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Building Stronger National Movie Industries: The Case of Spain

Building Stronger National Movie Industries: The Case of Spain Building Stronger National Movie Industries: The Case of Spain &TOR FERNANDEZ-BLANCO AND JUAN PRIETO-RODR~GUEZ he American movie industry dominates Spanish cinema. Consider the T following: Nine of the ten most important films of 1998 in Spain were American movies, in terms of revenues and filmgoers, with Titanic topping the list (SGAE 1999). Only one Spanish movie placed in the top ten (Torrente, which ranked third). The second Spanish film on the list (La niria de tus ojos) was in twelfth place, while the first non-Spanish European film (The Full Monty) placed twenty-eighth. These figures represent the power of the major Hollywood studios (“majors”) in film distribution. Five film distributors (Buena Vista, Columbia Tri-Star, HispanoFox Films, UIP, and Warner-all associated with the majors4ontrol three-quarters of the Spanish market, even though they only distribute about 20 percent of the films exhibited each year (SGAE 1999). In 1998, with the exception of Columbia Tri-Star, no more than 2 percent of the revenues taken in by majors’ distribution companies came from Spanish movies. The distribution companies control all access to the Spanish screens and distribute films following a block-booking practice, in which theaters must show a certain array of a company’s films to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png "The Journal of Arts Management, Law, and Society" Taylor & Francis

Building Stronger National Movie Industries: The Case of Spain

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Building Stronger National Movie Industries: The Case of Spain

Abstract

Building Stronger National Movie Industries: The Case of Spain &TOR FERNANDEZ-BLANCO AND JUAN PRIETO-RODR~GUEZ he American movie industry dominates Spanish cinema. Consider the T following: Nine of the ten most important films of 1998 in Spain were American movies, in terms of revenues and filmgoers, with Titanic topping the list (SGAE 1999). Only one Spanish movie placed in the top ten (Torrente, which ranked third). The second Spanish film on the list (La niria de tus ojos) was in...
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1930-7799
eISSN
1063-2921
DOI
10.1080/10632920309596572
Publisher site
See Article on Publisher Site

Abstract

Building Stronger National Movie Industries: The Case of Spain &TOR FERNANDEZ-BLANCO AND JUAN PRIETO-RODR~GUEZ he American movie industry dominates Spanish cinema. Consider the T following: Nine of the ten most important films of 1998 in Spain were American movies, in terms of revenues and filmgoers, with Titanic topping the list (SGAE 1999). Only one Spanish movie placed in the top ten (Torrente, which ranked third). The second Spanish film on the list (La niria de tus ojos) was in twelfth place, while the first non-Spanish European film (The Full Monty) placed twenty-eighth. These figures represent the power of the major Hollywood studios (“majors”) in film distribution. Five film distributors (Buena Vista, Columbia Tri-Star, HispanoFox Films, UIP, and Warner-all associated with the majors4ontrol three-quarters of the Spanish market, even though they only distribute about 20 percent of the films exhibited each year (SGAE 1999). In 1998, with the exception of Columbia Tri-Star, no more than 2 percent of the revenues taken in by majors’ distribution companies came from Spanish movies. The distribution companies control all access to the Spanish screens and distribute films following a block-booking practice, in which theaters must show a certain array of a company’s films to

Journal

"The Journal of Arts Management, Law, and Society" – Taylor & Francis

Published: Jan 1, 2003

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