<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2308-0132</journal-id>
<journal-title><![CDATA[Revista Estudios del Desarrollo Social: Cuba y América Latina ]]></journal-title>
<abbrev-journal-title><![CDATA[Estudios del Desarrollo Social]]></abbrev-journal-title>
<issn>2308-0132</issn>
<publisher>
<publisher-name><![CDATA[Facultad Latinoamericana de Ciencias Sociales, Programa Cuba]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2308-01322020000100013</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[State Aid for Film and Audiovisual Services. A Synoptic Review of Key Principles and Governance Models in Europe and Abroad]]></article-title>
<article-title xml:lang="es"><![CDATA[Ayudas estatales para servicios de cine y audiovisuales. Una revisión sinóptica de principios clave y modelos de gobernanza en Europa y en el extranjero]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[Paul Clemens]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[Roland]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Javed]]></surname>
<given-names><![CDATA[Sameera]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,University of Digital Sciences  ]]></institution>
<addr-line><![CDATA[Berlin ]]></addr-line>
</aff>
<aff id="Af2">
<institution><![CDATA[,Österreichisches Filminstitut  ]]></institution>
<addr-line><![CDATA[Wien ]]></addr-line>
</aff>
<aff id="Af3">
<institution><![CDATA[,Macromedia Hochschule  ]]></institution>
<addr-line><![CDATA[Munich ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>04</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>04</month>
<year>2020</year>
</pub-date>
<volume>8</volume>
<numero>1</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_arttext&amp;pid=S2308-01322020000100013&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_abstract&amp;pid=S2308-01322020000100013&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_pdf&amp;pid=S2308-01322020000100013&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT This study synoptically reviews scholarly and policy-related debates on key principles and governance frames of the public policy of state aid for film and audiovisual services, in Europe and abroad. It addresses some important challenges of policies of state aid to film, regarding the efficacy of funding models and principles. It also qualifies these principles against current global models of &#8220;best-practice.&#8221; In all, this study wishes to amplify the discussion on public subsidies for film from various perspectives. Given the different methods in theorizing, development, realization, monitoring, impact-measurement and evaluation of policy concepts, programs, institutions, instruments and impacts, this debate is not only of interest for academics, but also for global policy makers in the field.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN Este estudio revisa sinópticamente debates académicos y relacionados con políticas sobre principios clave y marcos de gobernanza de la política pública de ayuda estatal para servicios cinematográficos y audiovisuales, en Europa y en el extranjero. Aborda algunos desafíos importantes de las políticas de ayuda estatal para filmar, con respecto a la eficacia de los modelos y principios de financiación. También califica estos principios contra los modelos globales actuales de &#8220;mejores prácticas&#8221;. En general, este estudio desea ampliar la discusión sobre los subsidios públicos para el cine desde varias perspectivas. Dados los diferentes métodos de teorización, desarrollo, realización, monitoreo, medición de impacto y evaluación de conceptos de políticas, programas, instituciones, instrumentos e impactos, este debate no solo es de interés para los académicos, sino también para los formuladores de políticas globales en el campo.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[&#8220;best-practice&#8221; case study analysis]]></kwd>
<kwd lng="en"><![CDATA[global models]]></kwd>
<kwd lng="en"><![CDATA[government support]]></kwd>
<kwd lng="en"><![CDATA[political economy of the media]]></kwd>
<kwd lng="en"><![CDATA[public film policy]]></kwd>
<kwd lng="en"><![CDATA[state aid for film]]></kwd>
<kwd lng="en"><![CDATA[synoptic review]]></kwd>
<kwd lng="es"><![CDATA[análisis del estudio de caso de &#8220;mejores prácticas&#8221;]]></kwd>
<kwd lng="es"><![CDATA[modelos globales]]></kwd>
<kwd lng="es"><![CDATA[apoyo gubernamental]]></kwd>
<kwd lng="es"><![CDATA[economía política de los medios de comunicación]]></kwd>
<kwd lng="es"><![CDATA[política de películas públicas]]></kwd>
<kwd lng="es"><![CDATA[ayuda estatal para películas]]></kwd>
<kwd lng="es"><![CDATA[revisión sinóptica]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Aubert]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Bardhan]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Dayton-Johnson]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Artfilms, Handicrafts and Other Cultural Goods: The Case for Subsidy]]></source>
<year>2001</year>
<publisher-loc><![CDATA[Department of Economics. UCB, UC Berkeley ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Biltereyst]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Vande Winkel]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Silencing Cinema: Film Censorship Around the World]]></source>
<year>2013</year>
<publisher-loc><![CDATA[New York, United States of America ]]></publisher-loc>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bomnüter]]></surname>
<given-names><![CDATA[U.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Public Film Funding Under a Federalist Paradigm: A Synoptic Analysis of State Aid for Film in Germany]]></article-title>
<source><![CDATA[Handbook of State Aid for Film: Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>287-311</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bondebjerg]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
<name>
<surname><![CDATA[Novrup Redvall]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Higson]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[European Cinema and Television. Cultural Policy and Everyday Life]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Basingstoke, England ]]></publisher-loc>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chisholm]]></surname>
