production with its promise of dynamic growth in the era of mobile. However diverse, all these cases illustrate that while many industry practices and actors remain territorially and nationally bound, it is impossible to understand the full complexity of media markets and producer practices in the internet era without considering transcultural networks and flows. Theoretically building on the literature in critical media industry studies, this book offers a comparative analytical framework for studying small and/or peripheral media industries beyond east-central Europe.
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