Transnational European Film Research: Principles and

Report
MeCETES:
Vrije Universiteit Brussel (BE)
University of Copenhagen (DK)
University of York (UK)
The MeCETES collaboration: 3 historical cities, 3 modern campuses,
3 great teams
Vrije Universiteit Brussel
University of Copenhagen
University of York
Funding body: Humanities in the European Research Area
(HERA)
Theme: “Cultural Encounters”
18 collaborative European projects;
each awarded €1m, 2013-2016
Projects launched at conference in Dubrovnik,
30 Sept/1 Oct 2013
MeCETES
University of York, UK: leading on cinema
Project Leader: Prof Andrew Higson
1 full-time Post-Doctoral Research Assistant: Huw Jones
1 part-time Administrator
1 full-time PhD student: Roderik Smits (part-funded)
University of Copenhagen, Denmark: leading on TV drama
Principal Investigator: Prof Ib Bondebjerg
3 part-time Post-Doctoral Research Assistants: Eva Novrup
Redvall, Henrik Søndergaard, Dan Pedersen
Vrije Universiteit Brussel (VUB), Belgium: leading on policy
Principal Investigator: Prof Caroline Pauwels
1 full-time PhD student: Ilse Schooneknaep
Academic Advisory Board made up of colleagues from
across Europe
Non-Academic Partners include colleagues from European,
regional, national and sub-national policy bodies, film/TV
organisations, broadcasters, film funders, and production
11.30
An overview of the MeCETES project (Andrew)
12.00
Encountering other Europeans – sub-national, national and European contexts for
beginners: Ib: Denmark – size, population, constitutional status; size and organisation of
film and TV industries; Caroline: Belgium and Flanders; Huw: UK; Ib: the EU; Henrik: EU
television landscape and policy; Caroline: EU film landscape and policy
12.30
Work packages and organisational implications (Andrew)
13.00
Lunch
13.30
Methodological issues
• Ib and Dan: audience data-gathering and analysis (10 mins)
• Eva, Henrik: interviewing people in the creative sector: screen writers, producers,
distributors (10 mins)
• Henrik, Caroline: policy and policy makers (10 mins)
• Huw: case study of a single film (10 mins)
15.00
Tea, coffee
15.15
Project conferences and other gatherings (Andrew)
15.30
Project outputs (publications etc) (Andrew)
15.45
Knowledge exchange and non-academic partners (Andrew)
16.00
The academic advisory panel (Andrew)
16.15
The project website (Andrew)
16.30
The financial details, and how we might secure additional funds (Andrew)
16.45
Management and reporting process (Andrew)
17.00
End
19.00
Evening meal (Almanak Restaurant, The Standard, Havnegade 44)
Bron/Broen/The Bridge (Sweden/Denmark, 2011-)
The basic premise: in modern societies,
cultural encounters are largely mediated encounters
How well do
European
screen fictions
travel?
How do
different
audiences make
sense of
European
screen fictions?
Forbrydelsen/The Killing (Denmark, DR, 2007-2012)
Building bridges?
Encountering other
Europeans through
television drama
Bron/Broen/The Bridge (Sweden/Denmark, 2011-)
Jagten/The Hunt (Denmark, 2012)
European support
mechanisms for
cinema
The European Film Market, Berlin Film Festival
The macro:
an overview of contemporary European cinema and television
The micro:
case studies of films and TV drama
from the UK, Denmark and Belgium
De Smaak van de Keyser (Belgium, VRT, 2008-09)
What sorts of cultural encounters does historical drama enable in
contemporary Europe?
Analysing historical drama
From questions of representation to the material
circumstances of policy, funding, production, distribution
and exhibition (in cinemas, on television and online).
En kongelig affære/A Royal Affair (Denmark/Sweden/Czech Republic, Nicolaj Arcel, 2012)
British Film Institute
Audiovisual policies across
Europe: fit for purpose?
The bigger-budget, English-language, UK/US co-production The King’s Speech has travelled
far more widely in Europe than the Danish-Swedish-Czech co-production A Royal Affair,
taking far more money at the box-office, in far more countries.
Both The King’s Speech and A Royal Affair were about European
royalty, both travelled, but both still enjoyed their biggest success
and their greatest market penetration in their domestic market.
Even so, such historical dramas do travel. So how did
audiences outside the domestic market respond to their
cultural encounter with other Europeans?
The King’s Speech (UK/US, 2010, dir Tom Hooper)
Work packages and organisational
implications
Milestones and outputs: Autumn 2013
Planned start date: June 2013
•
•
•
•
•
•
•
1: Confirmation of work packages.
2: Advisory Board Meeting and Report.
3. Workshop agenda agreed.
4: Work packages agreed.
5: Budget allocation agreed.
6: Start of VUB PhD (Sept 2013).
7: Detailed plan of proposed developments
confirmed and distributed to all stakeholders.
• 8: Project website launched.
