ABSTRACT
This work includes a critical view of cinema as artistic or marketing piece establishing a relationship with the structural characteristics of producers. The research aims to understand the ways in which film companies in Rio Grande do Sul are structured for a match with the type of film produced. To characterize the organizational structures were used definitions of Richard Hall and Henry Mintzberg on types of structures. The theoretical framework to understand the vision of the filmmakers on cinema was built on authors like Ricciotto Canudo, Jaques Aumont, Jean-Claude Bernadet, among others. The companies studied were: Avante Filmes, Gus Gus Cinema, Millimetros, Otto Desenhos, Tokyo Filmes, Panda Filmes, Prana Filmes, TGD.
From interviews with the producers, two concepts of Mintzberg (1994) were instrumental in the structure settings: a Adhocracy and Professional Bureaucracy. As a result, it was noticed that companies Avante Filmes, Gus Gus Cinema, Millimetros, Prana and Tokyo Filmes fell into place in adhocrática category and it was they who showed a penchant for art cinema, reflective and more aesthetic concern. In the Professional Bureaucracy, there producing Otto Desenhos, Panda Filmes and TGD, whose film productions relate to issues primarily marketing. The recognition of structural and ideological differences allows you to skip the cinema development policies in the state and country. Development still rooted in public policies to encourage, promote and support that seeks to be democratic in the distribution of prizes. New government measures to support the audiovisual already correlate the distribution of incentive consistent with the vision of cinema of the filmmakers. Structural issues also serve as criteria for the setting of the incentives. Know the producers, how they are structured and how they envision their production, it is more than an academic question, it reaches the branches of the economy and politics.
Keywords:
Cinema; Entertainment; Organizational structure; Public incentives