ORIGINAL ARTICLE
BRUM, Sonia Maria da Silva [1]
BRUM, Sonia Maria da Silva. A study of the Public-Private Partnership for the promotion of municipal film culture. Revista Científica Multidisciplinar Núcleo do Conhecimento. Year 06, Ed. 03, Vol. 15, pp. 94-124. March 2021. ISSN: 2448-0959, Access Link: https://www.nucleodoconhecimento.com.br/business-administration/municipal-film-culture
ABSTRACT
The conception of culture is complex and multifaceted, allowing different definitions to exist. Culture is manifested in different ways and to meet different purposes in society. Among the multiple expressions of culture, cinema is a cultural form that explores different senses and emotions of the viewer. Cinema can be used as a tool for the construction of identity, preservation of historical memory, educational process, among other purposes. Thus, the objective of this project is to analyze the implementation document of the Public-Private Partnership between the Municipality of Paraíba do Sul and a private company that operates the concession of the Federal Railway Network in the Southeast Region, for the revitalization of municipal popular cinema. The municipality of Paraíba do Sul is located geographically in the microregion of Três Rios do Estado do Rio de Janeiro and has the Popular Cinema Nívea Stelmann. The popular cinema room is part of a cultural center of the municipality, managed by a municipal authority. This municipality is responsible for promoting local culture for the promotion of citizenship, preservation of cultural heritage, managing cultural equipment, as well as studying proposals for projects of partnerships between institutions. For the development of the study, we opted for a methodology that adopts a basic research, through the documentary case study when using the document of implementation of the Public-Private Partnership for the revitalization of popular cinema. The results allowed us to identify that the responsibilities agreed in the partnership between public and private organizations can bring social and cultural benefits to citizens. In addition, the contract has the potential to reduce expenses of the private company and the municipality.
Keywords: Public-Private Partnership, Culture Promotion, Cinematography, Popular Cinema.
1. INTRODUCTION
The promotion of culture is an essential basic element for a democratic, modern, open, tolerant and united society. Culture is capable of promoting human, social and economic development with full exercise of cultural rights.
Culture is a theme present in various debates by politicians, experts, artists, academics and in the popular media, as well as contemplated in the framework of action of the Sustainable Development Goals, approved by the United Nations in 2015.
An infrastructure that favors cultural development is a valuable resource for the production of means that enable human subsistence. Culture contributes to the process of poverty reduction, as well as serves as a mainstay for a development that places human beings as a key element, in an inclusive and equitable way (UN, 2015).
It involves identity, knowledge, values and popular beliefs. Reflecting the way of thinking and acting of groups, being a factor of strengthening the identity of a people and undoubtedly of human development.
In Brazil, the Federal Constitution of 1988 distributed the competence to provide access to culture to all entities of the federation. The National Culture System organized in 2012 is an element that meets the constitutional command, because it represents a regime of collaboration, in a decentralized and participatory way. The system establishes a process of joint management and promotion of public policies of culture, democratic and permanent, agreed between the entities of the Federation and society
The understanding of culture as a set of acquired knowledge, as a form of education, includes cinema as a form of cultural expression that contributes to human formation.
Cinema is a form of culture that favors personal, healthy and balanced development, because cinema is shown “[…] as a possibility of resignification, both of its life history and of historical-social issues that permeate it […]” as teach Santeiro et al . (2014, p. 2). And from this perspective, it is understood that showing films to the population is a way to contribute to their quality of life, to bring resignification to concepts and to open the field for a social experience that expands social inclusion in a pleasant and pleasurable way.
Cinemas have been cultural spaces with easy access to different social classes, however, there is currently the predominance of sophisticated and technological rooms that result in less accessible ticket values.
Public initiatives have contributed to the reopening and revitalization of popular cinemas in the country, such as Ponto Cine. This is a cinema room that is located in the northern part of the city of Rio de Janeiro and is dedicated to exclusively displaying national productions at affordable prices, reopened in 2018 after receiving an investment of R$ 500,000 from the Ministry of Culture.
In the interior of the State of Rio de Janeiro, the municipality of Paraíba do Sul is located in the microregion of Três Rios and has the Popular Cinema Nívea Stelmann. The projection room was a pioneering project inaugurated in 2003, built in an old railway station as a projection room.
Cultural infrastructure initiatives allow people from smaller regions, inland or away from large urban centers, to have access to different cultures.
