Desarrollo cultural /

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Prometheus unbound: 20 years of communication policy research

In this article I review 20 years of writing on communication policy in Prometheus. I examine the contribution Prometheus has made to three areas of knowledge about communication policy: communication itself, its histories, and broad notions of communication policy; telecommunications; and new communication technology. I suggest that it is in the latter two areas focusing on the technological dimensions of communication policy, that the journal has consistently contributed genuinely innovative work. Here the journal has fostered interdisciplinary writing and enquiry where policy and technology developments most required critique and new ideas.

Understanding Australia: Notes on the Australian studies vs Australian cultural studies debate

This Article does not have an abstract.

The difficulty of measuring culture and diversity. Comparison of three international models of cultural measurement: FCS-2009, ESSnet-2012 and CAB-2015

The growing interest in quantifying the cultural and creative industries, visualize the economic contribution of activities related to culture demands first of all the construction of internationally comparable analysis frameworks. Currently there are three major bodies which address this issue and whose comparative study is the focus of this article: the UNESCO Framework for Cultural Statistics (FCS-2009), the European Framework for Cultural Statistics (ESSnet-Culture 2012) and the methodological resource of the “Convenio Andrés Bello” group for working with the Satellite Accounts on Culture in Ibero-America (CAB-2015). Cultural sector measurements provide the information necessary for correct planning of cultural policies which in turn leads to sustaining industries and promoting cultural diversity. The text identifies the existing differences in the three models and three levels of analysis, the sectors, the cultural activities and the criteria that each one uses in order to determine the distribution of the activities by sector. The end result leaves the impossibility of comparing cultural statistics of countries that implement different frameworks.

Organizaciones regionales y diversidad cultural: la diplomacia de la Unión Europea con el Mercosur entre la sombra de Hollywood y la acción intergubernamental

El objetivo de este artículo es doble: por un lado explorar la habilidad de la Unión Europea para llevar a cabo una política audiovisual dirigida al Mercosur y promover las normas de la Convención sobre la diversidad de las expresiones culturales; por otro, analizar el impacto del modelo de política audiovisual de la UE en el desarrollo de la cooperación audiovisual con el Mercosur y centrarse en los principales vectores que configuran el paisaje audiovisual del Mercosur. El texto pretende destacar cómo y por qué la UE persigue una política audiovisual con esa región, cuáles son los propósitos y los límites de actuación. En este sentido, se preocupa por entender cómo la diplomacia audiovisual de la UE interactúa con otros actores, como las acciones gubernamentales llevadas a cabo desde la propia UE y el Mercosur, así como las prácticas del sector privado (Hollywwod y los grandes conglomerados de medios).

Valorization of cultural diversity throught Good Practices Dissemination on Art Mediation: sharing experiencies

In this article, as part of the Erasmus+ project “Divercity”, we focus on the collection and analysis of good practices in Spain and other countries in Europe. The project revolves around the development of methods that valorize cultural diversity and in this respect, identifying and sharing best practices on diversity and inclusion through artistic mediation inside museums, culture institutions, our urban walks, forms an mandatory stage of the research process.

Proyección y política cultural estadounidense en argentina (1928-1941)

El objetivo del artículo es analizar algunos aspectos de los orígenes de la “política cultural” estadounidense en Argentina. La atención se concentrará en el pasaje desde las declaraciones del presidente Hoover, que contribuyeron a favorecer un clima útil y propicio a la intensificación de los intercambios, a los primeros pasos concretos realizados en el periodo de la presidencia de Roosevelt. Se tratará, en particular, de individualizar las características de la cooperación establecida entre organismos estadounidenses y argentinos para favorecer la proyección cultural estadounidense en el país y el intercambio cultural entre Estados Unidos y Argentina, donde se iba intensificando la difusión de un sentimiento anti-imperialista, y que era entonces objetivo de formas de propaganda particularmente agresivas por parte de los regímenes totalitarios.

Film policy under globalization: the case of Mexico

The changing economic and technological conditions often referred to as ‘globalization’ have had a deep impact on the very nature of the state, and thus on the aims, objectives and implementation of cultural policy, including film policy. In this paper, I discuss the main changes in film policy there have been in Mexico, comparing the time when the welfare state regarded cinema as crucial to the national identity, and actively supported the national cinema at the production, distribution and exhibition levels (about 1920-1980), and the recent onset of neoliberal policies, during which the industry was privatized and globalized. I argue the result has been a transformation of the film production, from the properly ‘national’ cinema it was during the welfare state—that is, having a role in nation building, democratization processes and being an important part of the public sphere—into a kind of genre, catering for a very small niche audience both domestically and internationally. However, exhibition and digital distribution have been strengthened, perhaps pointing towards a more meaningful post-national cinema.

Film policy in practice: a case study of Scottish Screen’s funding schemes

This thesis examines cultural policy for film in Scotland, from 1997 to 2010. It explores the extent to which the industry is shaped by film policy strategies and through the agency of public funding bodies. It reflects on how Scottish Screen, Scotland’s former screen agency, articulated its role as a national institution concerned with both commercial and cultural remits, with the conflicting interests of different industry groups. The study examines how the agency developed funding schemes to fulfil policy directives during a tumultuous period in Scottish cultural policy history, following the establishment of the Scottish Parliament with the Scotland Act 1998 and preceding the Independence Referendum Act 2013. In order to investigate how policy has shaped the development of a national film industry, a further two case studies are explored. These are Tartan Shorts, Scotland’s former flagship short film scheme, and the Audience Development Fund, Scotland’s first project based film exhibition scheme. The first study explores the planning, implementation and evaluation of the scheme as part of the agency’s talent development strategy. The outcomes of this study show the potential impact of funding methods aimed at developing and retaining Scottish filmmaking talent. Thereafter, the Scottish exhibition sector is discussed; a formerly unexplored field within film policy discussions and academic debate. It outlines Scottish Screen’s legacy to current film exhibition funding practices and the practical mechanisms the agency utilised to foster Scottish audiences. By mapping the historical and political terrain, the research analyses the specificity of Scotland within the UK context and explores areas in which short-term, context-driven policies become problematic. The work concludes by presenting the advantages and issues caused by film funding practices, advocating what is needed for the film industry in Scotland today with suggestions for long-term and cohesive policy development.