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    Plan détaillé Texte intégral Co-production in France Co-production in Turkey The Collaboration Between French Cultural Center and the Meetings on the Bridge Industry Platform Notes de bas de page Auteur

    From Ciné-goûters to Screenings for Cinephilie

    Ce livre est recensé par

    Précédent Suivant
    Table des matières

    Co-Productions: A Study on the Collaboration between Istanbul Institut français and the Meetings on the Bridge Industry Platform

    Sezen Kayhan

    p. 289-300

    Texte intégral Co-production in France Co-production in Turkey The Collaboration Between French Cultural Center and the Meetings on the Bridge Industry Platform Notes de bas de page Auteur

    Texte intégral

    1Today, the conditions of film production and consumption have become multicultural and multi-centred, and the nation paradigm remains restrictive in examining the funding and construction phases of film production. International co-productions enable filmmakers from different nationalities to pool talent, labour and resources for the development of new projects. In contrast to Hollywood’s cluster model, the international co-productions connect different production companies from various geographies. From an economic-geography perspective, co-productions can be described as “global pipelines”, “extralocal linkages” or “temporary trans-local interfirm networks” between different production clusters.1 The co-productions between countries has become indispensable of contemporary film industry because they allow the increase of funds and not limited to national resources. Under an agreement, two or more production companies agree to collaborate and share goods, services and rights to produce a film together, which could be difficult to be produced by one company alone.2 Based on bilateral or multilateral co-productions agreements, the works are considered “national” in all countries involved, therefore are eligible to public funding in each country.3 As Doris Baltruschat states, co-productions are also linked to the changing production practices in the film industry, which are the results of changing technologies and new market demands.4

    2The European co-productions are important in terms of circumventing dependence on the US market and financing. The collaboration between different countries made European productions compete with Hollywood to a certain extent, with the increase of film budgets and high productions values. The number of European co-productions raised significantly from 164 to 285 between 1998 and 2003.5 This increase was a result of a larger economic, political and cultural forces in Europe. To solve the financing problems in the center of the European film industry, most governments in Europe have introduced national and regional film support institutions. “In 2005 there were a staggering 182 of these support bodies in Europe (31 countries), providing a total amount of more than EUR 1.3 billion of public support (excluding tax incentives)”.6 These funds encouraged and supported European independent filmmakers.

    3In 1992, with the participation of 4 members of the Council of Europe (UK, Switzerland, Luxembourg and Denmark), the European Convention on Cinematographic Co-production was signed in Strasbourg.7 “The aims of this Convention are to promote the development of European multilateral cinematographic co-production, to safeguard creation and freedom of expression and defend the cultural diversity of the various European countries”.8 The adoption of this convention profoundly changed the landscape of European film production. According to the convention, the co-production status is obtained with the involvement of at least three co-producers in three different Parties. “The participation of one or more co-producers who are not established in such Parties is possible, provided that their total contribution does not exceed 30% of the total cost of the production”.9 The agreement guarantees joint ownership of the film and each party must facilitate the production of the film. The convention was revised with the addition of other countries during time. France signed the convention in 1993 and Turkey signed it in 1997. The last revision of the convention, signed in 2017 in Rotterdam, shows that today 50 countries (47 of them are members of Council of Europe) can co-produce with each other freely under the European Convention on Cinematographic Co-production. Ultimately, co-production is now a significant part of film production in countries around the world.

    Co-production in France

    4Until the 1950s, the main source for French Film Industry was the own capitals of French film professionals and later (after 1946) the funds of Centre National de la Cinematographie (CNC) and the Ministry of Culture. In 1949, after the Second World War, France and Italy signed the first inter-governmental co-production treaty to rebuild their national film industries. The agreement granted producers co-production status to receive both national funds and benefits of screening in two different countries. France opened up its borders, also access to its public fund, mainly like other European countries, to combat the cultural and economic dominance of Hollywood on the world market.10 Within a few years, the agreement between France and Italy fulfilled its aims: the production in French and Italian film industries has increased, the employment had risen, the films became popular not only in domestic markets but also in other countries, and many French and Italian actors reached international stardom.11 The treaty was renewed in 1957 and over 230 French-Italian films were produced under this agreement. Other co-production agreements of France followed, with Germany (1951), Spain and Argentina (1953), Austria (1955) and Australia (1956). France was also the first country to sign co-production agreements with Eastern Bloc countries: the USSR (1956), Yugoslavia (1957), Romania (1966), Czechoslovakia (1968), Hungary and Poland (1970) and Bulgaria (1971). In 1993, France signed the European Convention on Cinematographic co-production and involved in three and more parties’ co-productions. Today France now has co-production agreements with 44 countries on every continent and the co-productions represent a substantial percentage of the French film industry.12