Although the cinema has the capacity to serve 70 people at the screenings, it was decommissioned in 2006. The room is part of a cultural center arranged in a train station, built in 1898 by Engineer Paulo de Frontin.
The aforementioned cultural center called Centro Cultural Maria de Lourdes Tavares Soares is administered by the municipality called Cultural Foundation, responsible for fostering local culture to promote citizenship, preserving cultural heritage and administering cultural equipment.
Due to the deactivation of popular cinema and the attribution of the Cultural Foundation of the municipality to promote culture, the present work has the general objective of conducting an analysis study of the document of Public-Private Partnership (PPP) developed in 2018 between the Municipality of Paraíba do Sul and the private company that operates the concession of the Federal Railway Network in the Southeast Region , for revitalization of the popular movie theater Nívea Stellman.
To understand the revitalization process and the actions proposed in the PPP, the study of the Technical Report adopted as specific objectives: (a) to describe the responsibilities between the parties, present in the partnership contract and; (b) describe the stages of implementation of the partnership between the city and the private company.
It is expected that from the analysis of the Public-Private Partnership document, signed between the municipality of Paraíba de Sul and the private company that operates the concession of the Federal Railway Network in the Southeast Region, it will be possible to describe the phases of the revitalization process and the terms that allow cultural inclusion. In addition, it is expected that the results will contribute to the replication of the type of partnership in other departments of the municipalities or to other Brazilian municipalities.
The Technical Report was developed through a research applied in relation to the nature, descriptive as to the objective, a qualitative and documentary approach regarding the procedures of data collection and information. For the execution of the study, the Technical Report was developed from the document of Public Private Partnership signed between the Municipality of Paraíba do Sul and the private company that operates the concession of the Federal Railway Network in the Southeast Region, specifically for the revitalization of the popular cinema Nívea Stellman.
The work was divided into chapters and sections. The first chapter refers to the Theoretical Reference that served as a subsidy for the theoretical construction and divided into sections that brought data, information and concepts related to culture, cinema, the law of incentive to culture and public-private partnership. The following chapter presented the methods of technical production of the Technical Report, in which the procedures were described were used to perform the research. In the chapter was presented the problem situation driving the research, while in the next chapter were presented the results and analyses. Finally, Chapter 6 presented the final considerations relating to the work.
2. THEORETICAL REFERENCE
2.1 CULTURE
The United Nations Educational, Science and Culture Organization (UNESCO) is an international institution that promotes human rights and the rule of law in its fields of competence. According to UNESCO itself, its activities are focused on the right to education, the right to information, freedom of opinion and expression, cultural rights and the right to access and participate in scientific progress.
Culture is a foundation of peoples’ identity and creative ideas; a factor of development and coexistence worldwide (UNESCO, [s/d]).
The term culture is often used by social scientists (anthropologists and sociologists) and covers the dimensions of human experiences in different social and natural environments. Culture refers to the way people understand themselves as individuals and as members of society, a term that encompasses stories, religions, media influence, rituals and even language itself (PAES-LUCHIARI; BRUHNS, 2007; LARAIA, 2002; SERRANO, 2007).
From the anthropological perspective, culture encompasses different dimensions of human life, among them, ethical and moral values, communication process and language, conceptions of beliefs, customs and rituals, among others (LARAIA, 2002; LAPLANTINE, 2003).
Initially, anthropologists believed that culture was a product of biological evolution and that cultural evolution depended on physical conditions. Anthropologists today no longer believe that it is so simple, because neither culture nor biology are the only ones responsible for interfering with each other, but depend on other constraints (LAPLANTINE, 2003; PAES-LUCHIARI; BRUHNS, 2007).
From the sociological perspective, the definition of culture is composed of symbols, language, beliefs, artifact values – elements that are part of any society – indicates the existence of two basic components of culture: ideas and symbols, on the one hand and artifacts (material objects), on the other (SCHAEFER, 2014).
An inmaterial culture or symbolic culture includes the values, beliefs, symbols and language that define a society, while material culture encompasses all the physical objects of society, such as its tools and technology, clothing, utensils to eat and means of transport (OGBURN, 1922 apud SCHAEFER, 2014).
