Chair: Dr Barry Monahan (University College Cork)
Room: G27, O’Rahilly Building (ORB), UCC
Maria O’Brien (Dublin City University)
ABSTRACT: The Cinema Industry is Alive
An Exploration of Cinema as an Industry in Europe
I argue that cinema will never die as long as it is considered an industry. I examine the symbiotic relationship between the cultural role of cinema and the economic role of cinema within the audiovisual industries, taking the EU as my focus.
I explore the dynamics of culture and economics through an analysis of the forces shaping the state aid policy document of the European Commission; the Cinema Communication 2013 (the ‘Communication’). I trace the development of policy through analysis of the various drafts of the Communication, the submissions by interested parties, and the final negotiated version of the Communication.
Using European integration theories to explore these concepts, I use the concept of ‘dynamic multi-level governance’(Littoz-Monnet 2007, Littoz-Monnet 2012) (from Hooghe, Marks 2001 concept of multi-level governance) to theorise the development of policy discourses in this area, and to analyse the various subnational, national and supranational agencies influencing the development of European audiovisual policy.
My project traces the development of taxation policies at EU level, with a particular focus on state aids for film in Ireland and the UK. I use the example of film policy as a case study to explore the development of integration theory at EU level. I contend that cinema as an industry is very much alive, but ask; at what cost? And; for whose benefit?
Hooghe, L. & Marks, G. 2001, Multi-level governance and European integration, Rowman & Littlefield.
Littoz-Monnet, A. 2012, “Agenda-setting dynamics at the EU level: the case of the EU cultural policy”, Journal of European Integration, vol. 34, no. 5, pp. 505-522.
Littoz-Monnet, A. 2007, The European Union and culture: Between economic regulation and European cultural policy, Manchester University Press.
Kata Szita (Gothenburg)
ABSTRACT: Watching Movies with Hands
Smartphones and Cognitive Experience
Smartphones are often described as something that extends the user’s body, but what does this contact mean in terms of film experience? The emerging discipline, which deals with the application, advantages and drawbacks, social and economic effects of mobile media is often limited either to user behavior, consumption, and cinephilia, but rarely focuses on the cognitive impact of the user-device interaction. Using interdisciplinary approaches, I attempt to turn the spotlight on how the user–screen interaction affects film and video experience, and how it requires new viewing strategies from the users’ side, and potential new strategies from the content producers’ side.
The paper borrows concepts from cognitive, behavioral, and developmental psychology in order to describe how spectators evolve with the new media environment, and what factors inform this development for a generation in the age of digital cinema and portable screens; it applies semantic and media archeological points of view to highlight the way smartphone interfaces remediate older media (among others the cinema screen); it turns to ecological psychology and concepts around haptic interfaces to define the immersive and interactive nature of film experience within various virtual and physical spaces. All of this approaches target to present how attention, engagement, and the feeling of presence is affected by the screen size, the physical connection between the user’s body and the device, the multiple viewing options that mobile video players offer, and lastly the active environments in which smartphones are typically used.