The chief contribution of the “Miró Act” to cinematographic legislation was the introduction of advance subsidization to finance film production. The amount of each subsidy could be as much as fifty percent of the estimated cost of a film. Other aspects of the act included an increase in aids for the recovery of investment in full-length films, as well as regulations regarding distribution and screening quotas. We are, therefore, dealing with an ambitious legal text whose application gave rise to a good deal of controversy among its critics and champions. The act’s main goal, to revitalize the industrial network of Spanish cinema, was never met. What’s more, it actually led to a serious decrease in film production and a significant drop in the abstract popularity of Spanish films.
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