Chapter 1: Why Study State Aid for Film? A First Clarification.- Chapter 2: Introducing the Book’s Topics.- Part I: Exploring Scholarly Themes.- Chapter 3: The Economics of Film Financing: An Introduction.- Chapter 4: Private Equity Finance: The Role of Private Investors in the European Film Market.- Chapter 5: Film Governance in the EU: Caught in a Loop?.- Chapter 6: Governance, Public Interest, and Public Film Funding: Discussing a new Theoretical Framework.- Chapter 7: State Subsidies to Film and their Effects at the Box Office: Theorizing and Measuring Why Some Genres do Better than Others.- Chapter 8: How Film Financing Shapes Project Strategy: Applying Organizational Economics to a Case Study in Norway.- Chapter 9: How Hollywood Applies Industrial Strategies to Counter Market Uncertainty: The Issues of Financing and Exhibition.- Part II: AnalysingCurrent Practices.- Chapter 10: Public Funding for Film and other Audio-visual Works in Europe: Key Industry Statistics 2010 – 2014.- Chapter 11: The European Commission’s Approach to Film Funding: Striking a Difficult Balance.- Chapter 12: Supporting Film Distribution across Europe: Why is Overcoming National Barriers so Difficult?.- Chapter 13: Film Funding Law in the European Union: Discussing the Rationale and Reviewing the Practice.- chapter 14: Public Film Funding in Australia: Recent History and Empirical Analysis.- Chapter 15: Exploring the Ecosystem and Principles of Austria’s Film Subsidy Schemes: Is Austria A “Best-Practice” Model for a Successful Film Policy?.- Chapter 16: Film Subsidies, History and the “Economization of Culture” in Austria: An Expert Interview.- Chapter 17: Public Film Funding under a “Federalist Policy Paradigm”: A Synoptic Analysis of State Aid for Film in Germany.- Chapter 18: France’s Protected and Subsidized Film Industry: Is the Subsidy Scheme living up to its Promises?.- Chapter 19: Government Failure: The Ineffectiveness of Italian State Subsidies to Film.- Chapter 20: Evaluating the Effects of Protectionism on the Film Industry: A Case Study Analysis of Korea.- Chapter 21: Diversifying Public Film Funding Policies across Regions: The Case of Latin America.- chapter 22 Feature Film Funding between National and International Priorities: How does New Zealand Bridge the Gap?.- Chapter 23: Regulating the Mandatory Participation of TV Networks in Financing the Movie Industry: The Case of Spain.- Chapter 24: Public Film Policy and the Rise of Economic Principles: The Case of Switzerland.- Chapter 25: Film Funding in the United Kingdom: The “Corporate Welfare System” and its Discontents.- Chapter 26: Beyond the “Studio System”: Public Support for Films in the United States.- Chapter 27: Evidencing the Economics of Film Festival Funding: Do Government Subsidies Help?.- Part III – Predicting Future Directions.- Chapter 28: Where are the Women Directors? Gender Equality for Directors in the European Film Industry.- Chapter 29: “Avant-Garde Film” Goes Digital Video:How does the United States Fund Digital Video Art and Experimental Filmmaking?.- Chapter 30: Movie Analytics and the Future of Film Finance: Are Oscars and Box Office Revenue Predictable?.- Chapter 31: An Irish Film Industry or a Film Industry in Ireland? The Paradoxes of Film Tax Incentives.- Chapter 32: Tax Incentive Schemes for Film Production: A Pivotal Tool of Film Policy?.- Chapter 33: Film Financing in the Era of “Connected TV”: How do “Legacy” Broadcasters Respond to Market Changes?.- Chapter 34: Crowd-funding Movies: A Business Model Analysis from Strategic Management Studies.