Abstract

The article discusses teaching the analysis of documentary films from the standpoint of a discursive approach. The importance of teaching the analysis of documentary films is due to the specifics of audiovisual production. A documentary film is a polyosemiotic construct combined with verbal, pictorial and sound signs, which are important for the translator to take into account in the translation process. The discursive approach allows to teach future translators to analyze not only the work as a whole, but also to analyze the historical and socio-cultural context in which it was created.

Highlights

  • The audiovisual (AV) sector has an important economic and social role

  • § Exhibition and broadcasting stage at which the film or TV programmes are shown of cinema screens and TV screens

  • Production stage: § sufficient film production in the EU, with risk of over-supply of film, ensuring diversity in the supply of films with respect to cultural and linguistic tastes of the consumers; § increased supply in European TV fiction denoting the greater interest of viewers for national TV programmes; § fragmentation of the national European market, not compensated by the development of coproduction schemes even if they increase their share in the number of films produced; § lack of adequate financing, partially compensated by the existing public support which could to some extent reinforce the market segmentation; § prevalence of small independent films and TV producers

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Summary

A REVIEW OF THE AUDIOVISUAL INDUSTRY

The pivotal role of the studios implies that the production of a film is considered as a purely commercial project, integrating the distribution strategy right from the conception and development stage of the film This evolution of the American market has led to a specialisation in action-oriented films including sensation and special effects, since these films are well-suited for a mass-market distribution, typified by the size and uniformity of the domestic market leading to a distinct supply-side advantage.

INTRODUCTION
THE EUROPEAN AUDIOVISUAL INDUSTRY
Definition of the sector
The audiovisual market
Consumption of audiovisual products
ECONOMIC CHARACTERISTICS OF AUDIOVISUAL PRODUCTS
The prevalence of fixed and sunk costs
Creative skills
Quality and variety
Market structure
Market failures
Demand uncertainty
Consumption patterns
MARKET STRUCTURE OF THE AUDIOVISUAL INDUSTRY
The Film industry
Production
Film Distribution
Exhibitions
Data for 1998 Source
The Broadcasting industry
Audience2 1992 1999
Regulation
Diffusion and audience
FINANCING OF THE AUDIOVISUAL INDUSTRY
Film financing
Private funding141
Public funding149
National mechanisms
European mechanism
Broadcasting financing
Professional sources
National sources Names
International sources
Professional associations167
Trade journals or on-line information sources
Findings
Academic Journals
Full Text
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