Norwegian film: Goals and organization
Norway has a unique system of state funding for film activities and municipal operation of cinemas. In such a small language community, where private investment capital and earnings potential are limited, there would be no film industry without official public support. Toward the end of the 1990s, however, it became apparent that the support mechanisms needed modernizing. A significant restructuring was undertaken in the summer of 2001, and there are continuing calls for change and privatization in municipal cinema operations.
Norwegian film policy is designed to ensure the production and availability of a wide range of high-quality audiovisual works. With this in mind, the Storting (Norwegian national assembly) has defined a number of specific goals relating to public support for, general access to and the creative development of Norwegian audiovisual productions.
The Norwegian Film Institute was established in 1955 and reorganized with the National Film Board in 1993 to preserve and restore Norwegian audiovisual productions, to distribute and screen films in Norway, and to draw attention to the Norwegian film industry both at home and abroad. Cultivating international interest in Norwegian films is one of the institute’s most important tasks. The Norwegian Film Institute is under the auspices of the Ministry of Cultural and Church Affairs.
The 2001 restructuring also resulted in the establishment of the Norwegian Film Fund, which was given sole responsibility for granting state funds to film production.
In addition to administering grant schemes for feature films, documentaries and short films, the fund provides grants based on ticket sales as well as development support to production companies. It also funds the Norwegian Film Commission and projects related to Eurimages and Media Desk Norway. The Norwegian Film Fund received close to NOK 252.7 million (approx. EUR 31.5 million) in 2004 for distribution for film and television purposes, and its efforts are primarily directed towards independent Norwegian film producers. The fund also serves in an advisory capacity to the Ministry of Culture and Church Affairs on film industry issues.
Activities to enhance the creativity and expertise of the film industry are the shared responsibility of the Norwegian Film Fund and Norwegian Film Development (formerly the National Centre for Screen Development).
The overall responsibility for the film sector is thus divided three ways: The Norwegian Film Institute is in charge of preserving, distributing and marketing Norway’s film heritage; the Norwegian Film Fund distributes allocations; and Norwegian Film Development promotes the development of professional expertise. This new line of cultural-policy thinking has resulted in more confidence in the private investment potential of Norwegian film, a doubling of feature film production and a surge in ticket sales.
Norway adopted its first act of legislation relating to cinema operations in 1913 as a result of public concern over the ability of motion pictures to influence audiences. The act had two main aims: to ensure adequate national monitoring of films for public consumption and to impose stricter controls on the industry itself as well as on film distribution. The act made it possible for municipalities to assume responsibility for movie theatre operations. The result was a unique system of municipal cinemas that pushed private players out of the market.
The organization Film&Kino (formerly the National Association of Municipal Cinemas) represents the interests of Norwegian municipalities in cinema operations and film and video issues. It also serves as the trade association for cinema and video enterprises. The organization administers the Norwegian Cinema and Film Foundation as well as the Mobile Cinema, and publishes the periodical Film & Kino. It helps Norwegian cinemas to operate as competitive enterprises within the cultural sphere in local communities, and works to enhance the professional and cultural level of the video market.
Public debate over Norway’s municipal cinema system has intensified of late. Privatization proponents claim the municipal system falls short of today’s expectations regarding market orientation and cinema technology. Advocates of municipal control, however, insist that the current system is necessary to ensure quality film schedules in outlying districts and to provide support for the circulation of films designed for a narrower audience.
By the Norwegian Film Institute