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Seminar on Film Industries in Asia and in Europe: A Platform for Experiences' Sharing

Co-edited by Lars Feilberg

Asia-Europe Foundation (ASEF), Singapore, 2005, 161 pp., ISBN 981-05-4449-9

This book is a collection of papers that ware presented at the seminar held in Kuala Lumpur in June 2005. The main objective of this meting, which gathered policy makers from Europe and Asia, was to share innovative experiences on different film industry models in Asia and in Europe. The idea was not to impose a reference model from one country to another but rather to exchange ideas and experiences on how to support film industries.

The book contains basic information on models of support and regulation in various countries that address key issues in the objective to create and maintain a national film industry to the benefit of cultural diversity, art and entertainment. There is no single factor to the success of national film industry. Education of professionals, talent development, project development, means of production and means of financing, subsidies, promotion and distribution all have to be addressed when discussing the issue of the national film industry.

The introductory chapter focuses on the Malaysian situation regarding the film industry. Globalized cultural products are seen in Malaysia as a threat to local cultures, while at the same time the ruling elite promotes undemocratic cultural policies that undermine the development of alternative ideas.

Chapters that follow discuss the role and use of legislation on film industry, sustainable film industries and public/private partnerships. The dynamic relation between TV and film industry has its own chapter in this publication. Digital imaging technologies are presented here as a double-edged sword. These technologies provide new capabilities in the planning, execution and final packaging of a film, at prices that are accessible to a greater number of filmmakers. However there is a danger that digital post-production techniques could overly encourage the prolific creation of modern films that are more form than substance.

The last theme at the focus of this book are regional opportunities and international debates related to film policy issues. Regional environments of national film industries are presented, where support programmes do exist like within the European Union or where supportive projects are beginning to blossom like in the ASEAN region. The final contribution to this chapter is an overview of the debate on the draft of the Convention on the Protection of the Diversity of Cultural Contents and Artistic Expression.

For more information or to obtain the book, please contact: Asia-Europe Foundation (ASEF), 31 Heng Mui Keng Terrace, Singapore 119595; http://sea-images.asef.org