Abolish the Fund only for the show in favor of the market and federalism
Andrea de Liberato
Posted December 4, 2009 by Libertiamo.It
- I confess my immediate "original sin": the beginning of my film career as an entrepreneur I have repeatedly drawn to the infamous Fus (the Fund for the Performing Arts, which funds the cinema, theater, dance, opera, music, circus), created with the help of capital public a dozen films. Only after I gave up a million euro funds for awareness - let us say - "ideological", but not before myself personally became aware of the flaws and distortions of this instrument, which expresses the worst dirigisme ours. That committee of experts mandated to assess the feasibility and artistic value, on paper, this or that project, it is statism of the worst kind: how can we ignore the prevailing logic of patronage (perpetuatesi even after the introduction of greater automation, provided the so-called "urban reform") and the lack of reference to this?
The FUS is a tool that makes the culture industry in a state of inferiority compared to other industries, because it diverts much of the funding to work more or less meritorious from an artistic point of view, ignoring almost completely the commercial value of such products and the financial sustainability of projects. ", There is an idea - Filippo Cavazzoni Istituto Bruno Leoni wrote some time ago - that culture is something separate from the enterprise and then the numbers do not account for the culture." Now is the time instead, to put it still Cavazzoni, "that culture has to do with good management, which refers to the principles of efficiency as it does in other areas of the Italian economy."
There is a very specific historical and cultural reasons underlying the approach that brought in the heavy-handed Eighties establishment of the Single Fund for the Performing Arts. The law of 1963 Corona bartered state aid, the precursors of FUS, prohibiting the creation of works in English, thereby establishing a regulatory barriers exportability of Italian production, until then the main competitor of the American film industry in world markets. Not surprisingly, the most successful in Italian cinema, Dino De Laurentiis, has repeatedly pointed out that this unfortunate measure determines its relocation in the United States and that would have been sufficient (and, from a certain point of view, it would be enough yet) l 'abolition of that system to boost the domestic industry. The Crown Law
is one of the most sad and sinister Italian subsidiary of bad policy: the Communist Party and a large part of the left willingly smuggled contributions to their proteges, writers and directors, with the end of the competition in the Italian film, which until then had straight up kind of solid products, in large part to global markets. How to overcome the current impasse, recognized as such even by the leaders of the cinema audience, as the managing director of Cinecittà Luciano Sovena?
gives us the answer, as often happens, the comparison with the United States of America. Louisiana, Puerto Rico, Arizona and some other states engaged in intelligent policy of tax exemption, which funds up to 40 percent of the budget for film projects, the so called "tax shelters" (ie, a method of reduction of the tax base that results in a reduction in payments to the institution collection) than in the past have paid off handsomely in Canada and Germany. To whom, inevitably, the observation that oppose this policy privileges only works most squalid business, you can remember that many of the early films of Rainer Werner Fassbinder or authors such as David Cronenberg were realized thanks to the use of these funds.
The answer lies, therefore, once again, in tax relief federalism and economic, because the management of funds should, in my view, be delegated to the Regions, the principle of subsidiarity and diversity of various Italian companies: the employment factor in the media is paramount in Lazio, for example , much less in Basilicata and Trentino. And the regions - as is the case in Sicily and the European funds for Baaria Tornatore or the works of many other authors, from Sicily to the German Wenders Pasquale Scimeca - have more projects. The same observation applies to the opera houses and theaters and orchestras, almost always an expression of a very circumscribed area. Something is already happening, in effect: together with the gradual but steady reduction of the state are emerging Fus Fus different regions (Lombardy, for example, has created the Furs, Regional Fund for the show only). Soon we will understand if this phenomenon "subsidiary" will also improve the logical distribution of funds or result in a replication on a regional scale inefficient state-run. Bondi
Minister is carrying out the reforms started by his predecessor Rutelli and has just started operating a first instrument, interesting, although not sufficient: the "tax credit", which is a tax credit given to the production companies of up to Twelve per cent of the costs incurred for the making of a film. There is, in truth, even the anticipation of a tax shelter, whose activation, however, is conditioned to the adoption of a regulation (with a good dose of bureaucratic perversion, it would have to draw their own dying Fus, increasingly meager). While operating from these thousand obstacles, Sandro Bondi is credited with having taken the responsibility of the cultural industry of the country in times of lean. He, however, can start from this initial state of weakness for policy action to revolutionize - in a liberal and market - the entire industry.
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