    5As a recent report of European Audiovisual Observatory illustrates, the top five producing European countries – the UK, France, Germany, Spain and Italy – accounted for 53.6% of overall production in the 36 countries covered all the films shot between 2007 and 2016. The top-producing countries in Europe were also the main co-producer countries: France topped the list, with 566 co-productions from 2007–2016, followed by Spain (460), Germany (411) and Switzerland (221); only 11 countries co-produced more than a yearly average of 10 films.13


    Figure 1. Top co-producing countries, 2007–2016.

    Image

    6The most common co-productions were between UK-USA, Italy-France, France-Germany and Belgium-France. “In terms of diversity, only four countries participated in European co-productions with more than 25 countries: Germany (31), the US (30), France (29) and the UK (26) over the period 2010–2015.”14

    7Besides the co-productions between European countries, the Convention also leads to the co-productions with the Council of Europe Members outside Europe (such as Turkey, Russia, Ukraine) and also non-members of Council of Europe (Kazakhistan, Belarus, Holy See). On average, 40% of the interactions with other countries in European majority co-productions were with non-European partners.15 The treaties generally require each co-producer’s financial participation, as well as artistic and technical contributions.

    8The Head of the European Audiovisual Observatory described co-productions as “a bridge to Europe”.16 They open up collaboration with Third World countries, and create a bridge between film industries, artistically and technically. French support, along with initiatives Eurimages, Arte, Canal+ help the development of transnational cinema and makes films from other countries such as Palestine, Lebanon, Balkan countries and Turkey more visible in Europe.

    9As the chart below shows (Figure 2), between 2010–2015 France was the most frequent minority co-production partners that built partnerships with non-European countries.17 Thus the film professionals in France shared their strong film culture and production experience with less experienced countries. The formation of international crews and sharing the knowledge of production helped especially technical development of less experienced countries. Turkey was one of these countries that benefited from the co-productions with France.


    Figure 2. European countries by the number with which they co-produced as majority co-producers.

    Image

    Co-production in Turkey

    10The co-productions in Turkey started later than in other European countries. In the period of Yeşilçam, the most important financial resource of Turkish filmmakers was their own capital, while the second important resource was the revenue of the previous films. In the ’70s, Yeşilçam has started to decline and productions have almost stopped until 90s. The Law on Cinema, Video and Music Works (No. 3257), which entered into force in 1986, had a direct impact on Turkish Cinema in the ’90s and onwards. The Law No. 3257 provided financial support for fiction and documentary films from Turkish Ministry of Culture and Tourism’s production fund. Accordingly, in 1990, the Ministry of Culture formed an “Evaluation Commission” consisting of seven members from the Ministry of Culture, four from cinema professionals and one from a university to choose from the projects that applied to get funded. Each year, 10 to 12 film projects are being funded by the Commission with an amount not more than 50% of the total budget of the project.18

    11Turkish production landscape is very fragmented: small production companies produce one film in every couple of years mostly with the resources only from Turkey. As explained in the Report of European Audiovisual Observatory “Between 1990 and 2013 a total of 687 films were produced by no less than 358 different companies. Only five, i.e. less than 1% of the companies produced more than 10 films.”19 Another development in Turkish film industry in that period was Turkey’s new membership of Eurimages through Turkish Ministry of Culture. Turkey, a member of the Council of Europe since 1949, became a member of Cinematographic and Visual-Audial Co-Production and Distribution European Support Fund (Eurimages) in 1990. France was a founding member of Eurimages and the purpose of the fund is to encourage European Countries about cinema and carry out co-productions through collaboration between each other. Co-production has been an experience which Turkey was not that interested in until the 1990s. Turkish cinema participated in a co-production of only 40 movies between 1931 and 1990.20

    12Eurimages support contributed to Turkish filmmakers in many ways. It brought “a familiarity with film production in multinational environments which prompts the artists and crews to become closer and to share their experiences”.21 With the co-operation of crews from European countries the technical aspects of filmmaking in Turkey also improved. Yet the most obvious contribution of Eurimages is the financial one. From 1990 to 2019 Eurimages supported 89 movies with total amount of €17.596.893. (Table 1) From 2010 to 2018, 1446 Turkish films were produced and released in Turkey and only 28 of them (1.9%) were supported by Eurimages.22


    Table 1. Eurimages Supported Films with a Major Turkish Co-Producer.

