Economia da cultura e a regulação da indústria cinematográfica: uma abordagem comparativa entre Brasil, Argentina, Itália, França e EUA

• Ano de defesa: 2019
• Autor(a) principal: Favorato, Diego Goncalves
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Mestrado em Economia; Centro de Ciências Jurídicas e Econômicas; UFES; Programa de Pós-Graduação em Economia
• Palavras-chave em Português: Brazilian cinematographic industry; Mesoeconomic regulation; Cinematographic industry; Cultural goods; Cultural cconomics; Indústria cinematográfica brasileira; Regulação mesoeconômica; Indústria cinematográfica; Bens culturais; subject.br-rjbn; Teoria Econômica
• Link de acesso: http://repositorio.ufes.br/handle/10/13415

The objective of this dissertation is to analyze the mesoeconomic regulation of the industries of cinema in countries that are considered cinematographic exponents, both by the quantity of films they produce, as well as the aesthetic quality and ways of operating this industry. The analyzed countries were The United States of America, France, Italy and Argentina. In an attempt to find solutions for the Brazilian cinematographic production, we have used the theoretical framework from the Cultural Economics, through which we were able to verify how the cultural goods undergo autonomization, how the economic appreciation happens and how the techno-esthetical pattern and the economic specificities of these goods take place. By studying the emergence of this industry in each country, we verified the existence of State support, which in turn, when followed by public policies and laws, allowed us to delineate the type of mesoeconomic regulation each country follows. While the USA practices a private type of regulation meeting the global rationales of accumulation, France, Italy and Argentina constitute regulations with a Public Character, which varies according to the production chain in each country. In this way, it is noticeable that the Brazilian structure still has not taken a robust regulation form, transiting between the Public and the Public-Private regulation, thus resulting in a developing production when compared to the other countries. Therefore, it is necessary to reformulate the existing regulatory propositions in the country, focusing on the inter-media relations and seeking the best existing production models from the greatest film producers in the world. Furthermore, it is imperative to foment the relationship between production, distribution and exhibition turning the chain into a cohesive mechanism