<given-names><![CDATA[D. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Fernandez-Blanco]]></surname>
<given-names><![CDATA[S. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Walls]]></surname>
<given-names><![CDATA[W. D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Economics of Motion Pictures: The State of the Art]]></article-title>
<source><![CDATA[Journal of Cultural Economics]]></source>
<year>2015</year>
<volume>39</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>1-13</page-range></nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Crane]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cultural Globalization and the Dominance of the American film industry: cultural policies, national film industries, and transnational film]]></article-title>
<source><![CDATA[International Journal of Cultural Policy]]></source>
<year>2013</year>
<volume>20</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>365-82</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cunningham]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Flew]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[A Research Agenda for Creative Industries]]></source>
<year>2019</year>
<publisher-loc><![CDATA[Cheltenham, England ]]></publisher-loc>
<publisher-name><![CDATA[Edward Elgar Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cunningham]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Swift]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Creative Industries around the World]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Cunningham]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Flew]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[A Research Agenda for Creative Industries]]></source>
<year>2019</year>
<page-range>146-67</page-range><publisher-loc><![CDATA[Cheltenham, England ]]></publisher-loc>
<publisher-name><![CDATA[Edward Elgar Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="">
<collab>Department of Broadband, Communications and the Digital Economy (DBCDE</collab>
<source><![CDATA[Convergence Review: Final Report. Canberra, Australia: Government of Australia]]></source>
<year>2012</year>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Vinck]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Revolutionary Road: Looking Back at the Position of the European Film Sector and the Results of European-level Film Support in View of their Digital Future. A Critical Assessment. Dissertation]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Brussels, Belgium ]]></publisher-loc>
<publisher-name><![CDATA[Vrije Universiteit]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Donders]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Loisen]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Pauwels]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: European Media Policy as a Complex Maze of Actors, Regulatory Instruments and Interests]]></article-title>
<source><![CDATA[The Palgrave Handbook of European Media Policy]]></source>
<year>2014</year>
<page-range>1-16</page-range><publisher-loc><![CDATA[Houndmills, England ]]></publisher-loc>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<collab>European Audiovisual Observatory (EAO)</collab>
<article-title xml:lang=""><![CDATA[Public Aid Mechanisms for Film and Television in Europe]]></article-title>
<source><![CDATA[Comparative Analysis]]></source>
<year>1999</year>
<month>a</month>
<volume>I</volume>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<collab>European Audiovisual Observatory (EAO</collab>
<article-title xml:lang=""><![CDATA[Public Aid Mechanisms for Film and Television in Europe]]></article-title>
<source><![CDATA[National Monographies]]></source>
<year>1999</year>
<month>b</month>
<volume>II</volume>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<collab>European Audiovisual Observatory (EAO</collab>
<source><![CDATA[The New Cinema Communication, IRIS Plus Report]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[Council of Europe]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<collab>European Audiovisual Observatory (EAO</collab>
<source><![CDATA[Yearbook 2016-Key Trends]]></source>
<year>2017</year>
<month>b</month>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<collab>European Audiovisual Observatory (EAO</collab>
<source><![CDATA[Mapping of Film and Audiovisual Public Funding Criteria in the EU]]></source>
<year>2019</year>
<month>a</month>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<collab>European Audiovisual Observatory (EAO</collab>
<source><![CDATA[Focus 2019. World Film Market Trends]]></source>
<year>2019</year>
<month>b</month>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="">
<collab>European Commission</collab>
<source><![CDATA[European Film in the Digital Era: Bridging Cultural Diversity and Competitiveness, Final Report]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Brussels, Belgium ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Falicov]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Diversifying Public Film Funding Policies in Latin America]]></article-title>
<source><![CDATA[Handbook of State Aid for Film: Finance, Industries, Regulation]]></source>
<year>2018</year>
<month>a</month>
<publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Falicov]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Latin American Film Industries]]></source>
<year>2018</year>
<month>b</month>
<publisher-loc><![CDATA[London, England ]]></publisher-loc>
<publisher-name><![CDATA[Bloomsbury]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Flew]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Iosifidis]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Steemers]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Global Media and National Policies. The Return of the State]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Basingstoke, England ]]></publisher-loc>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fontaine]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Current Trends in Public Film Support and Perspectives on Impact, Presentation at the Montenegro Presidency Workshop]]></article-title>