The term culture can also be analyzed by the contexts to which it is included and receive adjections to the main term, such as organizational culture (HILAL, 2003), consumerism culture (FEATHERSTONE, 1995), postmodern culture (FEATHERSTONE, 1995), popular culture (TINHORÃO, 2001), among other denominations.
The 2002 UNESCO Universal Declaration on Cultural Diversity understands that the culture to see regarded as:
[…] the set of spiritual and material, intellectual and affective distinctive features that characterize a society or a social group and which encompasses, in addition to arts and letters, ways of life, ways of living in community, value systems, traditions and beliefs. (UNESCO, 2002, p. 2).
Culture is a complex whole that includes knowledge, beliefs, arts, moral positions, rights, customs and all other skills and habits acquired by a human being as a member of a society.
Given the plurality of conceptualization of the term culture by the different areas of knowledge, it is worth introducing the perception of culture as a right resulting from the constitutional norm in force in Brazil since the end of the 1980s.
The Citizen Constitution of 1988 defines in article 215 that it will be up to the government entities of the three spheres of government to encourage, value and spread cultural manifestations through public policies (BRASIL, 1988).
The work of Calabre (2009) demonstrates that the first experience in the field of Brazilian culture occurred in the municipal sphere and in the 30s of the last century. In the author’s words “The first effective experience of public management implemented in the country in the field of culture did not occur at the federal level, but at the municipal level with the creation of the Department of Culture and Recreation of the City of São Paulo in 1935.” (CALABRE, 2009, p. 18).
The policies to encourage culture not only boost the social aspect, but boost the Brazilian creative economy and generate dividends for the country. The total economic impact (direct and indirect) of the Rouanet Law (which we will explain further) on the Brazilian economy was R$ 49.8 billion between 1993 and 2018 (BRASIL, 2019).
Tables 1 and 2 show data from the Support System for Culture Incentive Laws (SalicNet) of the Ministry of Culture from 2011 to 2018.
Table 1: Number of cultural projects approved in the program to encourage culture in Brazil (2011-2018)
| year | Number of projects | |||||||
| 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | |
| Brazil | 3752 | 3591 | 3482 | 3326 | 3160 | 2837 | 2871 | 3241 |
Source: BRASIL/ MINC / SALICNET.
Table 1 shows that the volume of cultural projects approved in the Culture Incentive Program in Brazil between 2011 and 2018 suffers here is reduced, having in the last year of the period shown a new breath.
As a reflection of the number of projects approved between 2011 and 2018, the amount captured for the period followed the same trend, that is, an increase only in the last year, as shown in Table 2.
Table 2: Total amount captured in the culture incentive program in Brazil (2011-2018)
| year | Amount captured in a unit of billions (R$) | |||||||
| 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | |
| Brazil | 1.324.925 | 1.277.445 | 1.261.705 | 1.335.918 | 1.204.231 | 1.148.914 | 1.189.408 | 1.295.026 |
Source: BRASIL/ MINC / SALICNET.
Culture has evolved into the development of society, presented by different concepts and expressed in different forms. Among the cultural manifestations, cinema provides viewers with sensations and emotions by stimulating their senses.
2.2 CINEMA
The cinema appeared in Paris (28/12/1895), because of Augustus and Luis Lumiere, but as a result of the invention of the camera, film and projector; Inventive trilogy that was baptized as Director of Photography, is also called cinematography. Cinema was born as a fair object only with the future was configured artistic exhibition.
In Brazil, cinema arrived the following year in France on July 8, 1896 when belgian Henri Paille held the first film session in the country in Rio de Janeiro (MORETTIN, 2011).
In the period of World War II the movie theaters decreased considerably, only returning the movement in the post-war period. In the late 1950s comes the so-called “Popular Cine”.
The brazilian cinema follow-up has few national companies that develop activities and the competition model corresponds to a traditional oligopoly (CEGOV, 2017).
The large urban centers have cinemas with state-of-the-art features, modern elements that can convey to the viewer the feeling of participating in the scenes of the films.
The same rooms with modern features usually offer tickets for sessions that cost higher amounts.
Differentiated values and geographical location in large urban centers may favor the process of exclusion of economically disadvantaged classes.
