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Why continental Europeans love Ken Loach (more than the British)
loach-europe-flag As Ken Loach’s latest film arrives in European cinemas, Huw D Jones examines why the veteran British director is more popular on the continent than in his own country. Last week saw the release of I, Daniel Blake, the latest film by veteran British director Ken Loach. Despite the intense publicity the film has attracted for its depiction of Britain’s benefits system, the
New publication: Ken Loach’s UK/European co-productions – Huw D Jones
Looking for Eric Dr Huw D Jones has published a new article on ‘UK/European Co-productions: The Case of Ken Loach’ in the Journal of British Cinema and Television. The article comes out of the MeCETES project research into European film: Ken Loach stands out as one of the few British directors whose films are regularly co-produced with European partners. Of the nineteen films he has directed since 1990, fourteen have been UK/continental European co-productions.
New publication: Transnational Europe – Ib Bondebjerg
palcomms201634-f1 Professor Ib Bondebjerg has published a new article on ‘Transnational Europe: TV-drama, co-production networks and mediated cultural encounters’ in the journal Palgrave Communications. The article, which is available free via open access, comes out of the MeCETES project research into European television: Exploring the structural changes in the production and distribution of European TV-drama since 2000, this article explores the creative potential of European co-production networks to produce popular and often nationally ...
The Cultural Politics of European Cinema
Directors Agnieszka Holland and Wim Wenders stand on stage during the 28th European Film Award ceremony in Berlin on December 12, 2015. MeCETES Project Leader Andrew Higson reflects on the cultural politics of contemporary European cinema in 2015 and argues that current policy measures to support culturally diverse cinema are failing. Film in 2015 remains a pre-eminent form of entertainment, but it also speaks to us, often metaphorically, about the world in which we live, our anxieties and ambitions, what it is to be human and how we (might) engage with others. Directors ...
China or Europe – Where Next for UK Co-Productions?
cameron-china-2__131202164202 As the first UK/China film co-production is announced, Huw D Jones argues Britain shouldn’t neglect its established ties with Europe. To coincide with Chinese President Xi Jinping’s official state visit to the UK this week, Britain’s first film co-production with China was announced at a ‘creative showcase’ event in London. Earth: One Amazing Day (working title) is the sequel ...
A New European Film and Television Culture Conference: September 9, 2015
Eurofilm Wednesday 9 September, 2015 09.00-17.30, Danish Film Institute (Bio Carl and Restaurant SULT), Gothersgade 55, 1123 Copenhagen K. Summary: What are the contours of the new European film and television culture evolving through regional collaboration, EU support mechanisms and policies for a greater European market, globalization and the digital revolution? What are the main trends for production and creative, transnational cooperation, and how are the ...
European Support for Latin American Cinema
milk of sorrow Many Latin American filmmakers rely on European co-production finance. Deborah Shaw considers the social and aesthetic implications of this funding support on the work of Peruvian director Claudia Llosa. There is a story behind the credits for many ‘world cinema’ films that are reaching international markets initially through the international film festival circuit, and through DVDs, Blu-rays and Video-on-Demand platforms, if these films are lucky enough to be picked up in ...
Industry Gather to Discuss European Film and TV Drama
Panelists discuss writing for European TV audiences. Media industry players gathered in Ostend for the ‘Making Film and Television Drama’ conference on September 18, 2014. Huw Jones reports on the MeCETES-organised industry event. With additional input from Roderik Smits. European film and television dramas need characters audiences can identify with if they are to travel, former Head of DR Fiction, Ingolf Gabold, told an international gathering of media industry professionals in ...
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