    Image

    13The number of films in which Eurimages directly provides financial resources for production is not at the level required for the industrial development of Turkish Cinema. In the 2000s, the producers began to use many different channels to solve the financial resource problem. One of the most important of these resources is co-production. “International co-productions are primarily sought for art-house films which require a comparatively high budget but are faced with limited potential at the Turkish box office market where the demand focuses on commercial content with a clear local flavor.”23 Between 2004 and 2018, a total of 87 international co-productions with Turkish participation produced. International co-productions hence accounted for only about 10% of total Turkish production volume in this time period. 90% of Turkish films produced were financed entirely within Turkey.24

    14There is a significant increase in the number of Turkish productions after 2000s, but the same increase can’t be observed in the number of co-productions. According to Roberto Olla (Executive Director of the Eurimages Fund), there can be two reasons for this fact: Turkish filmmakers’ lack of co-production experience and Turkish language’s unprivileged position in Europe. France, UK, Italy and Germany have long histories of co-production and the languages like English, French and German maintain advantageous positions because they are spoken by more than one nation.25 Turkish, on the other hand, is not a common language in Europe and has disadvantages in co-productions, especially for distribution.

    15Another reason of low number of Turkish co-productions is the existing system of Ministry of Culture in Turkey which only supports co-productions when Turkey is the majority co-producer. Due to regulations, the Turkish Ministry of Culture and Tourism’s fund is only open to co-productions if the film’s main producer is Turkish. Besides that Turkey also can’t benefit from Creative Europe’s Audiovisual funds because Turkey is still not a EU member.26

    16Because of these various reasons Turkey could not have a strong co-production experience like European countries; France, Germany or Italy. Even today, the numbers of co-productions in Turkey is very low. To increase the number of co-production and to train filmmakers on co-producing Film Festivals started to organize markets. The first of these markets is the “Meeting on the Bridge” which is organized under the roof of Istanbul Film Festival and still plays an important role in the development of co-production in Turkey.

    The Collaboration Between French Cultural Center and the Meetings on the Bridge Industry Platform

    17Meetings on the Bridge began as a series of cinema talks in 2006 and with the growing interest of the film industry in Turkey and it gained momentum. In 2008, the Film Development Workshop, a training program in which industry experienced professionals met with international producers, fund and festival representatives, and sales agents, was held for the first time. Meetings on the Bridge workshops carried out under the Istanbul Film Festival, and helped upcoming filmmakers from Turkey and neighbouring countries to connect with international filmmakers, festival representatives, broadcasters and investors.

    18Since the first years of the platform, the directors and producers of the selected projects received training on presentation techniques. In 2015, in order to improve the quality of the films produced in the workshops and to contribute to the creation and production process, a new training program was developed with the support of international consultants and trainers. Through this new program, the directors, screenwriters and producers from Turkey are trained in scriptwriting, production, presentation, marketing, social media and crowdfunding before their project presentations.

    19Until today, the representatives from ARTE, Eurimages, CNC, Euromed Audiovisual, Paris Cinema Project, Israel Film Fund, Greenhouse, Pandora Film, MEDIA, Berlinale, Cinemart, Irish Film Commission and ZDF, shared their knowledge and experience on “Co-Production”, “Film Distribution”, “Film Markets” and “State Support in Cinema” through Meetings on the Bridge.

    20Many independent filmmakers met with their co-producers during the Meetings on the Bridge sessions. As the chart shows (Figure 3) 10 out of 12 projects selected in 2011 and 2012, 8 out of 10 in 2013 and 2014, and 7 out of 20 projects in 2015 and 2016 were completed as co-productions.27


    Figure 3. The projects selected by the Meetings on the Bridge platform and completed as co-productions.

