SMALL EUROPEAN CINEMA IN ORIGINAL VERSION AS A “CREATIVE DESTRUCTION” PARADIGM

TitleSMALL EUROPEAN CINEMA IN ORIGINAL VERSION AS A “CREATIVE DESTRUCTION” PARADIGM
Publication TypeConference Paper
Author(s)Andión, M. L., A. M. L. Gómez, and E. C. Mayo
Affiliation (1st Author)Universidad de Santiago de Compostela
Section or WGPolitical Economy Section
DateWed 26 June
Slot CodePEW2b
Slot Code (Keyword)PEW2b
Time of Session11:00-12:30
RoomQ218
Session TitlePolitical Economy of Cinema
Submission ID5173
Abstract

General crisis of the contemporary economic model has caused another latent structural crisis in the media landscape which actually demands an interactive pattern in order to use the enormous potential (informative, formative, persuasive and leisure-related) that digital networks of communication bring. Furthermore, this potential is influencing greatly the implementation of new values and expectations over our complex and diverse sociocultural outlook. Within this context, the small cinematography model as well as its incorporation into creation of the European digital space emerges as a paradigm of the “creative destruction” phenomenon in the way that Sombart spoke about and, afterwards, Schumpeter disseminated it seven decades ago. As a result, small cinematography can act as an alternative for a sustainable development (sociocultural as well as economic) to the imbalanced current media structures. Working from this perspective, the USC’ Audiovisual Research Group has been looking for the barriers the small cinema in original version must overcome and has even tested some of its findings in different geopolitical areas such as Lusophony, Latin America or Europe. The European case, on which we're currently working on within the Europe Creative Programme 2014-2020, recognized the explicit contribution of the national cinemas to the cultural and linguistic diversity as "brand image" of the current Europe, promoting spaces of exchange that overcome its endemic problems of fragmentation and visibility. Our theoretical frame of reference responds to the thematic complexity of a symbolic materialization of the contemporary culture such as the cinema, though without forgetting its economic aspects and the implementation of the current public policies,, diversity policies that on theoretical level respond to a postcolonial concept that returns the role of research "subjects" to topics once considered secondary or residual, and at the same time it recovers the value of the 'small cinematographies' or 'minor cinemas' linked to certain geopolitical and linguistic singular spaces (from the small-nations to the stateless-nations). In this way, based on the theory of the authors such as Morley (2007) and his concept 'Average, Identity & Technology', our methodological suggestion brings together empirical aspects of the reception studies with the poll of axiologic values shared. At the same time it analyzes the role of the intellectuals and experts in the construction and dissemination of the intercultural exchange according to the postulates of Schlesinger (2011). In regard to the methodology implemented, it is necessary to highlight that GEA's studies contemplate a synergistic analysis of multiple types of the sampling of data and information management from online multiplatform surveys, viewed of samples, discussion forums, etc. Our registered system combines two types of software,, a data platform CMS with the predictive analysis software PASW Statistics 19.

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