Cinema/York Work Package: Year 1
A: Case studies of UK-originated historical films – ‘The King’s Speech’ and
‘Elizabeth: The Golden Age’:
i.
ii.
iii.
iv.
v.
vi.
vii.
Research funding and production process;
Research distribution across all platforms;
Interview key stakeholders;
Analyse representations;
Analyse viewing figures across all platforms;
Survey reception, reviews, Internet commentary;
Focus group screenings and discussions in UK.
B: Collect and analyse data on films in DK, UK, BE and across Europe (2005present):
Production, distribution and audience figures for national productions, coproductions and inward investment productions.
C: Survey of cinema industry structures and transnational collaboration.
D: Coordination of television focus groups in UK.
E: Preparation of material for presentation on project website, at end-of-year
workshop, as conference papers and for journal article.
TV Drama/Copenhagen Work Package
Year 1
A: Case studies of Denmark-originated television drama –
‘Borgen’ and ‘The Killing’:
Tasks i-vii as for Cinema Work Package
B: Collect and analyse data on European television series in DK,
UK, BE and across Europe (2005-present):
Production, distribution and audience figures for national series on all channels,
European and American series in the three countries.
C: Survey of television policy, industry structures and
transnational collaboration.
D: Coordination of cinema focus groups in DK.
E: Preparation of material for presentation on project website, at
end-of-year workshop, as conference papers and for journal
article.
Policy/Brussels Work Package: Year 1
• A: Survey of film and television policies since
2005, at EU and national (BE, DK, UK) levels.
• B: Identification of key weaknesses in European
distribution business, policy obstacles and digital
opportunities.
• C: Identification of key stakeholders.
• D: Coordination of cinema and television focus
groups in BE.
• E: Preparation of material for presentation on
project website, at end-of-year workshop, as
conference papers and for journal article.
Cinema/York Work Package: Year 2
A: Case studies of DK and BE heritage films:
Tasks i-vii as for Year 1
B: Case studies of crime films in DK, UK and BE:
Tasks i-vii as for Year 1
C: Facilitation of UK television case studies
D: Coordination of television focus groups in UK.
E: Preparation of material for presentation on
project website, at end-of-year workshop, as
conference papers and for journal article.
TV Drama/Copenhagen Work Package
Year 2
A: Case studies of UK and BE contemporary drama
on TV:
Tasks i-vii as above
B: Case studies of TV crime drama in DK, UK and BE:
Tasks i-vii as above
C: Facilitation of DK cinema case studies
D: Coordination of television focus groups in DK.
E: Preparation of material for presentation on
project website, at end-of-year workshop, as
conference papers and for journal article.
Policy/Brussels Work Package: Year 2
A: In-depth study, including stakeholder and SWOT
analyses, of key policy issues relating to digital
distribution (e.g. release windows, copyright
regulation and competition policy)
B: Facilitation of BE cinema and television case
studies
C: Coordination of cinema and television focus
groups in BE.
D: Preparation of material for presentation on
project website, at end-of-year workshop, as policy
position paper, as conference papers and for journal
article.
Cinema/York Work Package: Year 3
A: Case studies of contemporary drama on film
in DK, UK and BE: Tasks i-vii as Year 1
B: Facilitation of UK television case studies
C: Coordination of television focus groups in UK.
D: Comparative analysis of case study data in
relation to big-picture statistical data and core
concept of transnational cultural encounters
E: Preparation of material for presentation on
project website, at end-of-year workshop, as
conference papers and for journal article.
TV Drama/Copenhagen Work Package
Year 3
A: Case studies of TV historical drama in DK, UK
and BE: Tasks i-vii as above
B: Facilitation of DK cinema case studies
C: Coordination of television focus groups in DK.
D: Comparative analysis of case study data in
relation to big-picture statistical data and core
concept of transnational cultural encounters
E: Preparation of material for presentation on
project website, at end-of-year workshop, as
conference papers and for journal article.
Policy/Brussels Work Package: Year 3
A: Further in-depth study, including stakeholder and
SWOT analyses, of key policy issues relating to digital
distribution (examples as above)
B: Evaluation of existing policies, measures and legislative
frameworks, and development of policy
recommendations
C: Facilitation of BE cinema and television case studies
D: Coordination of cinema and television focus groups in
BE.
E: Preparation of material for presentation on project
website, at end-of-year workshop, as policy position
paper, as conference papers and for journal article.
Year 4 tasks
1. Preparation of final book publications:
a) Films in Europe: Production, Distribution,
Audiences, Identity;
b) Television Drama in Europe: Production,
Distribution, Audiences, Identity;
c) Film and Television Policy in Europe.
2. Preparation of final policy briefing document
and meeting.
3. Completion of PhDs at VUB and York
Time for
lunch, my
dears!
Project conferences and other
gatherings
Workshops proposed for Year 1
• Full-day agenda setting workshop in Brussels with
Academic Partners, including two-hour meeting with
Non-Academic Partners (individual meetings if unable
to attend), at start of project
• One day workshop at end of Year 1 (for research team,
academic partners and non-academic partners; up to
30 participants). Each research team to present
findings in separate workshop presentations.
