| Summary: | This thesis seeks to analyse a producer?s thinking about the making of a creative ducumentary on the international market. It aims to do so through the analysis of strategies used by specific producers in the Central and Eastern Europe.
The project describes the particularities in making the of as well as financing a creative documentary and its development in the last two decades. It examines the producer?s relationship towards the director and the extent to which he can creatively participate in the process of creation and the subsequent presentation of the film work. This thesis also tries to describe the choice of available production strategies which can very fundamentally determine the success or the failure of the film.
The term strategy describes a collection of personal practices and important decisions made by individual producers based on either their good intuition or an extensive experience. It could be described as a mosaic of skills that creates the art of production.
To achieve the objectives of the thesis, the chosen research method is based on facts and personal observations of the author. For the purpose of this project she choose four diffrent producers from the formel Eastern Block. All of them tend to think comprehensively about their work and often produce films for the international market; an ambition, that is also reflected in the funding of the projects. At the same time, they are all very renowned producers in their own countries, actively encouraging the domestic authors of mostly documentary films. Naturally, each of these producers has his or her unique approach to film production and this difference is the author?s main focus.
Selected producers: Jiří Konečný (endorfilm, Czech Republic), Martichka Bozhilova (Agitprop, Bulgaria), Anna Wydra (Otterfilms, Poland) a Alexandru Solomon (HiFilm Productions, Romania).
The data was collected from articles and publications but mainly in the form of interviews with the producers themselves and their local film makers. In an attempt to describe the film market in which the producers operate, each chapter is introduced with the characteristics of his homeland. This should help to set his work and thinking in the appropriate socio-economic context. An important part of the thesis represent the case studies of selected film producers. Here, the analyses of specific films are an attempt to better explain the issue. The characteristics of each producer helps to provide a deeper individual analysis, considering not just the nature of their work, but also their personal history and any other significant characteristics.
The creation of a how-to-become-a-successful-producer manual is certainly not the aim of this work. It is rather a deeper analysis of this profession based on the author?s personal observation. The project tries to compare different ways of producer thinking with the consideration of their advantages and drawbacks. Finally, it seeks to estimate the further direction and find out more about plans and visions of the contemporary producers of creative documentaries.
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