From the perspective of cultural and creative industries, the cinema stands out as one of the most representative territories for innovation and application of digital technologies, in both levels of production and diffusion of works. However, by having to face a “very competitive audiovisual context worldwide” (see the European Parliament Resolution of November 2011), the transition to digital technology brings an uncertain horizon for most European cinematographies.
The current European programs for cinematography refer to its contribution to linguistic and cultural diversity, pointing it out as an asset to overcome fragmentation. At the same time as they confirm structural deficiencies in what refers to its circulation and assessment.
Taking this hypothesis as a starting point, we have the O.V. as an unequivocal indicator of the existence of a plural European universe formed by small cinematographies, and digital migration which facilitates the interchange, the accessibility and the new patterns of consumption. From this perspective, the research will prove:
a) what measures must be envisaged by any program of public policies which intend to transform the threats of the new scenery in an opportunity for visibility and the increase of use and exchange value of the cinema in O.V.
b) what elements must be considered so that creative diversity is, at the same time, a mark for its international renown.
The current European programs for cinematography refer to its contribution to linguistic and cultural diversity, pointing it out as an asset to overcome fragmentation. At the same time as they confirm structural deficiencies in what refers to its circulation and assessment.
Taking this hypothesis as a starting point, we have the O.V. as an unequivocal indicator of the existence of a plural European universe formed by small cinematographies, and digital migration which facilitates the interchange, the accessibility and the new patterns of consumption. From this perspective, the research will prove:
a) what measures must be envisaged by any program of public policies which intend to transform the threats of the new scenery in an opportunity for visibility and the increase of use and exchange value of the cinema in O.V.
b) what elements must be considered so that creative diversity is, at the same time, a mark for its international renown.
Margarita Ledo Andión
Ministerio de Economía e Competitividade
Universidade de Santiago de Compostela, Universidad Complutense de Madrid, Universidad de Málaga, Universidad de Murcia, Universidad de Salamanca, Universidad de Sevilla, Universidad del País Vasco, Universidade de Vigo
2013-2015
Demetrio Brisset, Francisco Apillaga, Enrique Castelló, José Gabriel Ferreras, Begoña Gutiérrez, Margarita Ledo, Antía López, Miren Manias, Mª Ángeles Martínez, Marta Pérez, Francisco Reyes, Ana Isabel Rodríguez, Francisco Sierra, Javier Sierra, Xosé Soengas, Mónica Valderrama
