The chapter investigates the role of film and audiovisual locations in the contemporary Italian context. Adopting a political economy approach, the author suggests that nowadays Italian locations play four main roles. First, locations are strategic resources for bringing on a devolution process that is giving more and more autonomy to local governments, providing locations allows local governments to justify their role in supporting film production alongside the State and the EU. Second, Italian local governments market their territories as potential locations to attract production companies, thus boosting the local economy. In doing that, locations are useful for stimulating investments more than for bringing cultural activities to a given territory. Third, shooting in Italian locations allows global players (pay-tv broadcasters and VOD platforms) to enter the Italian market and to establish good relations with local stakeholders. Fourth, the relevance of locations in the contemporary media landscape is favouring the introduction of unusual bottom-up film policies that aim to safeguard the environment and promote sustainable film production. In conclusion, on the one hand, this analysis suggests we consider understanding locations with a greater awareness of their strategic relevance for industry and policymakers; on the other hand, it invites scholars to reconceptualise, within a wider framework, key phenomena of the film business, such as globalisation and runaway production.

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The Political Economy of Italian Locations

  • Marco Cucco

摘要

The chapter investigates the role of film and audiovisual locations in the contemporary Italian context. Adopting a political economy approach, the author suggests that nowadays Italian locations play four main roles. First, locations are strategic resources for bringing on a devolution process that is giving more and more autonomy to local governments, providing locations allows local governments to justify their role in supporting film production alongside the State and the EU. Second, Italian local governments market their territories as potential locations to attract production companies, thus boosting the local economy. In doing that, locations are useful for stimulating investments more than for bringing cultural activities to a given territory. Third, shooting in Italian locations allows global players (pay-tv broadcasters and VOD platforms) to enter the Italian market and to establish good relations with local stakeholders. Fourth, the relevance of locations in the contemporary media landscape is favouring the introduction of unusual bottom-up film policies that aim to safeguard the environment and promote sustainable film production. In conclusion, on the one hand, this analysis suggests we consider understanding locations with a greater awareness of their strategic relevance for industry and policymakers; on the other hand, it invites scholars to reconceptualise, within a wider framework, key phenomena of the film business, such as globalisation and runaway production.