    Image

    21Since its early years, Istanbul Film Festival and the Meetings on the Bridge Platform have been in collaboration with the French Cultural Center, the Goethe Institute, the Cervantes Cultural Institute and the Italian Cultural Center in Istanbul. In this respect, one of the major supporters of the platform is the French Cultural Center in Istanbul. With the effort and support of Fanny Aubert Malaurie (previous Attachée Audiovisuel Régional) and Christophe Pecot (current Attaché Audiovisuel Régional) the bond between The French Cultural Center, Istanbul Film Festival and the Meetings on the Bridge have strengthened year by year. In the first years the French Cultural Center has provided logistical support to the platform; the meetings, trainings and seminars were held there. As the coordinator of the Meetings on the Bridge, Gulin Ustun told in a personal interview, in the first year of the platform, cinema professionals in Istanbul and the project owners had their one-to-one interviews only at the French Cultural Center.

    22Recently, in a period when the historical movie theaters in Beyoğlu closed one by one, the Istanbul French Cultural Center provides one of the main halls of the Istanbul Film Festival. The Center also leads the invitations to the French talents; directors and actors of the films that takes place in festival’s program through Unifrance. Even though the Meetings on the Bridge uses the Cezayir Restaurant and Salt Galata Art Center as training venues, the award ceremonies are still organized at the French Cultural Center or the French Palace in Beyoğlu. This collaboration also extended in other events France and Turkey. In 2012 within the scope of the Producers Network of 64th Cannes Film Festival, which supports international co-productions, a special cocktail party hosted by Istanbul Film Festival, with the support of the Turkish Embassy in Paris and the French Cultural Center. In this cocktail, the international successes of contemporary Turkish films which were supported by the Meetings on the Bridge were celebrated. Turkish filmmakers again had the chance to meet with international film professionals in this organization.28

    23The strong collaboration between the Meetings on the Bridge and the Istanbul French Cultural Center, also resulted in the development of Turkish-French coproductions. The talents invited and accommodated by the French Cultural Center connected to Turkish filmmakers through this organization. And they developed their relation in terms of the production after the event.

    24One of the projects showing the success of this collaboration in terms of international co-productions is the film “Albüm” (Album de Famille), directed by Mehmet Can Mertoğlu. Album is about a middle-class Turkish couple who is far from admitting that they used adoption as a last resort to build a family, and will do anything to keep it a secret. Album was selected to the Semaine de la Critiqiue section of Cannes Film Festival in 2016 and won the France 4 Visionary Award there. It also won the Heart of Sarajevo in Sarajevo Film Festival, the Best Film Awards in Jerusalem and Bosphorus Film Festivals. Album’s journey started in the Film Development Workshop of the Meetings on the Bridge in 2013. After its selection to Meetings on the Bridge, they had the chance to meet with co-producers, as well as receiving awards of Melodika Sound Post-Production ve Medienboard. The producer of the film, Yoel Meranda explains this process as such:

    “In 2013 we attended Meetings on the Bridge and won two awards there. Both the awards and our participation helped us to find our foreign co-producers. We’ve met with Cedomir Colar who is also the producer of Danis Tanovic. That year, the director of Arte Cinema; Olivier Pere was in the jury of the Platform. So thanks to Cedomir and Arte things started to develop so quickly.”29

    25Cedomir Kolar introduced them to the French Co-producer of the film; Remi Burah and Arte is involved after Remi was on board. The film is completed as a Turkish (Kamara Film), French (Asap Films) and Romanian (Parada Film) co-production.

    26Another project that comes out through a similar collaboration between Meetings on the Bridge and French Cultural Center is the director Erol Mintaş’s 2014 film “Song of My Mother”. The film is shaped around a young Kurdish man who is torn between his mother’s nostalgic search of a song in her dreams and an uncertain future with his pregnant girlfriend. It was also selected to the Meetings on the Bridge’s Film Development Workshop in 2014. After receiving 1000 Volt Post Production Award and Başka Sinema Distribution Award at the Meetings on the Bridge, the Song of My Mother is funded by France’s CNC and Turkish Ministry of Culture and Tourism.

    27The producer Aslı Erdem and the director Erol Mintaş connected with their French producer Guillaume de Seille (Arizona Films) during the platform. Aslı Erdem talks about their experience in the platform as:

    “Meetings on the Bridge was the first production market we attended with our film. For the first time, we have learnt about ‘pitching’ in the presentation training. We met with various film professionals there, including the director of Berlin World Cinema Fund, a programmer from Rotterdam, and many producers, including our film’s French co-producer Guillaume de Seille. Our French co-producer is now applying to the funds in France and in different countries of Europe. This is why the Meetings on the Bridge is a very important platform”.30

    28The Song of My Mother is completed as a co-production of Turkey (Mintaş Film), France (Arizona Films) and Germany (Mitos Film) and won the Best First Film and Best Actor Awards in Sarajevo Film Festival in 2014, Best First Film, Best Actor, Best Supporting Actor and Best Original Music Awards in the 51. Antalya Golden Orange Film Festival.