<source><![CDATA[Podgorica]]></source>
<year>2015</year>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Freedman]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Politics of Media Policy]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Cambridge, UK ]]></publisher-loc>
<publisher-name><![CDATA[Polity Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Frey]]></surname>
<given-names><![CDATA[B. S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Public Support]]></article-title>
<source><![CDATA[A Handbook of Cultural Economics]]></source>
<year>2011</year>
<page-range>370-8</page-range><publisher-loc><![CDATA[Cheltenham, England ]]></publisher-loc>
<publisher-name><![CDATA[Edward Elgar Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gallagher]]></surname>
<given-names><![CDATA[B. K.]]></given-names>
</name>
<name>
<surname><![CDATA[Aughinbaugh]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Voss]]></surname>
<given-names><![CDATA[Z. G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Beyond the &#699;Studio System&#700;: Public Support for Films in the United States]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Media Business and Innovation]]></source>
<year>2018</year>
<page-range>pp. 463-80</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hesmondhalgh]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Cultural Industries]]></source>
<year>2012</year>
<publisher-loc><![CDATA[Los Angeles, United States ]]></publisher-loc>
<publisher-name><![CDATA[Sage]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hill]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[British Film Policy]]></article-title>
<source><![CDATA[Film Policy: International, National, and Regional Perspectives]]></source>
<year>1996</year>
<page-range>101-13</page-range><publisher-loc><![CDATA[London, England ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hill]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Kawashima]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: Film Policy in a Globalized Cultural Economy]]></article-title>
<source><![CDATA[International Journal of Cultural Policy]]></source>
<year>2016</year>
<volume>22</volume>
<numero>5</numero>
<issue>5</issue>
<page-range>667-72</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Holt]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Perren]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Media Industries: A Decade in Review]]></article-title>
<source><![CDATA[Making Media: Production, Practices, and Professions]]></source>
<year>2019</year>
<page-range>31-44</page-range><publisher-loc><![CDATA[Amsterdam, Netherlands ]]></publisher-loc>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<source><![CDATA[Iosifidis, P]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Basingstoke, England ]]></publisher-loc>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kanzler]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Talavera]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Public Funding for Film and Audio-Visual Works in Europe: Key Industry Statistics 2010-2014]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Media Business and Innovation]]></source>
<year>2018</year>
<page-range>153-74</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lange]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Westcott]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Public Funding for Film and Audiovisual Works in Europe - A Comparative Approach]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lunt]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Livingstone]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Media Policy Media Regulation: Governance and the Interests of Citizens and Consumers]]></source>
<year>2012</year>
<publisher-loc><![CDATA[London, England ]]></publisher-loc>
<publisher-name><![CDATA[Sage]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Maddens]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Are Film Tax Incentives a Giant Waste of Money?]]></article-title>
<source><![CDATA[Variety]]></source>
<year>2016</year>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McKenzie]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Rossiter]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film Funding in Australia: Recent History and Empirical Analysis]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Media Business and Innovation]]></source>
<year>2018</year>
<page-range>227-49</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Messerlin]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Vanderschelden]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[France&#8217;s Protected and Subsidzed Film Industry: Is the Subsidy Scheme Living Up to Its Promises?]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film: Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>311-33</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Messerlin]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Parc]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Effect of Screen Quotas and Subsidy Regime on Cultural Industries: A Case Study of French and Korean Film Industries]]></article-title>
<source><![CDATA[Journal of International Business and Economy]]></source>
<year>2014</year>
<volume>15</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>57-73</page-range></nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Messerlin]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Parc]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Real Impact of Subsidies on the Film Industry (1970s-Present): What Can Asia Learn from France and Korea?]]></article-title>
<source><![CDATA[Pacific Affairs]]></source>
<year>2017</year>
<volume>90</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>51-75</page-range></nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Media Policy in the European Union. A Synoptic Overview of the Legislative Framework and a Critical Review of Key Issues]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Sigismondi]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[World Entertainment Media. Global, Regional and Local Perspectives]]></source>
<year>2019</year>
