ABSTRACT
Across much, but not all of Europe, there exists an extensive range of national public funding systems for feature film. Given that around 65% of the approximately 600 European films in production in mid-1995 were receiving public subsidies, the dependence on this source is clearly heavy. Most national funding systems were historically organized with the aim of supporting national production. The problem with this tendency is that many locally orientated systems fail to fit either co-production or co-financing models. Internal rules that have been designed to promote a national culture have tended to inhibit cross-border partnerships, a factor that applies to all European territories.
