Finnish transnational film production: Collaboratives, production models and work culture

Abstract

Transnational film production was spurred on by factors of globalization and technology like human migration, political and economic liberalization, interconnectivity, availability of cheap digital filmmaking resource and homogenization of film format. These factors are succinctly referred to as the 5 'scapes' of Global Cultural Flow (Arjun Appadurai, 1996).

This thesis used my thesis film ‘Homebound as the provocation for a discursive analysis of transnational film production between Finland and South Africa. What factors in transnational collaborative partnership yield the most value? What is the place of work culture and ethics in transnational film production? And finally, how does the difference in film production model between Finland and South Africa impact film production and work relationship?

The theoretical framework is situated in the argumentation that transnational cinema is made and received by agencies working beyond national borders, to create new kind of understanding and collaboration and also to enhance continuous transnationalization of film production, distribution, consumption and organization.

For this research, I analysed transnational film production processes in Homebound. This is contrasted with interviews of Finnish and South African filmmakers on the impact of networking, ethical leadership and the difference in production models on transnational film production undertaken by Finnish filmmakers in South Africa.

My research findings indicate that fundamental to transnational film production is the ability to identify the appropriate partnership, this should be done by matching the expertise and competence of partners to film needs; it could be visual or logistical. The role of the producer goes beyond the excel, it is also about understanding the work culture of the new place.

While technology has harmonized film format, there are clear differences in work culture and attitude between Finland and South Africa that a transnational producer must imbibe. Contrary to accepted notion, the advantage of South Africa for Finnish filmmakers is not only economic, but also demographic and geographic.

Keywords Finnish, Transnational Film Production, Production Models