1. AUDIOVISUAL SUPPORT AS THE GLUE OF EUROPEAN CINEMA ILSE SCHOONEKNAEP iMinds-SMIT-VUB ECREA 2014

2. 1. INTRODUCTION

4. Does the audiovisual support system MEDIA strengthen the cross border circulation of European Audiovisual productions?

5. Policy Analysis Expert interviews distributors Data Analysis (UK, DK, BE)

6. 2. SETTING THE SCENE

10. “The euros learn English with a Hollywood accent”

12. “IF CONTENT IS KING THAN DISTRIBUTION IS KING KONG”

13. “EUROPE AS A PATCHWORK OF INDIVIDUAL WAYS OF ENTERTAINMENT”

14. 3. DISTRIBUTION ENHANCING EU POLICIES

15. MEDIA I 1991-1995 MEDIA II 1996-2000 MEDIA Plus 2001-2007 MEDIA 2007 2007-2013 Film Distribution in Cinemas Film & Video Distribution Cinema DistributionEncourage distribution Distribution Video & TV Circulation of TV programs Distribution off-lineImprove circulation MultilingualismPromoting companies TV broadcastingPromote transnational dissemination Development of markets Distribution on-lineEncourage digitisation Encourage cinema Overall budget of 200 m Overall budget of 400 m Overall budget of 513 m Overall budget of 755 m 43% for distribution62% for distribution57;5% for distribution 55% for distribution

16. Amount of MEDIA supported films in Top EU 25 (European Audiovisual Observatory 2006-2013)

18. BELGIUM

19. DENMARK

20. UNITED KINGDOM

21. Type of films and their distributors

22. 4. CONCLUSIONS

23. Strengths * Support at the core of the MEDIA support * Largest part of the budget reserved for distribution * Constant factor in European AV industry * Winning horses prove to be very successful Opportunities * Acknowledges the need to put distribution at the forefront * Initiated the redefinition/start of national support systems * More and more distributors find their way to the system * Opened the market for smaller nations thanks to the specific measures Weaknesses * the centralisation has had no structural changes * Support emphasis the industry structure * Films from the same countries return *Distribution support mostly for those who already have high potential for circulation Threats * Europe of two separate speeds * Films from the power nations push the smaller countries out of the market * Films with pre destined high potential eligible for distribution support * unity in the diversity = only a diversity of a small group SWOT "The European film industry has fought to establish, maintain and revive a place in the international film business “