An action that allowed the creation of a cultural infrastructure was the construction of the popular cinema Nívea Stellman in the current Cultural Center of the municipality of Paraíba do Sul, located in the State of Rio de Janeiro. Considered as an important cultural policy initiative in the municipality since it expressed action by the municipal public administration in order to recognize and stimulate culture as a target right of initiatives within the scope of public policies. In this context, it is worth noting that public policies in the area of culture refer to the articulations and dynamics between the political, economic and sociocultural fields, at all levels of society. Cultural policies have established themselves over time by covering a range of academic areas, including sociology, cultural and media studies, economics, anthropology, field studies, languages, geography and law (CALABRE, 2009).
The construction of the screening room allowed the local community access to film culture. However, the projection room of the municipality was deactivated in 2006 due to the need for revitalization.
Faced with the limitation of public resources and aspects of public management, the room remained disabled and the population was left without access to the free culture service provided by the municipality. The alternative to circumvent the problem of revitalization was through a Public-Private Partnership between the municipality and the private company that operates the concession of the Federal Railway Network in the Southeast Region.
2.3 LAWS OF ENCOURAGEMENT TO CULTURE
Policies are governmental instruments for stimulating and including society to cultural means, developed in the Brazilian scenario, either by direct financial incentive or by the implementation of infrastructure.
The Federal Constitution 1988 bears in the title referring to the organization of the State, specifically as the political-administrative organization as a common competence between the entities of the federation (Union, States, Federal District and Municipalities) to provide the means of access to culture.
The constitutional text is explicit about the concern for culture in the part where education, sport and culture are addressed. To ensure the right to the latter, it is up to the public power to guarantee to all the full exercise of cultural rights and access to the sources of national culture (BRASIL, 1988).
Constitutional Amendment No. 48 of 2005 brought to the text the obligation of the State in the implementation of the planning instrument for the development of culture in the country, called the National Culture Plan. This planning instrument is planned to have biannual validity, so that it develops the country’s cultural and integrates the actions of the government (op cit.).
Calabre’s (2009) work presents the relationship between culture and the State, as well as the relationship between the agents and resources needed for the production of cultural public policies.
The relationship between the State and culture is millenary, however, the state’s view of culture is contemporary as an area that should be treated from the perspective of public policies. Cultural policies within the public sphere must obey the same logic of elaboration that governs all public policies. These, in a synthetic way, can be defined as a result of political activities – involving different agents and, thus, require allocation of resources of a different nature, and have a normative and ordering character (CALABRE, 2009, p. 9).
Another strategy for promoting culture refers to the National Culture System, based on the National Culture Policy and the guidelines provided for in the National Culture Plan (op cit.).
Under the infraconstitutional scope, the Culture Incentive Law or Rouanet Law was instituted in 1995 by the federal government and contributes to thousands of cultural projects happening every year in all regions of the country.
Incentives are benefit mechanisms based on the tax burden granted by the Public Administration directed to companies with the objective of stimulating a specific sector or determined economic activity (BRASIL, 1991).
Incentive laws are important instruments of governments to promote economic and social development as a whole, through incentives to various activities. They allow companies to invest a portion of their budget, generating jobs and moving the creative economy (op cit.).
The Rouanet Law defines donation as forms of free transfers on a definitive basis to the natural person or legal entity of a cultural nature, non-profit, of financial resources, goods or services for the realization of cultural projects, with the prohibition of their use in advertising for the dissemination of activities, object of the respective cultural project (op cit.).
2.4 PUBLIC-PRIVATE PARTNERSHIP
The Public-Private Partnership (PPP) is a contractual relationship of an administrative nature for granting, in the sponsored or administrative modality, which are presented as an alternative for the provision of the essential public service in attention to the principles of universality, equity and integrality (BRASIL, 2004, SILVA; SILVA, 2019).
PPPs are models that apply the principles of private management to public institutions and were presented as an alternative to the lack of public investment in infrastructure in Brazil (NAKAMURA, 2019).
In the United Kingdom, the implementation of the Private Finance Initiative (PFI) program resembles the PPPs in Brazil. PFI are finance public sector projects through private initiative and thus relieve the government and taxpayers of the burden of obtaining capital for these projects (PECI; SOBRAL, 2007).
The law establishing the general rules for bidding and contracting public-private partnership within the public administration presented as guidelines to a concern with the efficiency in the fulfillment of state tasks of efficiency in the use of society’s resources, respect for the interests and rights of the recipients of services, the objective distribution of risks between the parties to the partnership and financial sustainability (BRASIL, 2004).
