1 Bathelt, H., Malmberg, A. & Maskell, P. (2004). Clusters and knowledge: Local buzz, global pipelines and the process of knowledge creation. Progress in Human Geography, 28, pp. 31–56. Grabher, G. (2002a) Cool projects, boring institutions: Temporary collaboration in social context. Regional Studies, 36, pp. 205–214.
2 Enrich, E. (2005). Legal Aspects of International Film Co-Production [online]. http://www.obs.coe.int/online_publication/expert/coproduccion_aspectos-juridicos.pdf.en [accessed on April 2, 2019].
3 European Audiovisual Observatory. (2018) International film co-production in Europe. [online] https://rm.coe.int/brochure-cannes-2018/16808ae9fa [accessed on April 21, 2019].
4 Baltruschat, D. (2013). “Co-Productions, Global Markets and New Media Ecologies”, in Manuel Palacio and Jörg Türschmann (eds), Transnational Cinema in Europe, Wien: Verlag, pp. 11–23.
5 According to the European Audiovisual Observatory’s Report, in France the number of such co-produced films rose from 78 in 1998, to 114 in 2005, growing twice as strong as national production. In Germany, the number of co-produced films grew in the same period from 11 to 43, in Spain from 20 to 53, in Italy from 13 to 27 and in the UK from 37 to 62, peaking at 99 in 2003 (EAO, 2004).
(EAO) European Audiovisual Observatory (2004). Yearbook 2004, Volume 3: Film and Home Video.
(EAO) European Audiovisual Observatory (2006). Focus 2006: World Film Market Trends.
6 Morawetz, Norbert & Hardy, Jane & Haslam, Colin & Randle, Keith. (2007). Finance, Policy and Industrial Dynamics—The Rise of Co-productions in the Film Industry. Industry & Innovation. 14. 421–443.
7 Before that, the co-productions were managed by bilateral agremeents between two countries, but the convention opened the way for three and more party co-productions in Europe.
8 European Convention on Cinematographic Co-Production. (1992) Council of Europe Treaty Series No. 147. [online] https://rm.coe.int/CoERMPublicCommonSearchServices/DisplayDCTMContent?documentId=090000168007bd21 [accessed on April 24, 2019].
9 Minimum contribution may not be less than 5% and the maximum contribution may not exceed 80% of the total production cost. In bilateral co-productions, the minimum contribution may not be less than 10% and the largest contribution may not exceed 90% of the total production cost. When the minimum contribution is less than 20% or the co-production is financial only, the Party concerned may reduce or bar access to national production support schemes.
10 Vincendeau, Ginette. (1988). Hollywood Babel: The Multiple Language Version, Screen, Volume 29, Issue 2, pp. 24–39.
11 Jackel, Anne. (2005). European Co-Production Strategies: The Case of France and Britain. Eds. Albert Moran. Film Policy: International, National and Regional Perspectives. New York: Routledge.
12 Jackel, A. (2007). The Inter/Nationalism of French Film Policy. Modern & Contemporary France Vol. 15, No. 1, February 2007, pp. 21–36.
13 European Audiovisual Observatory. (2018) International film co-production in Europe. [online] https://rm.coe.int/brochure-cannes-2018/16808ae9fa [accessed on April 21, 2019].
14 Ibid.
15 Ibid.
16 Nikoltchev, S. (2005). “Legal definitions as gateways to accessing support systems in Europe”. In Observatory Morning: Partnering Europe, Cannes: EAO Publications.
17 European Audiovisual Observatory. (2018) International film co-production in Europe. [online] https://rm.coe.int/brochure-cannes-2018/16808ae9fa [accessed on April 21, 2019].
18 Arslan, Eylem. (2011). The Evaluation of the Production Resources Used in Turkish Cınema Before and After 2000s. Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 25: 17-32.
19 EAO. European Audiovisual Observatory. (2017). Film production in Europe Production volume, co-production and worldwide circulation. [online] https://rm.coe.int/filmproductionineurope-2017-j-talavera-pdf/1680788952 [accessed on April 29, 2019].
20 Ulusay, Nejat (2005), “Türk Sinemasındaki Dönüşüm ve Eurimages”, Avrupa Birliği ve Türkiye’de İletişim Politikaları: Pazarın Düzenlenmesi, Erişim ve Çeşitlilik, Derleyen: Mine Gencel Bek ve Deirdre Kevin, A.Ü. Basımevi, Ankara.
21 Yılmazok Levent, (2010), “Turkish Films Co-produced within Europe: The Story of Twenty Years’ Experience in Eurimages”, SineCine, Güz, s. R7-1 08.
22 Co-production Funding History. (2019) (online) https://www.coe.int/en/web/eurimages/co-production-funding-history [accessed on April 25, 2019].
23 EOA. European Audiovisual Observatory. (2013), The Turkish Film Industry. Key developments: 2004–2013. [online] https://rm.coe.int/168078354a [accessed on April 21, 2019].
24 EAO. European Audiovisual Observatory. (2017). Film production in Europe Production volume, co-production and worldwide circulation. [online] https://rm.coe.int/filmproductionineurope-2017-j-talavera-pdf/1680788952 [accessed on April 29, 2019].
25 Yılmazok Levent, (20 1 0), “Turkish Films Co-produced within Europe: The Story of Twenty Years’ Experience in Eurimages”, SineCine, Güz, s. R7-1 08.
26 Turkish Film Industry 2016 Report. (2016). [online] https://film.iksv.org/i/content/1551_1_mob-industry-report-2016.pdf [accessed on April 27, 2019].
27 Meetings on the Bridge Archive. (2018) (online) https://film.iksv.org/tr/koprude-bulusmalar/arsiv [accessed on April 23, 2019].
28 Hurriyet. (2012). Turkish Film Sector Meets Producers at Cannes. (online) http://www.hurriyetdailynews.com/turkish-film-sector-meets-producers-at-cannes-21536 [accessed on April 30, 2019].
29 Birgün. Albüm’deki Diyaloglar Tanıklıklarımdır. (2012) (online) https://www.birgun.net/haber-detay/mehmet-can-mertoglu-ile-soylesi-112608.html [accessed on April 27, 2019].
30 Seyap Meetings. (2012), [online] http://www.se-yap.org.tr/wp-content/uploads/2012/11/28_kasim_carsamba_toplantisi.pdf [accessed on April 22, 2019].
31 Travel the World with Your Documentary Panel (2019). 38. Istanbul Film Festival, Meetings on the Bridge Panels. Yapı Kredi Center, Istanbul.