{"id":404,"date":"2024-11-04T10:04:18","date_gmt":"2024-11-04T10:04:18","guid":{"rendered":"https:\/\/smallcinemas2024.irmo.hr\/?page_id=404"},"modified":"2024-11-20T08:01:31","modified_gmt":"2024-11-20T08:01:31","slug":"papers","status":"publish","type":"page","link":"https:\/\/smallcinemas2024.irmo.hr\/?page_id=404","title":{"rendered":"Papers"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”Hero” _builder_version=”4.24.0″ use_background_color_gradient=”on” background_color_gradient_type=”circular” background_color_gradient_direction_radial=”top left” background_color_gradient_stops=”rgba(40,40,40,0.79) 0%|rgba(40,40,40,0.86) 100%” background_color_gradient_overlays_image=”on” background_color_gradient_start=”rgba(40,40,40,0.79)” background_color_gradient_end=”rgba(40,40,40,0.86)” background_image=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/01\/smallcinemase-header-1.png” custom_padding=”26px||26px||true|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.24.2″ _module_preset=”default” custom_padding=”50px||34px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” header_font=”|700|||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”50px” custom_margin=”||6px|||” header_font_size_tablet=”50px” header_font_size_phone=”40px” header_font_size_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n

Presentations, Papers, and Certificates<\/h1>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.2″ _module_preset=”default” hide_and_show=”show” show_to=”off|off|on|off|off|off|off|off|off|off|off” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_login title=”Login” current_page_redirect=”on” _builder_version=”4.27.2″ _module_preset=”default” body_font_size=”18px” global_colors_info=”{}”]<\/p>\n

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[\/et_pb_login][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.2″ custom_padding=”3px||17px|||” hide_and_show=”show” show_to=”off|on|off|off|off|off|off|off|off|off|off” global_colors_info=”{}”][et_pb_row _builder_version=”4.24.2″ _module_preset=”default” custom_padding=”49px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Day one<\/h1>\n

[\/et_pb_text][et_pb_blurb title=”Keynote – Four Avenues for Small Film Ecosystems” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Keynote_Four-Avenues-.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Huw Jones – Small Nations in a Big Market: The International Reach of Film from Smaller European Countries (ppt)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-Huw-Jones-The-International-Reach-of-Film-from-Smaller-European-Countries.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Huw Jones – Small Nations in a Big Market: The International Reach of Film from Smaller European Countries (paper)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Huw-Jones_The-Global-Reach-of-Small-European-Cinemas-Draft-Paper.pdf” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”]<\/p>\n

Films from smaller European countries often struggle to reach international audiences due to limited budgets and cultural barriers. From 2005 to 2015, films from smaller European countries made up only 5% of cinema admissions in Europe and less than 1% of admissions in the US, according to the Lumiere database. Yet some such films do reach large global audiences. Drawing on the MeCETES film database (which combines data from Lumiere and IMDb), this paper profiles the 30 most successful film exports from smaller European countries between 2005 and 2015, exploring both their on- and off-screen characteristics. The analysis identifies five main genres of successful film exports from smaller Europe countries:<\/p>\n

    \n
  1. Contemporary arthouse dramas \u2013 produced by auteur-led production companies in smaller western European countries with multiple partners including screen agencies, appealing to graduates through awards and authorial brand.<\/li>\n
  2. Family animations \u2013 produced by specialist Belgian or Finnish animations studios, attracting young children with Pixar-style animal adventures.<\/li>\n
  3. Historical dramas \u2013 often produced by auteurs in central and eastern European countries, appealing to graduates interested in learning about dark historical episodes.<\/li>\n
  4. Thrillers \u2013 often produced by Swedish company Yellowbird with support from public service broadcasters and screen agencies, resonating with young male graduates through dark, intriguing plots based on bestselling novels.<\/li>\n
  5. Comedies \u2013 produced by smaller Western European countries with support from commercial broadcasters, appealing to a wide audience with feel-good stories about overcoming obstacles.<\/li>\n<\/ol>\n

    The paper discusses what these findings mean for understanding how films from smaller countries represent global audiences and how they are represented through cinema.<\/p>\n

