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DAB Harmonisation Project

DAB Harmonisation Project. Cross-Border and International Film Co-production Azerbaijan - Some Observations and Questions. Azerbaijan - Looking from the Outside: Some Observations and Questions.

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DAB Harmonisation Project

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  1. DAB Harmonisation Project Cross-Border and International Film Co-production Azerbaijan - Some Observations and Questions

  2. Azerbaijan - Looking from the Outside: Some Observations and Questions • - The making of a film in Azerbaijan in1898, just three years after the Lumiere brothers, is now part of Azerbaijan's post independence, developing national cultural identity. Azerbaijan's success in producing good films at certain times during the Soviet period reinforces a perception of cinema and the audiovisual sector as being an inherited part of the country's cultural future • - Since 2000 there has been a systematic investment of oil and gas revenues into culture and cultural diplomacy in a 'top-down' but pragmatic strategy which even 'bottom-up' critics recognise has had its successes • - a 2007 Presidential Decree signalled that addressing the post-Soviet problems and future development of Azerbaijani cinema were to become a state priority • - the 2008 adoption of the 'State Programme for Development of Azerbaijani Cinema, 2001-2018' set out the strategy and goals 2

  3. Azerbaijan - Looking from the Outside: Some Observations and Questions • The State Programme for Development of Azerbaijani Cinema, 2001-2018 • - main objectives have included strengthening the material and technical base of cinema including modernised film production capacities, refurbishment and re-equipment of cinemas, education and training, and international cinema co-operation including joint/co-production activity • - the State Programme also encompassed the TV industry. Ostensibly in order to strengthen it, in May 2012, all foreign television series/soaps, including the very popular Turkish ones, were controversially banned on the 11 Azerbaijani channels. Part of the motivation might have been 'protection of public morals' but in practice people who could afford it simply switched to cable TV • - the State Programme's investment may already be producing results in terms of a younger generation of directors and producers such as Ilqar Safat (Precinct), Ilgar Najaf (Buta) and Shamil Aliyev (Trace of a Fortress) 3

  4. Azerbaijan - Looking from the Outside: Some Observations and Questions • Important Azerbaijan film industry features include: • - Commissioning of films is overwhelmingly coming from the Ministry of Culture and Tourism and other state bodies. This is in contrast to 1990-1995 when there was no state funding (but privately-financed films were made at a comparatively high volume) • - Costs in Azerbaijan are high, so although a country of remarkable diversity ideal for shooting films, this discourages investment by non-state players • - Currently 6 state film studios, including Azerbaijan-Film, which produce 4-6 feature films, about 20 documentaries plus animation and short films • - There are at least 10 independent production companies. They can receive state funding and one of them receives 70% of its funding from state sources (Nariman Film) 4

  5. Azerbaijan - Looking from the Outside: Some Observations and Questions • Three key aspects of Azerbaijan's current international co-production activity include: • - active priority at state level for developmental and cultural diplomacy purposes which includes production co-operation with Russia (including a bilateral agreement), Germany, Georgia, Turkey and Spain and other emerging initiatives • - Azerbaijan has applied to join Eurimages • - active promotion of Azerbaijani filmmaking internationally at festivals - including a pavilion at Cannes - and similar events, particularly those promoting younger Azerbaijani talent 5

  6. Azerbaijan - Looking from the Outside: Some Observations and Questions • Four questions: • 1. Are the 'green shoots' going to bloom fully and if so on what doesthist depend i.e. what conditions will be needed in terms of policy, support, practical support and partnerships in the future? • 2. What is happening with regard to domestic television production and domestic market given the switch by many to cable TV? • 3. Is there a desire, and if so an ability and potential strategies, to reduce distortions caused by the Ministry of Culture and Tourism and other state bodies being the only sources of funding and commissioning, however generous, of Azerbaijani filmmaking? • 4. What are the processes for commissioning by the Ministry of Culture and Tourism and other state bodies? 6

  7. Thank you for your attention and for any comments on what were intended to be constructive observations and questions • Terry Sandell • Director, Cultural Futures LLP • Senior Associate, St Antony's College, Oxford University • E-mail: terry.sandell@cultural-futures.org • Tel. +44 (0) 7966 561498 7

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