Competitiveness policy and economic organization: The case of the British film industry

Screen

Volumn 41, Issue 2, 2000, Pages 217-237

  Pratten, Stephen ^a   Deakin, Simon ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 24944540430     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/41.2.217     Document Type: Article

References (47)

1. Political and Economic Planning (PEP), The British Film Industry (London: PEP, 1952);
2. Geoffrey McNab, J. Arthur Rank and the British Film Industry (London: Roulledge, 1993);
3. Sally Hibbin. 'Britain has a new film establishment and it is leading us towards disaster'. New Statesman, 27 March 1998, pp. 40-41.
4. Film Policy Review Group (FPRG), A Bigger Picture (London: Department of Media, Culture and Sport. 1998), p. 18.
5. John Hill, 'British film policy', in Albert Moran led.), Film Policy: International, National and Regional Perspectives (London: Routledge, 1996).
6. See Richard Whish, Competition Law, third edition (London: Butterworths, 1993), ch. 1.
7. Department of Trade and Industry (DTI), Competitiveness: Helping Business to Win (London: HMSO, 1994), p. 9.
8. Israel Kirzner, How Markets Work: Disequilibrium, Entrepreneurship and Discovery (London: IEA, 1997), p. 59.
9. Department of Trade and Industry. Our Competitive Future. Building the Knowledge-Driven Economy, Cm. 4176 (London: TSO, 1998). p. 6.
10. See Clive Lawson. 'Towards a competence theory of the region', Cambridge Journal of Economics, vol. 23. no. 1 (1999), pp. 151-66.
11. Department of Trade and Industry. Our Competitive Future. p. 51.
12. See Moran (ed.). Film Policy.
13. Sarah Street. British National Cinema (London: Routledge, 1997), p. 1.
14. Hill, 'British film policy', pp. 111-12.
15. Department of Culture, Media and Sport (DCMS). Creative Industries 1998 Mapping Document (London: DCMS, 1998). p 10.
16. Source: Nick Thomas, 'UK film, television and video: overview', in BFI Film and Television Handbook 1999 (London: British Film institute, 1999).
17. Chris Barrie, 'World faces British TV onslaught'. The Guardian, 21 January 1999.
18. David Graham Associates, Building a Global Audience. British Television in Overseas Markets (London: DCMS, 1999).
19. Thomas, 'UK film, television and video: overview'.
20. Marc Samuelson, 'Lies, damn lies, and statistics', PACT, 1 October 1998. p. 7;
21. Gavin Hamilton-Deeley, Rogei Hussey, and Monika Sowinska, The Cost of Making Dreams. Accounting for the British Film Industry (London: Deloitte and louche, 1999).
22. Paul Krugman. 'Making sense of the competitiveness debate', Oxford Review of Economic Policy, vol 12, no. 1 (1996), pp. 17-24.
23. For a summary and restatement of path dependence theory see Mark Roe, 'Chaos and evolution in law and economics', Harvard Law Review, vol. 109, no. 3 (1996), pp. 641-68.
24. Brian Arthur, 'Competing technologies, increasing returns, and lock-in by historical events', Economic Journal, vol. 99. no. 394(1989), pp. 115-31.
25. lan Jarvie, Hollywood's Overseas Campaign: the North Atlantic Movie Trade, 1920-1950 (Cambridge; Cambridge University Press. 1992).
26. Harold Vogel. Entertainment Industry Economics (Cambridge: Cambridge University Press, 1986);
27. Jarvie, Hollywood's Overseas Campaign.
28. Mike Dale, The Movie Game, the Film Business in Britain. Europe and America (London: Cassell, 1997), p. 26.
29. Tino Balio, '"A major presence in all the world's important markets": the globalization of Hollywood in the 1990s', in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1998).
30. Monopolies and Mergers Commission. Report on the Supply of Films for Exhibition in Cinemas in the UK (London: HMSO, 1995), para. 2.211.
31. McNab, J. Arthur Rank and the British Film Industry.
32. John Eberts and Terry Ilott. My Indecision is Final: the Rise and Fall of Goldcrest Films (London: Faber & Faber, 1990);
33. Angus Finney, The State of European Cinema (London: Cassell, 1996).
34. see also John Hill, British Cinema in the 1980s (Oxford: Oxford University Press. 1999). ch. 1.
35. Street, British National Cinema, p. 23.
36. See Tony Lawson, Economics and Reality (London: Routledge, 1997), p. 251.
37. On their use in Hollywood see Mark Weinstein, 'Profit-sharing contracts in Hollywood: evolution and analysis'. Journal of Legal Studies, vol. 27, no. 1 (1998). pp. 67-112.
38. Terry Ilott. Budgets and Markets: a Study of the Budgeting of European Films (London: Routledge, 1996), p. 31;
39. for a different view see John Hill: 'British television and film: the making of a relationship', in John Hill and Martin McLoone (eds), Big Picture, Small Screen: the Relations Between Film and Television (Luton: Luton University Press, 1996). pp. 171-2.
40. Quoted in Hill, British Cinema in the 1980s, p. 51.
41. Weinstein, 'Profit-sharing contracts in Hollywood'.
42. For further details see Finney, The State of European Cinema, pp. 62-3.
43. Trijbits quoted in Graham Jones and Lucy Johnson, Talking Pictures: Interviews with Contemporary British Film-makers (London: British Film Institute, 1997), p. 6.
44. Hamilton-Deely et al, The Cost of Making Dreams.
45. Thomas, 'UK film, television and video', p. 28.
46. Steve McIntyre, 'The Lottery: where wilt all the money go?', Vertigo, no. 7 (1997), p. 4.
47. Sally Hibbin. 'Britain has a new film establishment', p. 41.