    Read more<\/a><\/p>\n

    [\/et_pb_blurb][et_pb_blurb title=”Katharine Sarikakis and Angeliki Chatziefraimidou – Small but Mighty: Fringes Empowering European Filmmaking in Small Markets” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/2-FINAL_Sarikakis-Chatziefraimidou_Small-but-Mighty_Zagreb.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Diana Andreeva-Popyordanova – Spreading the Net: The Path of Small Film Market Players to the International Scene” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Diana-Andreeva_presentation_5-november.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Andr\u00e9 Rui Gra\u00e7a – Challenges Faced by small film industries: The Case of the Labour Conditions in the Portuguese Film Sector” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/4-Presentation-Zagreb-SCC-2024_2.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”O\u0301scar Lo\u0301pez Iglesias – Digital Exclusions and Inclusions of Co-official Languages in the Spanish Audiovisual Sector: Repercussions and Alternatives to Law 13\/2022″ url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-Presentacion-Small-Cinemas-Oscar-Lopez-Iglesias-Copiar.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Roi M\u00e9ndez-Fern\u00e1ndez – Compliance analysis of the Spanish General Law 13\/2022 of Audiovisual Communication on VOD platforms: language diversity and accessibility” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Mendez-Arias-Barreiro.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Cibr\u00e1n Tenreiro-Uza – Impact Assessment of the Spanish General Law 13\/2022 on Audiovisual Communication: Effects on Low-budget and Minority Language Independent Audiovisual Production in Relation to Gender Equality” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Small-Cinemas-Presentation_Cibran-Tenreiro-1.pdf” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Panel: Clusters as Best Cooperative Alliance in Small Film Industries” url=”https:\/\/www.canva.com\/design\/DAGOlUd9_GI\/GdU0lExQGX6etunpjAb4CA\/view?utm_content=DAGOlUd9_GI&utm_campaign=designshare&utm_medium=link&utm_source=editor#1″ url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” custom_margin=”45px|||||” global_colors_info=”{}”]<\/p>\n

    Day two<\/h1>\n

    [\/et_pb_text][et_pb_blurb title=”Panel Approaches to Competitiveness in Small Film Industries – Reboot project” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/REBOOT_panel_06.11.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Panel Approaches to Competitiveness in Small Film Industries – SCENE project” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/SCENE-Harnessing-AI-for-filmmaking_v1.5.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Marta Materska-Samek and Joanna Sanetra-Szeliga – The Future of Cinemas as Cultural Institutions. Cinema 4.0 Concept Based on Polish Arthouse and Local Cinemas” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/2-Zagreb_CRESCINE_6.11.2024-1.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Jakob Isak Nielsen – Ripple Effects of Cinema Infrastructure in a Small Film Ecosystem” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Cinema-Infrastructure_Nielsen_Jakob-Isak.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Katharine Sarikakis and Gentiana Ramadani – Cinematic Alchemy: Public Service Media and Youth Engagement in Filmmaking” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/4-FINAL-GR-SMALL-CINEMAS-presentation.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Ivana Kostovska – Global Streamers\u2019 Investments in Films: A Comparative Study of Small and Large European Markets” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-Ivana-Kostovska-slides-1.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Constantin Parvulescu – Market Ideology and Critical Humanism in the Understanding of East-Central European VOD Phenomenon” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/2-Parvulescu-zagreb9.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”L\u012bga Vinogradova – Cinema Audience Research in Latvia: More Netflix, Less Cinema?” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-SmallCinemas_Vinogradova.pdf” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Lenuta Giukin – The Conflict Between Film Distribution and Nationalistic Ideologies in Global Markets” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/4-Giukin_DistributionNationalismMarkets.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”El\u012bna Reitere – Negative production aesthetics in Latvian film industry of the 90s (ppt)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-ReiterePresentation_SmallCinemasConf2024.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”El\u012bna Reitere – Negative production aesthetics in Latvian film industry of the 90s (paper)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Referats_Negative-production-aesthetics-in-Latvian-film-industry-of-the-90s.docx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”]<\/p>\n

    My paper has a fairly specific time period that I’ll be looking at – the first decade after the collapse of the Soviet Union, when Latvia regained its independence and the Latvian film industry had to learn to function in the new country under very different economic and organisational conditions than during the Soviet occupation. Here is a timeline of how the Latvian film industry has developed since 1990 to give you a more complete picture of the situation:
    April 1990 – Riga Film Studio (the most important Latvian film studio during the Soviet occupation) fires all film professionals working in the creative sector (directors, DoP, art department). Private film studios are set up.<\/p>\n

    Read more<\/a><\/p>\n

    [\/et_pb_blurb][et_pb_blurb title=”Dan S\u0103r\u0103cu\u021b – From corruption to connection: The relation between Romanian Documentary Filmmakers and Their Subjects during the 2010s (ppt)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/2-Presentation_-Dan-Saracut_From-corruption-to-connection_-The-relation-between-Romanian-documentary-filmmakers-and-their-subjects-during-the-2010s_delivery-1.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Dan S\u0103r\u0103cu\u021b – From corruption to connection: The relation between Romanian Documentary Filmmakers and Their Subjects during the 2010s (paper)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Dani-Saracut_From-corruption-to-connection_-The-relation-between-Romanian-Documentary-Filmmakers-and-Their-Subjects-during-the-2010s.pdf” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”]<\/p>\n

