Public Film Funding Under a Federalist Paradigm: A Synoptic Analysis of State Aid for Film in Germany

Labour market collectivism: New solidarities of highly skilled freelance workers in medicine, IT and the film industry

“…Freelance workers’ income and employment security may also vary among the three industries, leading to different needs for collective support. Freelance workers in the film industry maintain and enhance their employability through their track record and networks, but their market exposure and risks have grown in recent decades (Baumann, 2002; Blair, 2001; Bomnüter and Schulze, 2019; Storey et al, 2005; Sydow and Staber, 2002). An IT freelance worker’s employability depends heavily on the worker’s professional qualification and track record (Süß and Becker, 2013), and film freelance workers’ remuneration varies widely, depending on the worker’s employability (Bührmann et al, 2013).…”

How state influence on project work organization both drives and mitigates gendered precarity in cultural and creative industries

“…In Germany, there is generous public funding from regional, federal and European sources (Jansen, 2005;Kurp, 2004), such as the European MEDIA Plus programme (Zademach, 2009), and public subsidies in the industry are the second highest in Europe (Bomnüter, 2018). As an expert respondent explained: 'it's possible to apply for multiple funding and some film companies accumulate funding from several regional schemes'.…”

The rise of the ‘Netflix tax’ and what it means for sustaining European audiovisual markets

“…In recent years German audiovisual policy has refocused on transnational audience appeal instead of building national citizenship (see Hill and Kawashima 2016;Halle 2016). The audiovisual policy is driven by mixture of economic and cultural objectives (Bomnüter 2018) explicitly described in the German Federal Film Funding Act (see also Halle 2016). Aims of the policy are to secure the structure of the German film industry, strengthen German film as an economic and cultural asset and maintain and develop the quality and diversity of German filmmaking.…”

“…The German film industry is going through a structural change, marked by an endeavour to find a balance between two extremes: market oriented and culturally effective public governance of film. Predominantly, the German audiovisual industry is ruled by the 'market mode' of governance and profitability (Bomnüter 2018;Halle 2016). In policy debates, subsidy efficiency has come under constant scrutiny (Wiedemann 2015).…”