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Sustainability in the film industry: External and internal dynamics shaping the Wellington film district

机译：电影业的可持续发展：惠灵顿电影区的外部和内部动力

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摘要

Official statistics show that the revenue from film production in Wellington has increased in the last decade. However, unofficial debates identify that the Wellington film industry lacks financial capacity and has only intermittent levels of production. I argue that the absence of sustainability, defined here as long-term endogenous viability, underlies the difficulties faced by the film industry in Wellington. However, cultural industries studies have overlooked the issue of sustainability in the film industry, or dealt with it only indirectly.This study draws on theoretical approaches from the political economy of culture and geographical industrialisation theory, suggesting that integrated relations among the value chain phases, and synergistic interactions among the film industry organisations, are crucial to film industry development. Accordingly, this thesis derives from the hypothesis that such relations are key to sustainable outcomes. The main question that this research addresses is, What interrelations in the film industry enable its sustainability? The thesis uses the empirical example of the film industry in Wellington as an industrial district that sheds light on similar film industrial districts that depend on transnational outsourcing and government funding, yet struggle to achieve a sustainable endogenous industry. Although the district in Wellington has unique characteristics, it cannot be understood without referring to the determinant influence of policies and economic flows that occur at the national and international levels. Therefore, a large part of the thesis is dedicated to examining such external dynamics.I gathered data through 30 qualitative interviews with key practitioners as well as boundary spanners in the film industry. Boundary spanners are people who are responsible for establishing relations with other film-related organisations and the industrial district environment. The research also drew on secondary data from various sources, mainly official documents and statistics, media reports, public information of film industry organisations and previous academic studies.As part of my analysis, I identified localised ‘vertical’ blockages in the value chain, such as the disarticulation of production from distribution and commercialisation of films, and ‘horizontal’ blockages in a vast array of interlinked organisations and policy environments. I have argued that these constraints obstruct synergistic interrelations towards achieving sustainability as they underwrite outcomes in five main areas: financial capacity, ability to maintain labour pools, ability to feed from creative sources, ability to develop productivity and infrastructure, as well as the opportunity to reach audiences. The Wellington example showed structural blockages in all those areas and the thesis suggests general paths to canalise relationships in the industry to create sustainability.My analysis contributes to the international field of cultural industries studies, in which there is very little clarity about how to give an account of sustainability in the film industry. The thesis has identified a gap between the theoretical accounts explaining how the film industries work, and international organisations’ advocacy for sustainable development in the cultural industries. By proposing a definition of sustainability in the film industry as well as suggesting systematic accounts of sustainability as an analytical and normative framework, the thesis contributes by establishing a bridge between the theory and its application to achieve normative (or desirable) sustainable outcomes.In addition, the research findings provide an increased understanding of the industry for both film industry practitioners and film policy advisors. When contrasting the findings with the conditions for a sustainable industry, I have noted that the film industry in Wellington presents several challenging areas. I suggest that policy-makers should pay special attention to them. These are audience development; professionalisation in scriptwriting and original creative content; intermediary expertise (not at the individual but at the organisational level so that knowledge around marketing and copyright management can be accrued and transferred in the long-term); alternative channels of distribution and dissemination (whose contracts guarantee with minimum standards a fair and quick redistribution of the revenue stream for the producer). Likewise, I consider it essential to increase the collaboration of local companies with independent (as opposed to major) international players in order to maintain the balancing power in negotiation without compromising control over revenue.
机译：官方统计数据显示，过去十年来惠灵顿的电影制作收入有所增加。然而，非正式的辩论表明惠灵顿电影业缺乏资金能力，而生产水平只是间歇性的。我认为，缺乏可持续性（这里定义为长期内生生存力）是惠灵顿电影业面临的困难的基础。然而，文化产业研究忽略了电影业的可持续性问题，或仅间接地解决了这一问题。这项研究借鉴了文化政治经济学和地理工业化理论的理论方法，表明价值链各阶段之间的整合关系，电影行业组织之间的协同互动，对于电影行业的发展至关重要。因此，本论文源自这样的假设：这种关系是可持续成果的关键。这项研究要解决的主要问题是，电影业中哪些相互关联使电影具有可持续性？本文以惠灵顿的电影产业为例，作为一个工业区，它揭示了依赖跨国外包和政府资金但仍难以实现可持续的内生产业的类似电影工业区。尽管惠灵顿地区具有独特的特征，但如果不提及国家和国际层面上政策和经济流动的决定性影响，就无法理解它。因此，论文的很大一部分致力于研究这种外部动力。我通过与电影行业的主要从业者以及边界扳手进行了30次定性访谈，收集了数据。边界扳手是负责与其他电影相关组织和工业区环境建立关系的人员。该研究还利用了来自各种来源的辅助数据，主要是官方文件和统计数据，媒体报道，电影行业组织的公共信息以及以前的学术研究。作为分析的一部分，我确定了价值链中的局部``垂直''障碍，例如电影的发行和商业化导致生产脱节，以及在众多相互联系的组织和政策环境中出现“水平”障碍。我认为这些制约因素阻碍了实现可持续性的协同关系，因为它们在五个主要领域保证了结果：财务能力，维持劳动力的能力，从创意来源获取食物的能力，发展生产力和基础设施的能力以及实现增长的机会。吸引观众。惠灵顿的例子显示了所有这些领域的结构性障碍，论文提出了建立行业关系以创造可持续性的一般途径。我的分析对文化产业研究的国际领域做出了贡献，在该领域，关于如何提供电影业可持续发展的原因。论文确定了解释电影业如何运作的理论解释与国际组织倡导文化产业可持续发展之间的差距。通过提出电影行业可持续性的定义，并建议系统性地将可持续性作为一种分析和规范性框架，本论文通过在理论与应用之间架起桥梁，以实现规范性（或理想的）可持续性成果做出贡献。 ，研究结果为电影业从业者和电影政策顾问提供了对该行业的进一步了解。在将调查结果与可持续性产业的条件进行对比时，我注意到惠灵顿的电影业存在一些挑战性领域。我建议决策者应该特别注意他们。这些是观众的发展；脚本编写和原创创意内容的专业化；中介专业知识（不是个人知识，而是组织层次的知识，以便可以长期积累和转让有关营销和版权管理的知识）；替代的发行和传播渠道（其合同以最低标准保证了为生产者公平，快速地重新分配收入流）。同样，我认为必须增加本地公司与独立（而非主要）国际参与者的合作，以保持谈判中的平衡能力而又不损害对收入的控制。

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