    This paper investigates the relationship between documentary filmmakers and their subjects (hence their characters) in Romania during the 2010s, the third post-communist decade, focusing on production and storytelling dynamics. The social profiles of these subjects and their willingness to participate as actors, integrated into a storytelling apparatus, are crucial elements that influence directors, compelling them to adapt in addressing broader societal issues. Processing secondary sources and conducting interviews with directors and producers, this paper highlights the varying directorial approaches across different cases. Using qualitative analysis of notable works by Romanian documentary filmmakers, such as Alexandru Solomon\u2019s Kapitalism: Our Improved Formula (2010), Monica L\u0103zurean-Gorgan\u2019s Wood (2020), and Claudiu Mitcu\u2019s The Trial (2017), this presentation systemizes how their techniques of filming and crafting the story allow them to adapt to their subjects\u2019 needs. The common ground of these documentaries is the exploration of corruption, seen as a local and systemic feature. This thematic cluster enables a more fluent categorization of the relationship between the directors and the characters, but it also legitimizes and facilitates a comparative approach. The diverse social statuses of the subjects (a lower-class man suspected of murder, an NGO director, and some multimillionaires) create different expectations and levels of involvement, necessitating innovative production practices and storytelling mechanisms from the directors.<\/p>\n

    Read more<\/a><\/p>\n

    [\/et_pb_blurb][et_pb_blurb title=”Janina Falkowska – Reception of Zielona Granica (The Green Border, 2023) by Agnieszka Holland in Poland and Elsewhere. Political Controversy as Fuel for Distribution of Small Controversial Films” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Agnieszka-Holland.Zielona-Granica.Zagrzeb.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Dorota Ostrowska – Contradictions and Paradoxes of the Media Landscape in Ukraine Since the Start of the Russian Full-scale Invasion” url=”https:\/\/docs.google.com\/presentation\/d\/1RBS0iHWs3nDThQYap5m9C7lThG-7efv6\/edit?usp=sharing&ouid=113521459637308505361&rtpof=true&sd=true” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Round table discussion: Challenges of Independent Cinema Networking Croatia” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Crescine_Croatian-arthouse-cinemas_6.11.2024.-3.pdf” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” custom_margin=”45px|||||” global_colors_info=”{}”]<\/p>\n

    Day three<\/h1>\n

    [\/et_pb_text][et_pb_blurb title=”Keynote – Geography of the Streaming Economy: East-Central Europe as a Digital Periphery” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Geography-of-the-Streaming-Economy_Zagreb.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Antonios Vlassis – International Promotion of the European Film Industry: National Institutional Practices in an Evolving Policy and Technological Architecture” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-VLASSIS_06.11.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Anastasios Drosou – Harnessing AI for Filmmaking: Enhancing Cultural Heritage Site Narratives” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/SCENE-Harnessing-AI-for-filmmaking_v1.5-1.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Adri\u00e1n S\u00e1nchez-Mart\u00ednez – Cultural Colonialism and Film Exhibition in Uganda: The Case of the Video Joker in Wakaliwood’s Cinema” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Small-Cinemas_Adrian-Sanchez.pptx” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Charlie Cauchi – Marble of the Senate, Sand of the Coliseum: Foreign Location Production, Government Intervention and the Impact on Maltese Filmmakers” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/1-CAUCHI_SMALL-NATIONS-PRESENTATION.pdf” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Marius \u00d8fsti – Big Risks in Small Markets: Use and Non-use of Established Risk Reduction Strategies in Small Culture Industries?” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/Marius.ppt” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Anders Gr\u00f8nlund – To Have or Not to Have Production Incentives? Danish Debates on (the Lack of) Production Incentives” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/3-Gronlund_-To-Have-or-not-to-Have-Production-Incentives.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Milica Bo\u017eani\u0107 – Economic Incentive Policies Impact on the Development of the National Film Industries in the Low Audiovisual Capacity Countries: The Hollywood Effect in Central and East Europe (ppt)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/4_2024-Small-Cinema-Conference-Incentive-Policy-Impact-in-CEE_Milica-Bozanic.pptx” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb title=”Milica Bo\u017eani\u0107 – Economic Incentive Policies Impact on the Development of the National Film Industries in the Low Audiovisual Capacity Countries: The Hollywood Effect in Central and East Europe (paper)” url=”https:\/\/smallcinemas2024.irmo.hr\/wp-content\/uploads\/2024\/11\/4_12042-Economic-Incentive-Policies-Impact-on-national-film-industry-in-CEE-Milica-Bozanic.pdf” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”]<\/p>\n

