Stimulativni instrumenti i strategije kulturne politike u oblasti filmske proizvodnje u Srbiji

Abstract

Prvo poglavlje je uvodni deo doktorata u kojem se, nakon uvodnog razmatranja političkog, ekonomskog i kulturnog konteksta teme, definiše polazni okvir naučnog istraživanja: naučni problem, predmet i ciljevi rada, pojmovno-hipotetički okvir, istraživačko pitanje i metodologija istraživanja. U drugom poglavlju se sa stanovišta menadžmenta filmske proizvodnje sagledava sociokulturni ciklus filma kao zaokružena celina sastavljena od pojedinačnih elemenata u nizu (kulturne potrebe filmske publike, umetničko obrazovanje i edukacija rukovodilaca u kulturi, filmsko stvaralaštvo i podsticajno okruženje, proizvodnja i film kao proizvod, difuzija kroz filmske festivale i sl, animacija filmske publike, te arhiviranje i digitalizacija filma). Drugi deo poglavlja čini celovit uvid u sve faze proizvodnog procesa filma koji, pored predpripreme i pripreme, obuhvata i produkciju, postprodukciju, distribuciju i prikazivanje filmova. Treće poglavlje čini istorijska analiza proizvodnje filmova u Srbiji sprovedena u dve vremenske tačke preseka: u periodu socijalizma tokom druge polovine 20. veka i u periodu tranzicije početkom 21. veka sagledana i sa aspekta menadžmenta filmske proizvodnje kroz delatnost Centra filmskih radnih zajednica i Filmskog centra Srbije. Četvrto poglavlje disertacije čini analiza kulturne politike u odnosu na kinematografiju fokusirana na pregled instrumenata i strategija filmske proizvodnje u Srbiji. Obuhvata analizu pravno-političkih, ekonomskih, vrednosno-idejnih i organizacionih instrumenata kulturne politike u oblasti filma koja je, takođe, kao i u prethodnom poglavlju, sprovedenu u dve vremenske tačke preseka (socijalizam, tranzicija). U drugom delu poglavlja proučavaju se ključne strategije kulturne politike i menadžmenta u kulturi koje ukazuju na neophodnu sinergiju države i institucija filmske proizvodnje kako bi se smanjilo njihovo finansiranje iz državnog budžeta, a one osposobile da funkcionišu na tržištu. Proučavane strategije su: povezivanje javnog, privatnog i civilnog sektora, postizanje održivosti privatizacijom u cilju da privreda postane strateški partner javnog sektora i konačno, programsko-organizacione strategije usmerene na povećanje obima 6 produkcije i usluga, razvoj publike i širenje tržišta, difersifikaciju programa, programsko fokusiranje i diversifikaciju resursa. Peto poglavlje je posvećeno proučavanju savremenog koncepta “lanca vrednosti” (value chain) koji, u oblasti kulturne politike i menadžmenta u kulturi, podrazumeva čitav sistem podsticajnih mera usmerenih, pored stavaralaštva, i na proizvodnju, distribuciju i participaciju. U njemu se analiziraju različiti aspekti načela promocije raznolikosti kulturnih izraza koji se odnose na filmsku proizvodnju, kao i novi trendovi u javnim praktičnim politikama onih država koje su ratifikovale UNESKO Konvenciju o zaštiti i unapređenju raznolikosti kulturnih izraza, među kojima je i Srbija. Šesto poglavlje predstavlja projetno modelovanje novih efikasnijih i efektivnijih stimulacija filmske proizvodnje prilagođeno promenjenim političkim, ekonomskim, društvenim i kulturnim okolnostima u Srbiji i međunarodnom okruženju. Obuhvata modelovanje neposredne stimulacije kroz budžetsko finansiranje i posredne stumulacije za razvoj infrastrukture, ljudskih resursa i tehničko-tehnoloških kapaciteta, arhiviranja i digitalizacije filma. Sedmo poglavlje donosi zaključak izveden na osnovu sprovedenih teorijsko-empirijskih istraživanja u kojem se konstatuje da Srbija u tranzicionom periodu stimuliše razvoj kinematografije isključivo koristeći ekonomski instrument direktnog i indirektnog finansiranja, dok su svi ostali raspoloživi instrumenti i strategije, prema teoriji kulturne politike i menadžmenta u kulturi – u potpunosti zanemareni. Time je istovremeno i potvrđena polazna hipoteza da država u procesu tranzicije mora koristiti različite instrumente i strategije kako bi stimulisala sve faze procesa i omogućila kontinuitet filmske proizvodnje dok ona ne bude dovoljno jaka da samostalno funkcioniše na tržištu ne dovodeći u pitanje kvalitet i posebnost filma kao umetničkog dela.

