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World Cinema Fund: Supported Films 2004-2023
Berlin: Berlin International Film Festival (Berlinale) (2023), 223 pp.
"Founded in 2004, the WCF was initiated by the German Federal Cultural Foundation and the Berlin International Film Festival. It quickly established itself as one of the leading institutions in the field of international film funding for artistic and innovative productions. The WCF concentrates on b
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Soutien aux secteurs du cinéma et de l'audiovisuel dans les pays ACP
ACP-UE Culture (2022), 16 pp.
"De nombreux artistes et créateurs émergent dans les pays ACP. Ils nous surprennent par leur dynamisme, mais aussi par leur capacité de résilience et de persévérance, surtout pendant la pandémie de la Covid-19. Les industries culturelles et créatives devraient, dès lors, pouvoir offrir aux
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Central Project Evaluation: Further Education and Training for Media Professionals in Africa – DW Akademie, Kenya and Rwanda. Evaluation Report
Bonn; Eschborn: Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) (2020), 56 pp.
"The factors that led to the overall unsatisfactory assessment of the project can be summarised as follows:
• The project was not anchored in any overarching reference framework. Accordingly, neither its contributions to the strategic objectives of the German development cooperation nor to any oth
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Cultural and Creative Industries Supporting Activities in Sub-Saharan Africa: Mapping and Analysis
Stuttgart: Institut für Auslandsbeziehungen (ifa) (2020), 104 pp.
"Over the last 20 years, the power of cultural and creative industries (CCIs) as enablers and drivers of sustainable development has been broadly recognised. They are viewed as critical to social cohesion, social and economic transformation, and political stability. For this reason, it is important
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Global Media and Cultural Policy: The European Union and Audiovisual Industries in the Global South
Ann Arbor, MI: University of Michigan, Doctoral Thesis (2019), viii, 193 pp.
"This dissertation explores audiovisual assistance programs through an examination of the largest such program: the EU’s ACPCultures+, which since 2008 has awarded over 50 million Euros to nearly 60 audiovisual training programs, distribution initiatives, and production projects in sub-Saharan Afr
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Funding Guide for Arab Producers
Beirut DC;Terso (2019), 121 pp.
Roots of the New Arab Film
Bloomington: Indiana University Press (2018), xix, 292 pp.
"Roots of the New Arab Film deals with the generation of filmmakers from across North Africa and the Middle East who created an international awareness of Arab film from the mid-1980s onwards. These seminal filmmakers experienced the moment of national independence first-hand in their youth and reta
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Exporting the French Co-Production Model: Aide Aux Cinémas Du Monde and Produire Au Sud
In: European Film and Television Co-Production: Policy and Practice
Julia Hammett-Jamart; Petar Mitric; Eva Novrup Redvall (eds.)
Cham: Palgrave Macmillan (2018), pp. 223-239
"This chapter examines how the Aide aux cinemas du monde fund and the Produire au Sud workshop aim at strengthening France’s central position in the co-production of world cinemas. The Aide aux cinemas du monde provides funding to French co-producers of films from all over the world, while the Pro
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El Fondo Internacional para la Diversidad Cultural: Una nueva herramienta para la cooperación en el audiovisual
In: Diversidad e industria audiovisual: el desafío cultural del siglo XXI
Luis Alfonso Albornoz; María Trinidad García Leiva (eds.)
México, DF: Fondo de Cultura Económica (FCE) (2017), pp. 109-143
Guatemalas Durst nach Filmen
Eine Welt (DEZA), issue 2 (2016), pp. 31-33
"Im Februar 2015 hat Jayro Bustamante an den Filmfestspielen Berlin den Silbernen Bären für seinen ersten Spielfilm «Ixcanul» gewonnen. Gleichzeitig hat sich mit dem Film ein lateinamerikanisches Land auf der Landkarte des Kinos eingetragen. Walter Ruggle wirft einen Blick auf die Situation des
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Study on ACP Technicians and Actors Involved in Movies Supported by EU-ACP Funds (8th, 9th, 10th EDF)
ECO;Organisation of African, Caribbean and Pacific States (ACP);European Union (2015), 182 pp.
Media Aid Beyond the Factual: Culture, Development, and Audiovisual Assistance
Global Media Journal - German Edition, volume 4, issue 2 (2014), 17 pp.
"In this paper, I examine the aims and motivations behind the EU’s audiovisual assistance programs to countries in the Global South, using data from policy documents and semi-structured, in-depth interviews with program managers and administrative staff in Brussels. These programs prioritize forms
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Art and Networks: The National Film School of Denmark's "Middle East Project"
In: The Education of the Filmmaker in Africa, the Middle East, and the Americas
Mette Hjort (ed.)
New York et al.: Palgrave Macmillan (2013), pp. 125-150
"Seen from the perspective of film directors in the Middle East, the NFSD‘s Middle East Project makes a clear contribution in a number of areas: focusing on documentary flimmaking, it provides opportunities for flimmakers from the region to engage with realities that are important to them, but per
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Evaluation of Media Cooperation Under the Danish Arab Partnership Programme (2005-12)
Copenhagen: DANIDA;Transtec (2013), 132 pp.
"According to the Danida website "The Danish Arab Partnership Programme (DAPP) is a long-term programme with the dual objectives of 1) supporting local reform processes in the Middle East and North Africa (MENA region) and 2) Establishing a basis for improved dialogue, understanding and cooperation
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Dialogue Through Film: A Handbook
London: Conciliation Resources (2012), 58 pp.
"Dialogue Through Film is a unique initiative bringing together young Armenians from Nagorny Karabakh and Azerbaijanis to make short films about the conflict that divides them. Over 30 young film-makers have taken part, and thousands of Armenians and Azeris have watched their films. This handbook of
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From the Field: Co-Producing the Memory. Cinema Production Between Europe and the Middle East
Global Media Journal - German Edition, volume 1, issue 1 (2011), 13 pp.
"The media intervention programs and training initiatives for Arabs reflect hegemonies and dependencies. Taking into consideration the absence of a public cinema infrastructure in the Arab World and thus the lack of institutional representation or backing for film-makers leads one to question to wha
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Implementing the UNESCO Convention of 2005 in the European Union
Brussels: European Parliament, Directorate-General for Internal Policies (2010), 103 pp.
"This study provides a summary of the state of implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions of 2005. Focusing on fields in which the EU is expected to provide leadership or coordination, it is intended to provide ideas and long-term
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Mapping Cultural Diversity: Good Practices from Around the Globe
Bonn; Singapore: German Commission for UNESCO (DUK);Asia-Europe Foundation (ASEF) (2010), 147 pp.
Cooperación en cultura-comunicación en el Mediterráneo: España, Francia e Italia con Marruecos, Túnez y Argelia. Creando espejos
Madrid: Fundación Alternativas, Observatorio de Cultura y Comunicación (2010), 63 pp.
"La cultura-comunicación, más que promover la integración de países, debe buscar la integración de ciudadanos, trabajando los denominadores comunes definidos en las Declaraciones Universales de los Derechos Humanos, Pueblos Indígenas y Medio Ambiente. Es éste el capítulo más deficitario de
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