In the work of Sant’Anna (2019) is described a contradiction identified by the author as ppp contracts correspond to instruments that aim to optimize state investments in periods of expenditure restraint and, as well as, the fact that the agreement between the parties occurs through a contract with provision for compensation by the public sector.
The establishment of PPPs made possible the transfer of state obligations to the private sector, in which there is a management dedicated to the cost/benefit ratio in the execution of its activities. The contract between the State and the private sector allows the former to optimize their resources (human, material, logistic and others) and, second, to take on the risks of the execution of the transferred activity (SILVA, 2016).
The legal business between the State and private institutions takes place through a contract in which the rights and duties of the parties are regulated, including the transfer of resources. From the public budget focus, Sant’Anna (2019) argues that resources are classified as continued expenses and not as debt. Since a partnership tends to continue over time, the classification of resources for the maintenance of PPPs as continued expenditure is consistent with the characteristics of the services provided by the private individual on behalf of the State.
The study by Moraes and Reyes-Tagle (2017) identified that PPPs have been increasingly used in Brazil. On the other hand, Brazilian municipalities have difficulties in the process of managing and monitoring the commitments arising from partnerships, thus having negative long-term negativeresults in municipal budgeting.
PPPs are a tool that can help reduce infrastructure gaps in Latin America. However, although potentially useful, infrastructure projects present many risks: technical, construction, operational, financial, force-force, regulatory / political, project default, environmental and social (MICHELITSCH et al., 2017).
Data from the Inter-American Development Bank show that between 2006 and 2015, Latin America received investments of US$ 361.3 billion invested in approximately 1,000 PPP infrastructure projects, as most were concentrated in Brazil, Mexico and Colombia. The infrastructure projects met the energy, telecommunications, transportation, water and sewage networks sectors, according to the description of Michelitsch et al. (2017).
3. METHOD OF TECHNICAL PRODUCTION
The research methodology represents the specific procedures or techniques used to identify, select, process and analyze information about an object of study. In a research paper, the methodology section allows the reader to critically evaluate the overall validity and reliability of a study (MARCONI; LAKATOS, 2007; PRODANOV; FREITAS, 2013).
The nature of the study of the Technical Report fits as applied, since it is designed to solve practical problems of the modern world, instead of acquiring knowledge through the development of knowledge (LOPES, 1991; PRODANOV; FREITAS, 2013).
A research classified as descriptive as the objective seeks to describe a population, a situation or a specific phenomenon selected to be studied. For the execution of this Technical Report, this classification was selected, since it intends to answer questions about how a particular phenomenon or situation occurs (Public Private Partnership), to which it refers or when it occurs (FONSECA, 2002; MARCONI; LAKATOS, 2007; ZANELLA, 2013).
Descriptive research allows the researcher to have an adequate understanding of what a research problem is before investigating why it exists (MARCONI; LAKATOS, 2007; PRODANOV; FREITAS 2013).
The method of approach is related to a philosophical current that is willing to explain the logical procedures to achieve the knowledge of reality. For the Technical Report, the approach method will be qualitative, understood as a method of planning and forecasting that discusses the problems to analyze and synthesize points of view in a comprehensive and coherent structure, as well as allows the problem to be analyzed in depth (GODOY, 1995; MARCONI; LAKATOS, 2007; ZANELLA, 2013).
As for the collection procedure, documentary research will be used, based on the document of Public Private Partnership signed between the City of Paraíba do Sul and the private company that operates the concession of the Federal Railway Network in the Southeast Region, specifically for the revitalization of the popular cinema Nívea Stellman.
In documentary research, primary source materials, such as documents and texts, are used for the study of a specific research topic. Documentary research sources can be written (newspapers, census results, storybooks, government publications, diaries and others) and unwritten (videos, visual, photographic and other items) (GODOY, 1995; FONSECA, 2002; PRODANOV; FREITAS, 2013).
The execution of the documentary research will follow the teachings of Silva, Gobbi and Simão (2005), which indicate that it can be developed through three stages: a) pre-analysis with definition of terms and concepts; (b) the analytical description of the document and; c) the referential interpretation (interpretation to be performed and the terms and concepts defined).
After data and information from the Basic PPP Project, the results will be inserted into a table and analyzed by the researcher.