The first chapter in this doctoral dissertation is an introduction which, after considering the political, economic and cultural context of the topic, defines the benchmark of scientific research: the scientific problem, subject and the objectives of the work, the conceptual and hypothetical framework, the research questions and the methodology used. The second chapter, coming from the perspective of film production management, looks at the socio-cultural cycle of film as a circle composed of individual elements completed whole, created from equal parts lined up in a row (the cultural needs of the film audience, art education and the education of the cultural leaders, film creativity and a supportive environment, production and film as a product, diffusion through film festivals and the like, the animation film audience, and the archiving and digitalization of film). The second part of the chapter provides comprehensive insight into all the phases of the film production process, which, in addition to pre-production preparations, includes the production, post-production, distribution and exhibition of films. The third chapter makes a historical analysis of film production in Serbia, conducted during two time periods of intersection: the period of socialism during the second half of the 20th century and the period of transition during the beginning of the 21st century viewed in terms of management and film production activities through the Center of Working Film Professionals and the Film Center of Serbia. The fourth chapter of this doctoral dissertation is an analysis of the cultural policy in relationship to filmmaking, focused on the review of the instruments and strategies behind film production in Serbia. This includes an analysis of the legal and political, economic, and evaluative conceptual and organizational instruments of culture policy in the field of film which is, also, as in the previous chapter, conducted through two time periods of intersection (socialism, transition). The second part of this chapter studies the key strategies of cultural policy and cultural management indicating the necessary synergy that the state institutions and film productions leverage in order to reduce 8 their funding from the state budget, while they enable them to operate in the market. Studied strategy is around connecting the public, private and civil sectors, achieving sustainable privatization in order for the economy to become a strategic partner of the public sector and finally, programming and organizational strategies aimed at increasing the volume of production and services, audience development and market expansion, the diversification of programs, program focus, and the diversification of resources. The fifth chapter is devoted to the study of the modern concept of the ”value chain” which, in the realm of cultural policy and the management of cultural policies, involves a system of incentives directed, in addition to creation, ànd in the manufacturing, distribution and participation. It analyzes various aspects of the principles of promoting the diversity of cultural expressions relating to film production, as well as new trends in the public policy of those countries that have ratified the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, among which is Serbia. The sixth chapter represents modeling of new, more effective and efficient stimulation of film production that has adapted to the changed political, economic, social and cultural circumstances in Serbia and the international environment. It includes the modeling of direct stimulation of the budget through financing and indirect stimulation for the development of infrastructure, human resources and technological capacity of archiving and digitizing film. The seventh chapter brings the conclusion drawn on the basis of the conducted theoretical and empirical research which states that Serbia is in a transitional period, stimulates the development of film exclusively using the economic instrument of direct or indirect funding, while all other available instruments and strategies, according to the theory of cultural policy and cultural management – are completely ignored. This also confirmed the starting hypothesis that the country in the transition process must use a variety of instruments and strategies to stimulate all stages of the process and allow for the continuity of film production until she is strong enough to independently operate on the market without compromising the quality and uniqueness of film as a work of art.