Abstract
The purpose of this paper is to identify the premisses that have oriented the construction process of structuring public policies to the audiovisual domain draw on the ten years managerial experience of Brazil's National Cinema Agency (Ancine), also seeking to take a look at how such experience can bring perspectives to the formulation and management of policies directed towards the Creative Economy.
Highlights
In the beginning of the XXI century, in which communication has become the main economic activity of the planet, nations, companies, artists and institutions of all kinds and origins fiercely dispute every inch of the huge revenue generated by cultural contents
Said dialectic lies on the origin of the complexity associated to public policies directed to the promotion of Culture in general, falling upon the Creative Economy in particular: in Culture and Arts, under the capitalist mode of production, everything is simultaneously deemed as goods and rights, and not facing the complexity of this dialectic means that policies are doomed to failure and incompleteness
It is noteworthy that the agency originated from a diagnosis effort, performed by a multidisciplinary group, articulated with the public power, looking for an institutional solution that combined regulatory and financing capacities, which means that it was born with the mark of a systemic and articulated vision that would permeate its utter subsequent existence. Such systemic vision had already been expressed, in a limited manner, in the way that laws disciplining tax incentives for the audiovisual domain were structured, that differently from Rouanet Law (Brasil, 1991), did not restrict themselves to sponsorship mechanisms, but invested in the synergy between different links of the productive chain, enabling investments from foreign distributors and programming companies in the co-production of independent Brazilian works, creating investment funds (FUNCINES) that act on every market segment, and actions of direct promotion with resources from the National Treasury based on the previous commercial and artistic performance in different segments, which came to be known as “Revenue Additional Prize” (PAR-production, PAR-distribution and PAR-exhibition) and the Ancine Quality Prize (PAQ)
Summary
Upon the globalization of the economy and the technological convergence, the dissemination and consumption of cultural goods has become increasingly fast and produced and, in parallel, the detention of intellectual property rights is ever more concentrated. It is fundamental to find a place in this new ecosystem, and it is the public sector’s attribution to foster national economic agents in order to aid them in reaching such place, and to the shelter their insertion into the domestic market This globalization of communication leads to the creation of a greater number of spaces in which difference and diversity struggle for ethical, aesthetic, political and cultural resistance to face taste standardization, the concentration of revenues and rights and other kinds of behaviors that are harmful to the perception of identity and to the freedom of expression. A single exception, which confirms the rule, is Rede Globo de Televisão (Rede Globo Television), that produces and exports contents and audiovisual formats in scale for several countries of the world, but whose vertical integration model and ownership of rights leads it to be a factor of concentration in the domestic market, since talents and companies that associate with it are normally disposed of the rights and revenues over the works that they have performed, being common that the companies belonging to such group operate in such a way that imposes entry barriers to new programmers and broadcasters in the Brazilian market
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