• Advisory Board meeting (at end of workshop) – to
review progress, help shape outcomes and identify
emerging issues.
Workshops in Years 2, 3 and beyond
• Two-day workshop at end of Year 2 (for research
team, academic partners and non-academic
partners; up to 30 participants). Followed by
meeting of Advisory Board.
• Three-day conference at end of Year 3
(participants as for workshops, plus invited
others). Day 3 devoted to discussions with nonacademic partners, and other invited industry
figures and policy-makers. Followed by meeting
of Advisory Board.
• Policy workshop in 2017, to launch final policy
briefing document and recommendations.
Funded by external partner.
Project outputs (publications etc)
Publications by end of year 1
• Initial findings on data on trends in European
films and TV drama, and identification of main
digital distribution policy issues presented as
working papers on website.
• Presentations on project to at least three
international conferences.
• A minimum of three peer-reviewed journal
articles to be submitted.
Publications by end of year 2
• First policy position paper completed,
distributed and hosted on website.
• 3 journal articles or book chapters to be
submitted (e.g. TV crime drama and European
audiences).
• Minimum 3 conference papers (e.g.
ECREA/SCMS).
• Working papers and databases on website.
Publications by end of year 3
• Second policy position paper completed and
hosted on website.
• 3 journal articles or chapters in books to be
submitted (e.g. on historical TV drama in
Europe).
• Working papers plus databases on website
• 6 conference papers.
Publications after end of funded period
• One co-edited book, with papers from research
team + academic and non-academic partners
(arising from the end-of-project conference).
• Three team-authored books:
a) Films in Europe: Production, Distribution, Audiences,
Identity;
b) Television Drama in Europe: Production, Distribution,
Audiences, Identity;
c) Film and Television Policy in Europe.
Still to come
• Knowledge exchange and
non-academic partners
• The academic advisory board
• The website
• Financial details
• Management and reporting
Knowledge exchange and nonacademic partners
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Eurimages (Council of Europe fund for cinema): Roberto Olla, Executive Director
Association of Commercial Television in Europe: Ross Biggam, Director General
European Audiovisual Observatory: Dr André Lange, Head of Department, Information on
Markets and Financing
The European Think Tank on Film and Film Policy, Denmark: Henning Camre, Executive
Director
Nordisk Film & TV Fond: Hanne Palmquist, CEO
The British Film Institute, UK: Richard Paterson, Head of Research and Scholarship
Det Danske Filminstitut/Danish Film Institute: Lene Halvor Petersen, Head of Archive and
Cinematheque
DR (Denmark’s national public service broadcaster): Nadia Kløvedal Reich, Head of Fiction
TV2 (Denmark’s second broadcaster): Ulla Østberg, Deputy Head, Programme Department
Vlaamse Radio en Televisieomroep (VRT) (the public broadcasting network for the Flemish
community): Sandra de Preter, CEO
Vlaams Audiovisueel Fonds/Flanders Audiovisual Fund, Belgium: Christian de Schutter,
Head of Promotion and Communication
Screen Yorkshire (UK regional production funding for film/TV/digital content): Sally
Joynson, Chief Executive
Academic Advisory Board
1. Prof Katharine Sarikakis University of Vienna, Austria)
2. Dr Carmina Crusafon (Universitat Autonoma de Barcelona,
Spain)
3. Prof Milly Buonanno (University of Roma “La Sapienza”, Italy)
4. Prof Michael Meyen (Ludwig-Maximilians-Universität,
Germany)
5. Prof Daniel Biltereyst (Ghent University, Belgium)
6. Prof Philippe Meers (Universiteit Antwerpen, Belgium)
7. Dr Laura Rascaroli (University College Cork, Ireland)
8. Prof Tim Bergfelder (University of Southampton, UK)
9. Prof Duncan Petrie (University of York, UK)
10. Dr Hannah Andrews (University of York, UK)
The MeCETES project website
http://www.mecetes.co.uk
Financial details
• €1m over 3 years and 3 universities turns out to
be not very much money!
• Most of budget goes on staffing (including PI
costs, Post-docs, PhDs, and administrator at York;
covers salaries + overheads).
• Additional funding for
• Meetings, workshops and conference;
• Research-related travel and other expenses;
• Meetings with Academic Advisory Board and NonAcademic Partners;
• Additional research assistance;
• Publications, dissemination and knowledge exchange
Management and reporting
1. We proposed:
 Quarterly meetings of the PIs and administrator;
 Bi-annual meetings of the full team;
 Annual meetings of the steering group (includes 3
members of Advisory Board);
 Annual meetings of Advisory Board (academic and
non-academic partners).
2. We should meet both virtually (Skype, Google
Hangout) and physically.
3. HERA recommends quarterly internal reports,
and requires regular formal reports to HERA.

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