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Women’s Films Held Back in Europe by Lower Production and Distribution Support
FEMALE-DIRECTORS-large640 On International Women’s Day, Huw D Jones looks at the data for films directed by women in Europe and argues limited access to production funding and distribution support is holding back the market for female directed European films. Less than one in five (17%) films produced in Europe are solely directed by women (fig.1), according to data taken from the European Audiovisual Observatory’s ...
Why continental Europeans love Ken Loach (more than the British)
loach-europe-flag As Ken Loach’s latest film arrives in European cinemas, Huw D Jones examines why the veteran British director is more popular on the continent than in his own country. Last week saw the release of I, Daniel Blake, the latest film by veteran British director Ken Loach. Despite the intense publicity the film has attracted for its depiction of Britain’s benefits system, the
Young film audiences: preferences and practices
sennheisercinemaconnect Following on from the European Screens Conference, MeCETES has invited speakers to write a blog about their conference paper. Here, Aleit Veenstra examines the impact of digitisation on young people’s viewing preferences and practices in Flanders. In discussing contemporary media audiences, it is common to emphasise the growing options and possibilities for access and content. Particularly capable of navigating the maze of contemporary media possibilities are those in their late teens. Having ...
Safeguarding Cultural Diversity on Europe’s Screens
my-struggle-being-a-black-woman-filmmaker-in-white-hollywood-body-image-1456437423 Following on from the European Screens Conference, MeCETES has invited speakers to write a blog about their conference paper. Here, Holly Aylett examines how the arrival of US on-demand services like Netflix poses challenges for European cultural diversity. Business models are evolving fast for the audio visual industry. Opportunities are opening up at a speed, which makes it hard to imagine the future.
How SVOD is changing film production
netflix2 Following on from the European Screens Conference, MeCETES has invited speakers to write a blog about their conference paper. Here, Michael Franklin considers the interrelated potential impacts of (S)VOD on film production, its financing and distribution. The independent film business is well versed in interacting business models with imperfectly aligned values. The expansionist, multi-territory, closed data, subscription video-on-demand (SVOD) service is a more recent addition. To develop a clearer understanding of potential ...
Conference Report: Stakeholder in the Digital Single Market
EC Vice President Andrus Ansip speaking at DSM debate in Copenhagen. Photo: Bjørn Pierri Enevoldsen EC Vice President Andrus Ansip recently visited the Danish Film Institute to discuss the European Commission’s latest proposals for the Digital Single Market. Nina Vindum Rasmussen reports. “I’m not fighting with you. I’m fighting FOR you,” the European Commission’s Andrus Ansip assured a room full of industry stakeholders at the Danish Film Institute on 16 September 2016. Ansip’s visit to Copenhagen took place just two days after the Commission
From movies to games: how film policy is changing
crazymonkey Following on from the European Screens Conference, MeCETES has invited speakers to write a blog about their conference paper. Here, Gertjan Willems charts how film policy in Flanders is expanding into new areas like video games and app design. While the expansion of film industry activities film to other media has a long history, media convergence has intensified this trend in recent years.
Film distribution: Beyond traditional release strategies
in cinemas and on demand Distribution windows for films are evolving rapidly, challenging traditional release strategies. How are different types of films affected by such change? Roderik Smits considers the changes taking place within the UK theatrical market. The theatrical release window has for many years been talked up as the “engine that drives the ancillary sales”, giving films an afterlife on secondary windows or platforms, such as streaming services (through forms of online VOD releasing), ...
Why Brexit is bad news for British film exports
The King's Speech German The UK is likely to lose millions in funding from the EU’s MEDIA programme because of Brexit. Huw D Jones examines what this means for British film exports. Britain’s decision to leave the European Union (EU) in last June’s referendum has provoked a particularly strong outcry amongst UK film professionals. A survey run by industry analyst Stephen Follows, for example, found that 82% were against ...
Crime drama in Flanders: programming trends
Filip Peeters as police inspector Paul Gerardi in Salamander. Are European TV schedules dominated by US shows? Elise Favere examines the situation in Flanders, focusing on the example of crime series. The US dominance of the global trade in television programmes has long raised concerns in Europe about the ‘Americanisation’ of TV schedules. At the same time, drawing on theories of ‘cultural proximity’, many academics note that European audiences still tend to prefer local and national television programmes to American ...
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