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FILM PRODUCTION IN POSTSOVIET RUSSIA: SEVEN FACTORS OF INVESTMENT RISK
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FILM PRODUCTION IN POSTSOVIET RUSSIA: SEVEN FACTORS OF INVESTMENT RISK
Annotation
PII
S0132-16250000331-0-1
Publication type
Article
Status
Published
Authors
Mikhail I. Zhabskiy 
Edition
Volume 408 Issue 4
Pages
127-137
Abstract
Film production of post-Soviet Russia is a territory of formidable investment risk intimidating for private business. A significant role in determining the risk is played by social factors. As a result of the post-Soviet restructuration of the theatrical audience the overwhelming majority of Russians found themselves outside cinema’s social orbit. The potential spectator who still supports cinema with the rouble is extremely inert. The level of confidence for the quality of Russian films is low. The audience is formed and reproduced largely under the dictate of Hollywood which, through a chain of intermediations, leads toits naturalization in the content and esthetics of Russian films. Due to the expensiveness of cinema tickets, competition from the internet and other modes of promoting films for spectators, the rating of the movie theater is falling. Under these circumstances, the production of national films is a super-risk business. The financial costs thus incurred, the state is compelled to impose on itself. In the market they are not recompensated, and the sociocultural return on cinema does not satisfy the society. Initiated by the production of Russian films, the cinema process finds itself in the condition of a profound social and cultural trauma. To correct this state of affairs is in the purview of a transition from the inertial to an innovational scenario for the functioning of Russian film production and its state guardianship.
Keywords
state, Russian film production, audience, interest, spectator demand, competition, investment risk, social factors of risk, inertial scenario, trauma
Date of publication
01.04.2018
Number of purchasers
8
Views
472
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0.0 (0 votes)
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References



Additional sources and materials

Mattelart A. European film policy and the response to Hollywood. In: Hill J. and Gibson P.C. (eds) The Oxford Guide to Film Studies. Oxford, UK: Oxford University Press, 1998: 478–485.


Prokop D. Soziologie des Films. Frankfurt am Main: Fischer Taschenbuch Verlag, 1982.


Zabskiy M.I. (1994) Do you need Russian cinema? Sotsiologicheskie issledovaniya [Sociological studies]. No. 4: 69–74. (In Russ.)


Zhabskiy M.I. (2009) Sociocultural Drama of Cinematography. Analytical Annals (1969–2005). Moscow:Kanon+ ROOI “Reabilitatsiya”. (In Russ.)


Russian Film Industry – 2016: Figures (2016). Moscow: Fond kino i informatsionnoe agentstvo InterMedia. (In Russ.)


Toschchenko Zh.T. (2017) Trauma as Deformation of Evolutionary and Revolutionary Ways of Development (A Sociological Theorizing). Sotsiologicheskie issledovaniya [Sociological studies]. No. 4: 17–25. (In Russ.)

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