national film production, which in most countries is an important element of cultural policy, as it adds diversity and both reflects and shapes national identities ( Murschetz et al., 2018 ). Despite generous state finance institutions ( Kanzler & Talavera, 2018 ), most producers are dependent on market revenues to finance new projects ( Gaustad, 2009 ). A drop in home video revenues will have consequences for producers’ ability to finance new productions, unless the drop is compensated for by higher theatrical revenues or state support.
While there is a significant
How private media managers talk about responsibility to society in an era of turmoil
Trine Syvertsen, Karen Donders, Gunn Enli and Tim Raats
of commercial business. This has always included incidents and trends that have put the pursuit of profits above the public interest; still there is a strong history of attempts to balance the two. (Croteau & Hoynes, 2006: 33)
A broad public purpose of private media was, at least until recently, “widely, if not universally, accepted” (Croteau & Hoynes, 2006: 32), involving notions such as diversity, innovation, substance and independence. The authors noted that serving the public interest is usually understood as “a vibrant media system that is open to various
Outlining the figure of the entrepreneur–journalist in four French pure players
; Smyrnaios, 2013 ), a strong diversity of “pure players” has continued to surface during the past decade, in France and abroad. These also include media created by journalists who have decided to leave their jobs in corporate newsrooms. According to these media’s declarations of purpose and their promotional content, the founding journalists are motivated by the opportunity to create something from scratch and have control over both the business and the editorial processes – aspects that were missing from their previous job.
Building on this earlier research, this