TY - JOUR
T1 - The Advocacy Coalition in the British Film Institute in Its Early Days
AU - Terui, Takao
N1 - Funding Information:
I thank Professor Hye-Kyung Lee and anonymous reviewers for their constructive comments and suggestions. This paper is derived from my PhD thesis (2023, King’s College London). My archival research was funded by the Hoso Bunka Foundation, the Konosuke Matsushita Foundation, and the Japan Science Society.
Funding Information:
I thank Professor Hye-Kyung Lee and anonymous reviewers for their constructive comments and suggestions. This paper is derived from my PhD thesis (2023, King’s College London). My archival research was funded by the Hoso Bunka Foundation, the Konosuke Matsushita Foundation, and the Japan Science Society.
Publisher Copyright:
© 2023 The Author(s). Published with license by Taylor & Francis Group, LLC.
PY - 2023
Y1 - 2023
N2 - This paper explores the interactions and cooperation between public-sector, business-sector, and civil-society stakeholders in developing British film policy for educational and cultural purposes. In particular, this paper adopts the Advocacy Coalition Framework to explain why and how public authorities, film industry organizations, and educationalists efficiently communicated and cooperated with each other in making the British Film Institute. By doing that, this paper explains (1) how commercial business and social workers, who were initially hostile, could build constructive partnerships; (2) how inactive, noninterventionist governments could be involved in the policymaking for cultural sectors; and (3) how private business could be persuaded into supporting cultural and educational policy for noncommercial purposes.
AB - This paper explores the interactions and cooperation between public-sector, business-sector, and civil-society stakeholders in developing British film policy for educational and cultural purposes. In particular, this paper adopts the Advocacy Coalition Framework to explain why and how public authorities, film industry organizations, and educationalists efficiently communicated and cooperated with each other in making the British Film Institute. By doing that, this paper explains (1) how commercial business and social workers, who were initially hostile, could build constructive partnerships; (2) how inactive, noninterventionist governments could be involved in the policymaking for cultural sectors; and (3) how private business could be persuaded into supporting cultural and educational policy for noncommercial purposes.
KW - advocacy coalition
KW - Film policy
KW - media history
KW - media industry
UR - http://www.scopus.com/inward/record.url?scp=85164952931&partnerID=8YFLogxK
U2 - 10.1080/10632921.2023.2227183
DO - 10.1080/10632921.2023.2227183
M3 - Article
AN - SCOPUS:85164952931
SN - 1063-2921
VL - 53
SP - 200
EP - 216
JO - Journal of Arts Management Law and Society
JF - Journal of Arts Management Law and Society
IS - 3
ER -