<publisher-loc><![CDATA[London, England ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[State Aid for Film: A Synoptic Overview of Current Issues]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>23-36</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Why Study State Aid for Film? A Necessary Clarification]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film: Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>1-21</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Newsinger]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Presence]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[United Kingdom: Film Funding, the &#699;Corporate Welfare System&#700; and Its Discontents]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>447-62</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Newman-Baudais]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Public Funding for Film and Audiovisual Works in Europe]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nielsen]]></surname>
<given-names><![CDATA[R. K.]]></given-names>
</name>
<name>
<surname><![CDATA[Linnebank]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Public Support for the Media: A Six-Country Overview of Direct and Indirect Subsidies]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Oxford, England ]]></publisher-loc>
<publisher-name><![CDATA[Reuters Institute for the Study of Journalism]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Olsberg]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Barnes]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Impact Analysis of Fiscal Incentive Schemes Supporting Film and Audiovisual Production in Europe]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="">
<collab>Österreichisches Filminstitut (ÖFI</collab>
<source><![CDATA[Filmwirtschaftsbericht. Facts &amp; Figures]]></source>
<year>2019</year>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="">
<collab>Oxford Economics</collab>
<source><![CDATA[The Economic Impact of the UK Film Industry]]></source>
<year>2012</year>
</nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Parc]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Evaluating the Effects of Protectionism on the Film Industry: A Case Study Analysis of Korea]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Murschetz]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Teichmann]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmasin]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of State Aid for Film. Finance, Industries, Regulation]]></source>
<year>2018</year>
<page-range>349-66</page-range><publisher-loc><![CDATA[Cham, Germany ]]></publisher-loc>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Richeri]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Global Film Market, Regional Problems]]></article-title>
<source><![CDATA[Global Media and China]]></source>
<year>2016</year>
<volume>1</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>312-30</page-range></nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Simpson]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Puppis]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Van den Bulck]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[European Media Policy for the Twenty-First Century Assessing the Past, Setting Agendas for the Future]]></source>
<year>2016</year>
<publisher-loc><![CDATA[London, England ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Stepan]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Subsidies, Copyright and Incentives: A European Perspective on the Film Industry]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Cunningham]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[A Research Agenda for Creative Industries]]></source>
<year>2019</year>
<page-range>131-46</page-range><publisher-loc><![CDATA[Cheltenham, England ]]></publisher-loc>
<publisher-name><![CDATA[Edward Elgar Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B52">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Story]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Fehr]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Watkins]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[United States of Subsidies]]></article-title>
<source><![CDATA[The New York Times]]></source>
<year>2012</year>
</nlm-citation>
</ref>
<ref id="B53">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Talavera Milla]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Kanzler]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Fontaine]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Public Financing for Film and Audiovisual Content - The State of Soft Money in Europe]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Strasbourg, France ]]></publisher-loc>
<publisher-name><![CDATA[European Audiovisual Observatory]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B54">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tannenwald]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[State Film Subsidies: Not Much Bang for Too Many Bucks]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Washington, United States of America ]]></publisher-loc>
<publisher-name><![CDATA[Center on Budget and Policy Priorities]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B55">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Thom]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Lights, Camera, but No Action? Tax and Economic Development Lessons from State Motion Picture Incentive Programs]]></article-title>
<source><![CDATA[American Review of Public Administration]]></source>
<year>2016</year>
<numero>42</numero>
<issue>42</issue>
<page-range>131-51</page-range></nlm-citation>
</ref>
<ref id="B56">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Trappel]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Austrian Media Landscape]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Terzis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[European Media Governance. National and Regional Dimensions]]></source>
<year>2007</year>
<page-range>63-72</page-range><publisher-loc><![CDATA[Bristol, England ]]></publisher-loc>
<publisher-name><![CDATA[Intellect]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