4. PROBLEM SITUATION
The Brazilian rail transport service is governed by the concession contract between the federal government and private companies. In the municipality of Paraíba do Sul, the stretch is granted to the private company that operates the concession of the Federal Railway Network in the Southeast Region for the exploration and development of the federal public service of rail freight transport, in the Southeast Network that covers the State of Rio de Janeiro.
Although the concession contract is between the federal government and the company, the exploitation of the service brings externalities to the municipality in question. Due to the location of the railway route in the municipality, in the central part, the flow of movement of loads of the modal brings consequences, such as structural damage to buildings and equipment, noise pollution, interference in the public transport system, risk of accidents, among others.
The Cultural Foundation of Paraíba do Sul (FUNDAC) is an municipality linked to the municipality of the same municipality. It is responsible for the promotion of local culture, preservation of cultural heritage (material and immaterial), administration of cultural equipment for the promotion of art in the municipality.
In the list of cultural equipment administered by FUNDAC are the museum (Tiradentes Sacro-Historical Museum), the three municipal libraries, the municipal theater (Theatro Municipal Mariano Aranha) and the Cultural Center Maria de Lourdes Soares Tavares.
The cultural center is arranged in a deactivated train station, in the vicinity of the railway, where the José Pereira Palhares Railway Museum, the Mayors Memorial, craft shops, the Luís Carlos Tavares Coelho Cultural Gallery, the Nicolino Visconti Iconographic Historical Museum and the Nívea Stelmann Popular Cinema are located.
The popular cinema was inaugurated in 2003 in the old railway station as a screening room for free and educational films for the local population. However, the different managements and the lack of resources for maintenance resulted in the deactivation of the cinema.
The popular cinema room resulted in a process of excluding residents from film culture, particularly the citizens with less purchasing power to attend private movie theaters in neighboring cities. Since the private cinemas are in another municipality and the price charged for them, it produces a selectivity of access to film culture.
FUNDAC sought alternatives from the federal government to acquire public funds, however, previous projects were rejected due to factors not explained. The alternative to solve the issue was to seek in the private sector partnerships that would allow the revitalization of the popular cinema.
As described earlier, the operations of the private company that operates the concession of the Federal Railway Network in the Southeast Region bring repercussions to the municipality. Thus, it was proposed as an action plan, to carry out an intervention to the problem, a partnership between the organizations, whose objective was the revitalization of the popular cinema room.
5. RESULTS OBTAINED AND ANALYSIS
The Private Public Partnership document agreed in 2019 between the private company that operates the concession of the Federal Railway Network in the Southeast Region and the Municipality of Paraíba do Sul, published in the form of an official extract in the local newspaper. For the analysis, the contract was used in full and the 2019 work plan was used, from the copy filed with the Cultural Foundation.
The parties to the contract agreed to comply with the Code of Ethical Conduct, the Code of Ethical Conduct for Third Parties and the General Policies of Conduct and Relationship with Public Agencies and the anti-corruption rules of the private company that operates the concession of the Federal Railway Network in the Southeast Region with respect to the use due to the benefits arising from the partnership.
The analysis of the document allowed identifying other actions agreed between the parties, however, to meet the objective of the Technical Report, only the actions pertinent to the Popular Cinema Nívea Stelmann were described. In addition, it is worth noting that the development of the PPP aligns with the provisions of the Federal Constitution, with regard to the responsibility of all public entities to provide the means of access to culture.
The document was developed to define the responsibility between the parties in relation to the reactivation of the film room of the railway station, in accordance with a scope of services provided for in a Work Plan attached to the main document, a plan developed annually until the end of the contract, scheduled for December 31, 2021.
The production of the Public-Private Partnership was developed to meet the interests of the subjects involved in the context of the documents. Table 01 presents the subjects, profile and interests of each person involved.
Table 01: Extract from the production context of the Public-Private Partnership
| Subjects (stakeholders) | Profile of subjects | Interests of subjects |
| City Hall of Paraíba do Sul | Public organization – Direct administration | – Encourage cultural actions in the municipality |
| Cultural Foundation of Paraíba do Sul (FUNDAC) | Public entity – Indirect administration (Municipality) | – Reactivate the city’s popular cinema |
| Private company operating the concession of the Federal Railway Network | Private organization | – Compensate for the effects of externalities arising from the presence of the railway route in the municipality |
| community | Society | – Access cultural activities |
Source: Search result. Prepared by the author (2020).