    This paper examines the film incentive policy\u2019s impact on the national film industry within the context of foreign direct investment (FDI) research. It addresses the gap in research, focusing on the incentive mechanism as compensation for inadequate market structure in low audiovisual production capacity countries in Central and East Europe. The literature review examines the trajectory of policy changes on the European level in parallel to the debate on whether incentives have a positive economic impact on host countries. The quantitative mixed method is used to examine whether incentives increase film industry capacities, financial sources and produce spill-over in productivity in the long run. By focusing on intra-industry impact, the research paves the way for further academic development of a methodology tailored to the complexity of the film industry. The findings hold particular value for smaller countries reliant on attracting mobile investments and export of film services.<\/p>\n

     <\/p>\n

    Read more<\/a><\/p>\n

    [\/et_pb_blurb][et_pb_blurb title=”Panel – How to Emancipate the Screen?” url=”https:\/\/drive.google.com\/file\/d\/1aylbJv2zR75c1uzSvwxXDzYsyDTIVcLE\/view?usp=sharing” url_new_window=”on” use_icon=”on” font_icon=”?||divi||400″ icon_color=”#000000″ icon_placement=”left” image_icon_width=”23px” content_max_width=”1100px” _builder_version=”4.27.3″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#000000″ header_line_height=”1.2em” custom_margin=”||15px|||” link_option_url_new_window=”on” global_colors_info=”{}”][\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.3″ _module_preset=”default”][et_pb_column _builder_version=”4.27.3″ _module_preset=”default” type=”4_4″][et_pb_heading title=”Confirmations of Participation” _builder_version=”4.27.3″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_heading][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

    You can download your confirmation of participation by clicking your name.<\/p>\n

     <\/p>\n

    Adri\u00e1n S\u00e1nchez-Mart\u00ednez<\/a><\/p>\n

    Anastasios Drosou<\/a><\/p>\n

    Anders Gr\u00f8nlund<\/a><\/p>\n

    Andr\u00e9 Rui Gra\u00e7a<\/a><\/p>\n

    Angeliki Chatziefraimidou<\/a><\/p>\n

    Antonios Vlassis<\/a><\/p>\n

    Charlie Cauchi<\/a><\/p>\n

    Cibran Tenreiro-Uzal<\/a><\/p>\n

    Constantin Parvulescu<\/a><\/p>\n

    Dan S\u0103r\u0103cu\u021b<\/a><\/p>\n

    Diana Andreeva-Popyordanova<\/a><\/p>\n

    Dina Pokrajac<\/a><\/p>\n

    Dorota Ostrowska<\/a><\/p>\n

    El\u012bna Reitere<\/a><\/p>\n

    Gentiana Ramadani<\/a><\/p>\n

    Huw D. Jones<\/a><\/p>\n

    Ivana Kostovska<\/a><\/p>\n

    Jakob Isak Nielsen<\/a><\/p>\n

    Janina Falkowska<\/a><\/p>\n

    Joanna Sanetra-Szeliga<\/a><\/p>\n

    Karla Crn\u010devi\u0107<\/a><\/p>\n

    Kestutis Drazdauskas<\/a><\/p>\n

    Lenuta Giukin<\/a><\/p>\n

    L\u012bga Vinogradova<\/a><\/p>\n

    Marie Bare\u0161ov\u00e1<\/a><\/p>\n

    Marius \u00d8fsti<\/a><\/p>\n

    Marta Baradi\u0107<\/a><\/p>\n

    Marta Materska-Samek<\/a><\/p>\n

    Marta Perez Pereiro<\/a><\/p>\n

    Milica Bozanic<\/a><\/p>\n

    Roi Mendez Fernandez<\/a><\/p>\n

    Romanas Matulis<\/a><\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

    Presentations, Papers, and CertificatesThis content is only vissible to logged in users. Do you have your account?Day oneFilms from smaller European countries often struggle to reach international audiences due to limited budgets and cultural barriers. From 2005 to 2015, films from smaller European countries made up only 5% of cinema admissions in Europe and less […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-404","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/pages\/404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=404"}],"version-history":[{"count":3,"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/pages\/404\/revisions"}],"predecessor-version":[{"id":512,"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=\/wp\/v2\/pages\/404\/revisions\/512"}],"wp:attachment":[{"href":"https:\/\/smallcinemas2024.irmo.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}