engleski

Run Away, Turn Away. Runaway Productions and Local Audiovisual Production

The case of runaway productions has caused a large concern from the perspective of (the unions of) audio-visual workers from 'outgoing' countries. This concern is twofold ; firstly, it is based on the fear for the loss of jobs on the ‘local’ level ; and secondly, it is based on regards around the diminishing of the labour rights and the lowering of labour costs of audiovisual workers on the global scale (Mosco and McKercher, 2008). Although there are differences between particular runaway productions – the first being based on the economic reasons (of lower production costs) and the other based on the aesthetic reasoning (finding the new and different locations, etc), in a number of cases the division line between the two is difficult to discern. Taking into account the global flow of the cultural and audiovisual products and services, thus, the impact of the (global) cultural industries (Lash and Lury, 2007) and the transnationalisation of audiences and labour (Mosco, 2008), it is ever more difficult to establish the common ground for the labour rights protection on the global scale. The notion that runaway productions bring jobs and funding to particular locations under the hegemonic discourse of ‘growth and jobs’, needs to be critically reassessed from the angle of the quality of these jobs, labour right protection and the overall sustainability of such (cultural) development (Katunarić and Cvjetičanin, 2001) in a particular locations. These questions will be examined in a particular local context, that is, from a Croatian perspective as one of the ‘small nods’ of the global culture industry network, which had its’ historical background of ‘runaway productions’ also during the former Yugoslavia. I will present results from a case study of the ‘runaway productions’ in Croatia in the period of 2013-2014 which came about as a result of the new Film Production Incentive Programme initiated by the Government in 2012, which resulted with hosting series such as ‘Game of Thrones’, ‘Borgia’ etc. This case study analysis will be based on the exploratory sequential mixed-method design (Cresswell, 2009) that will combine the analysis of the quantitative indicators – i.e. fiscal indicators of the Incentive Programme provided by Croatian Audiovisual Centre (HAVC) and qualitative data – based on the semi-structured expert interviews (also referred to as the interview guide approach [Patton 2002]) with key stakeholders of audiovisual production in Croatia.

audiovisual industry; runaway productions; Croatia

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