The partnership initiative, on the part of the municipality, aligns the responsibility of public entities to promote access to culture to the population and that citizens have full right to cultural rights, in the dictates of the Federal Constitution of 1988.
To meet the interests of those involved in the partnership process, some actions were defined in order for one to develop them, as presented in Table 02.
Table 02: Extract from the proposed actions of the Public-Private Partnership
| Subjects (stakeholders) | Proposed actions |
| City Hall of Paraíba do Sul | – Reactivate the movie theater |
| Cultural Foundation of Paraíba do Sul (FUNDAC) | – Manage the maintenance of multimedia equipment
– Plan film actions |
| Private company operating the concession of the Federal Railway Network | – Donate a multimedia equipment |
| community | – Not applicable |
Source: Search result. Prepared by the author (2020).
The municipality was responsible for promoting the reactivation of the cinema room, through the installation of the multimedia projector given by the company. With regard to the equipment, it was also up to the municipal authority, the conservation and maintenance of the same.
Another responsibility attributed to the municipality referred to the use of the room to carry out awareness actions about risks of rail accidents for the communities that are users of the cultural space.
The physical maintenance, the provision of personnel and the cultural management to carry out the sessions were the responsibility of FUNDAC.
The private company that operates the concession of the Federal Railway Network in the Southeast region was responsible for providing the multimedia projector for the composition of the municipal cinema room equipment. Other actions foreseen in the contract, to be carried out by the company, referred to the recovery of the floor of the cultural center, the supply and installation of banks in the leisure area of the space.
In the development phase of the Private Public Partnership there was no involvement of the members of the society and the Work Plan was prepared jointly between the municipal entity and the private company, in which the activities of each one were proposed, as described in Table 03.
Table 03: Extract from the activities proposed in the Work Plan
| Subjects (stakeholders) | Proposed activities |
| City Hall of Paraíba do Sul | – Provide human resources and material for installation of the multimedia projector;
– Provide financial resources for conservation of the multimedia projector; – Promote social awareness actions on the risks of rail accidents. |
| Cultural Foundation of Paraíba do Sul (FUNDAC) | – Plan the logistics of the installation of the multimedia projector;
– Manage the installation process of the multimedia project; – Establish mechanisms for the conservation of the multimedia projector; – Maintenance of the multimedia projector projector; – Establish an agenda with community awareness actions regarding the risks of rail accidents; – Propose films that see about safety in the vicinity of the railway track; – Establish the monthly programming of cinematographic exhibition to the community in general; and – Execute the process of dissemination of film programming. |
| Private company operating the concession of the Federal Railway Network | – Make the donation of a new multimedia projector. |
| community | Not applicable. |
Source: Search result. Prepared by the author (2020).
The format of the partnership established between the municipality and the private company that operates the concession of the Federal Railway Network in the Southeast region shows that the expenses for maintaining the cinema will be classified as continuing expenses as defended by Sant’Anna (2019).
The documents analyzed did not mention the budget necessary for the implementation of the proposals present in the Public-Private Partnership and the Work Plan, limiting only presentation of the activities and parties involved.
Regarding the involvement of the subjects in the production of proposals and documents, the community did not participate in any of the phases, excluding the community from exercising the right of popular participation in public decisions. In the document of the Public-Private Partnership, the parties involved were the private company that operates the concession of the Federal Railway Network in the Southeast region and the Municipality of Paraíba do Sul, represented by the chief executive branch.
Table 04: Extract from the context of production of documents
| Subjects (stakeholders) | Profile of subjects | Involvement of subjects |
| City Hall of Paraíba do Sul | Public organization – Direct administration | – Participated in the proposal and implementation of the Public-Private Partnership
– Participated in the proposal and implementation of the Work Plan |
| Cultural Foundation of Paraíba do Sul (FUNDAC) | Public entity – Indirect administration (Municipality) | – Did not participate in the proposal and implementation of the Public-Private Partnership
– Participated in the proposal and implementation of the Work Plan |
| Private company operating the concession of the Federal Railway Network | Private organization | – Participated in the proposal and implementation of the Public-Private Partnership
– Participated in the proposal and implementation of the Work Plan |
| community | Society | – Did not participate in the proposal and implementation of the Work Plan
– Did not participate in the proposal and implementation of the Work Plan |
Source: Search result. Prepared by the author (2020).