    29The last film I want to talk about is another Turkish-French-German co-produced documentary: Mr. Gay Syria (Dir. Ayşe Toprak) which is developed in the Meetings on the Bridge Film Development Workshop in 2015. The film follows two gay Syrian refugees who are trying to rebuild their lives in Istanbul. Film’s producer Ekin Çalışır and director Ayşe Toprak met with their French co-producer Antoine Simkine during the workshop. Ayşe Toprak explains this meeting as:

    “I’ve found my French co-producer Antoine Simkine during Meetings on the Bridge. And later Antoine Simkine found our German producer Christine Kiauk. So with the help of the Meetings on the Bridge and Antoine, ‘Mr. Gay Syria’ became a three-way co-production between Turkey, Germany and France. We couldn’t get the support of Turkish Ministry of Culture and were not able to finish the film without the support of our co-producers. Otherwise it would be so difficult to produce a LGBTQ documentary in Turkey.31

    30Mr. Gay Syria was produced with the participation of Turkey (Toprak Films), France (Les Films d’Antoine) and Germany (Coin Film). Like Album and the Song of My Mother, My Gay Syria also received international recognition and success; it premiered in Sheffield Film Festival, screened at IDFA and Thessaloniki Documentary Film Festival, won Silver Hugo Award in Chicago International Film Festival, Human Rights Award in Sarajevo Film Festival and Jury Award in Tirana International Film Festival.

    31As these three examples show, the collaboration between Meetings on the Bridge and the French Cultural Center is very important to establish relationships between Turkish filmmakers and French producers, channel and fund representatives. It is crucially important for Turkish filmmakers to reach international funds, considering very limited national funds in Turkey. With this bond, they have the opportunity to apply international funds through their foreign co-producers. The international distribution agreements made Turkish films to be released in Europe, and sometimes the co-producers become the bridge between the filmmaker and the distributor. As a result, the increasingly strong ties between Meetings on the Bridge and the Cultural Centers in Istanbul make Turkish cinema more visible in the international market.

    Notes de bas de page

    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.

    Auteur

    • Sezen Kayhan

      Koc University

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    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.

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    Kayhan, S. (2022). Co-Productions: A Study on the Collaboration between Istanbul Institut français and the Meetings on the Bridge Industry Platform. In G. Pisano (éd.), From Ciné-goûters to Screenings for Cinephilie. Villeneuve d’Ascq: Presses universitaires du Septentrion. https://doi.org/10.4000/books.septentrion.147206
    Kayhan, Sezen. « Co-Productions: A Study on the Collaboration Between Istanbul Institut français and the Meetings on the Bridge Industry Platform ». In From Ciné-goûters to Screenings for Cinephilie, édité par Giusy Pisano. Villeneuve d’Ascq: Presses universitaires du Septentrion, 2022. doi:10.4000/books.septentrion.147206.
    Kayhan, Sezen. « Co-Productions: A Study on the Collaboration Between Istanbul Institut français and the Meetings on the Bridge Industry Platform ». From Ciné-goûters to Screenings for Cinephilie, édité par Giusy Pisano, Presses universitaires du Septentrion, 2022, https://doi.org/10.4000/books.septentrion.147206.

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    Pisano, G. (éd.), Kornitsky, S. (Trad.). (2022). From Ciné-goûters to Screenings for Cinephilie. Villeneuve d’Ascq: Presses universitaires du Septentrion. https://doi.org/10.4000/books.septentrion.146921
    Pisano, Giusy, éd. From Ciné-goûters to Screenings for Cinephilie. Traduit par Sophia Kornitsky. Villeneuve d’Ascq: Presses universitaires du Septentrion, 2022. doi:10.4000/books.septentrion.146921.
    Pisano, Giusy, éditeur. From Ciné-goûters to Screenings for Cinephilie. Traduit par Sophia Kornitsky, Presses universitaires du Septentrion, 2022, https://doi.org/10.4000/books.septentrion.146921.
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