International Film Co-Production Agreement

The debate on international co-productions focuses on the potential of productions to have few cultural specificities in any of their countries of origin. Internationalization creates tensions in terms of costs, benefits and opportunities. In Australia, for example, O`Regan and Ward argued that the influx of international production into the Queenslands Gold Coast in the 1990s presented a considerable challenge for local producers. In the face of these challenges, local producers must learn “how to internationalize local film and television production in order to maintain and hopefully build market share; and how to develop new funding models that link local and foreign sources. [15] One approach was to reconcile this tension by creating “local production with an explicit international orientation.” [16] But not everyone agrees that this is the best approach. For example, concerns have been raised in some parts of the industry that Australia should produce more “deterritorialized” programs such as fantasy and science fiction. To qualify as an Italian film, a film needs either an Italian director or cameraman, as well as at least two Italian headliners and an Italian film lab to process the film. [3] Actor and director Mel Welles recalled that, in the 1960s and 1970s, the Spanish government would make funds available to producers on the basis of the film budget, while Italy would provide producers with funds based on the results of the film`s case, but the government could interfere in production if they choose[4] – European Agreement on Bilateral Film Co-production – in 2013 , an agreement has been reached with the CNC (National Film Centre) cinema and animated image). Due to the cost of cinema, many films shot outside the United States are international co-productions. Amélie, for example, plays in France and plays French actors, but many scenes were shot in a German film studio and the post-production was taken over by a German film company. [6] International co-productions open up new markets for films and television programmes and can increase the production of quality productions through the participation of equities.

[7] Between 2005 and 2015, 560 long films were co-produced abroad. Audiovisual co-productions, governed by international agreements and considered national as such, can benefit: international film co-productions were very common in the 1950s, 60s and 1970s between Italian, Spanish and French production companies, as shown by most spaghetti-western and sword and sandal films as Spanish-Italian co-productions as a Spanish-Italian co-production. , typically directed by an Italian, played by Spanish and Italian actors. Due to the worldwide popularity of Hollywood stars, they would be used to ensure a respectable audience worldwide as well as in the United States. The relatively low production costs and high performance of these films have often led to direct investments in Hollywood in non-American studios and producers such as Dino DeLaurentis.