The reopening of popular cinema generated a demand from spectators above the expected and required a new dynamic of organization on the part of the foundation, especially to meet the requests for scheduling of municipal schools. This difficulty was accentuated by the limited number of FUNDAC servers for the management of film activities and physical maintenance of the exhibition room.
The high demand for scheduling by school units made it impossible, initially, to exhibit the sessions of the private company that operates the concession of the Federal Rail Network in the Southeast Region aimed at raising awareness of the risks involving the railway and environmental education to residents. The quantity in demand indicates that people have an interest in culture as an artifact for the construction of the individual through the environment, as defended by the anthropological current that defines the term culture.
Despite the difficulties listed above, they had achievements that benefited the parties, which were described in Chart 05.
Table 05: Key Achievements
| Subject | Main achievements |
| City Hall of Paraíba do Sul | – Receipt of multimedia equipment
– Reactivation of Popular Cinema Nívea Stelmann – Resource savings for reactivation of popular cinema |
| Cultural Foundation of Paraíba do Sul (FUNDAC) | – Development of the Cinema da Hora Project (seniority)
– Development of the Living Memory Project |
| Private company operating the concession of the Federal Railway Network | – Space for awareness-raising actions to reduce rail accidents
– Space for actions for environmental education of residents, near the railway road |
| community | – Access to free film activities
– Social inclusion – Rescue and maintenance of local memory |
Source: Search result. Prepared by the author (2020).
As a result of the partnership, Cinema Popular Nívea Stelmann has the projection equipment for a 123-inch screen and holds up to 70 spectators in its free screenings. Currently, FUNDAC develops the projects Cinema da Hora for the elderly and Memória Viva that collects video testimonials from citizens. It also promotes awareness actions about the risks of accidents in the vicinity of the railway network present in the city and residents who live near the tracks regarding environmental education (garbage disposal).
The partnership between the organizations brought favorable results to the city, the company and, particularly, the citizens, since most of the actions and activities proposed in documents were executed according to the scope of the documents analyzed. It served as a tool that helped reduce a gap in the municipality, in line with that advocated by Michelitsch et al. (2017).
The revitalization of the cinema allowed the city to provide a space to encourage culture, with projects for elderly people and the maintenance of local memory. It was not the objective of the analyses, but nearby there are small shops that may have benefited from the flow of people who attend the cinema.
The private company that operates the concession of the Federal Railway Network in the Southeast region obtained a space for use in actions to raise awareness of the population in relation to safety in the vicinity of the railway line. In addition, as the city also had the responsibility to promote awareness of the population – in concomitance to the company, the private company that operates the concession of the Federal Railway Network increased the number of educational interventions, without the need to maintain an administrative unit in the municipality.
The population benefited from the partnership directly, since the sessions are free and there are projects aimed at various audiences. With this, people who do not have income to travel to the private cinemas of the municipalities and pay for tickets, have the opportunity to have access to film culture.
The cinematographic space of the municipality represents a form of cultural inclusion, a space of inclusion and social interaction, dimensions defended in the Federal Constitution of 1988.
Cinema as a form of cultural expression allows the above processes of inclusion and underlies identity and creative ideas, as advocated by the United Nations Educational, Scientific and Cultural Organization (UNESCO).
6. FINAL CONSIDERATIONS
The objective of the Technical Report was to analyze the implementation document of the Public-Private Partnership between the Municipality of Paraíba do Sul and the private company that operates the concession of the Federal Railway Network in the Southeast Region, for the revitalization of municipal popular cinema.
The analysis of the document allowed us to identify that the partnership brought social and cultural benefits to the municipality geographically distant from large urban centers, without private movie theater and that it did not have resources to revitalize popular cinema. It was also possible to identify from the document that the partnership was favorable to the private company, the public entity and the citizens.
The institutional changes in the city hall at the beginning of 2020 was a limiting factor that did not allow the analysis of the Work Plan of the partnership of the same year. It is noteworthy that it was possible to identify the implementation of the actions proposed in the contract and in the Work Plan for the year 2019, however, for the following year no analysis applies.
Other small municipalities, geographically distant from urban centers, may benefit from partnerships with private institutions to promote local culture, such as described in this report. Another possibility of research would be to identify the possibilities of partnerships with international institutions or organizations to encourage culture, as well as other forms of cultural expressions.
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[1] She’s a graduate.
Submitted: February, 2021.
Approved: March, 2021.
