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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 unveiled ...
Conference report: UK Film Distribution: What’s Changing?
IMG_2083 Nathan Townsend reports from the UK Film Distribution: What’s Changing? event, organised by MeCETES and Creative Europe Desk UK at the Regent Street Cinema, London, 13 June 2016. Few conferences have such an unambiguous title, and the programme succeeded in exploring what it says on the tin, albeit with a more diverse range of European input than the headline suggested.
Beyond the Box Office: What European films are most popular on TV, DVD and VOD?
film-on-ipad-and-Iphone While cinema admissions data is publicly available, viewing figures for European films on TV, DVD and VOD is harder to come by. Huw D Jones examines how to overcome this problem. One of the main challenges researching the market for European film is determining what Europeans actually watch. While the European Audiovisual Observatory’s LUMIERE database provides pretty accurate data on cinema admissions across Europe, viewing figures for TV, DVD ...
Conference Report: Promoting cross border circulation
av_conferentie.jpg-copy On March 3-4, 2016, the Dutch Presidency of the European Council organised a major industry conference on ‘Promoting the Cross-border Circulation of European Audiovisual Content’ in Amsterdam, The Netherlands. Tim Raats and Ilse Schooneknaep report. With European audio-visual policy at the crossroads of digitisation and globalisation, the need to re-evaluate current regulation and support mechanisms (including Creative Europe, Digital Single Market, the Audiovisual Media Services Directive) were high on the agenda ...
The European audio-visual landscape: enabling cultural diversity
Netflix MeCETES Project Leader Andrew Higson on the role film and television drama can play in enabling cultural diversity in Europe. The European audio-visual landscape is a complex space in which a variety of agents jostle for control. Creative control depends, on the one hand, on the creative talent: directors, producers, showrunners, writers. On the other hand, it is circumscribed by the interests of public and private funders, broadcasting executives, commissioners, sales ...
Conference Report: The Future TV Consumer Seminar
Copenhagen Future TV conference Caroline Engell and Mie Thomsen report from the Future TV Consumer seminar in Copenhagen. Are film and TV shows becoming detached from local broadcasters? Why does Netflix outperform other subscription-based providers in Denmark? And will flow-TV being replaced entirely by streaming? These were just some of the questions explored at Future TV Consumer seminar in Copenhagen on November 25, 2015.
The film distribution business: What’s changing?
curzononamazon600x470 With the rapid rise of the on-line video market, arrangements between sales agents, distributors, content aggregators and digital providers are changing dramatically, writes Roderik Smits. The field of film distribution has historically been reshaped by technological change. In particular, the rapid development of the satellite and cable television market and the home video market in the 1980s had a dramatic effect on the business in terms of financing, production and distribution ...
Concerns over digital single market dominate Cannes
Cannes Cannes isn’t just the place to see the latest films or spot Hollywood stars. It is also a key forum for debate about the future of the European film industry. Ilse Schooneknaep reports on the hot topics at this year’s festival. By the end of 2016, Netflix will be a fully global player, Netflix’s chief content officer, Ted Sarandos, told film executives gathering for this year’s Cannes Film Festival.  Speaking at ...
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