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In May 2017, Denmark and China signed a film co-production agreement, marking Denmark as the first and only Nordic country to establish such a treaty with China. Taking two recent China-Denmark film co-productions as examples, Bille August's The Chinese Widow (2017) and Lin Jianjie's Brief History of a Family (2024), this paper investigates why China chose to sign a film agreement with Denmark and vice versa. It also examines the cultural and film policies that catalysed the emergence and development of this new co-production partnership. This paper aims to address two emergent trends in transnational screen studies: conceptual engagement with soft power and transnational talent development. It discusses how cinema serves as an instrument for states, institutions, and corporations to mediate diplomatic and political goals, generate soft power, and engage in nation branding. This paper argues that the transformation in geopolitical relationships between these two countries and their respective film and cultural policies over the past decade has led to this new collaborative partnership. Furthermore, it suggests that the latest European cultural policies supporting Sino-European co-production and transnational talent development have facilitated Sino-Danish film co-production. [ABSTRACT FROM AUTHOR]

The article introduces the notion of the European financial co-production, characterized by the mandatory cultural value of the script and empowerment of the minority co-producer through risk-sharing in financing. Eurimages, the Council of Europe's film fund, inaugurated the first policies promoting European financial co-productions more than two decades ago by introducing the European Convention on Cinematographic Co-production. Many European film funds have followed the same policies on the national level, but the Danish Film Institute has been by far the most innovative. This article explores in more detail the DFI's internationalization policy actions, particularly its minority co-production scheme, which democratized the practice of European co-production that traditionally had been the sole purview of a narrow circle of high-profile European producers. The shift enabled young Danish producers to engage in minority co-productions, popularizing co-production as a model among Danish producers of all calibres and triggering a dynamic knowledge transfer between co-producers. [ABSTRACT FROM AUTHOR]

Since Wanda's acquisition of Hoyts Group in 2015, and Australia's signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society. [ABSTRACT FROM AUTHOR]

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The complexity and gradual increase of the international co-production phenomenon makes its research from different points of views important, and also increases the need to have trustworthy and verifiable data that are sometimes hardly accessible to researchers. The aim of this work contemplates two main aspects: an analysis of the current situation of the cataloging system of film co-production and an inquiry into the appropriateness of the creation of a specific database, a unique archiving and cataloging system, for the Spanish film co-productions with different Latin American and European countries. In addition, the study will allow for an approximation, albeit an introductory one, in order to understand the circumstances of production and international circulation of Spanish film co-productions. [ABSTRACT FROM AUTHOR]

This paper examines Tony Ayres' recent film, The Home Song Stories (2007) using the framework of queer Asian Australian migration. First, queer migration is critically considered through the minor transnationalism of its co -production. Evaluating the marketing of the film in Singapore and Australia, this article shows how Chinese ethnicity is deployed as exclusive and inclusive to enable different tactics of queer mobility and how these tactics are incorporated by different film policies to fulfill competing national aims. Second, this article considers the queer mobility of diasporic intimacy. Diasporic intimacy disrupts the regulation of queer migration and shows how the private domains of memory, family and sexuality are reconstituted in the transnational Chinese diaspora. The framework of queer Asian Australian migration describes the non-normative migration of Asians to Australia, the disjunctive flows of mobility that constitute the Asian diaspora in Australia, as well as the regulation of non-normative Asian Australian migration in national symbolic and institutional economies. The framework of queer Asian Australian migration, this article argues, provides a theoretical platform to critically consider the transnationality of Asian Australian cinema. [ABSTRACT FROM AUTHOR]