Press Enter to Search
Subscribe to the MeCETES Newsletter for the latest blogs on European film and TV drama.
* = required field
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 ...
Netflix is Changing the Way Films Are Financed
netflix-dash With the advance of Video-on-Demand (VoD) platforms like Netflix transforming the way media content is distributed and consumed, film business consultant Michael Franklin considers the implications for film financing. Independent film financing relies upon the evaluation of future revenues in order to guide investment and pre-sales. Yet the revenue streams upon which such calculations are made are in a state of flux as traditional release windows (e.g.
Foreign Language European Films in UK Cinemas
French comedy drama Untouchables was a hit across Europe in 2012, except in the UK. Subtitled dramas like The Killing and The Bridge have become a regular feature of British TV schedules  over recent years. Yet UK cinema admissions for foreign language European films remain low. Huw D Jones explores this paradox. Last Saturday over 1 million Britons tuned-in to watch the Italian detective series Inspector De Luca, the latest foreign language import to be shown in BBC Four’s Saturday evening drama ...
Report Highlights Changing Patterns in Nordic TV Viewing
House of Cards. The second seasons of the Netflix show has gained significant Danish press attention. Audiences in Denmark are watching more TV shows online, according to a new report by the Danish Broadcasting Corporation (DR). Eva Novrup Redvall investigates. Streaming has become mainstream in Denmark. That is one of the main conclusions of the Danish Broadcasting Corporation’s (DR) 2013 annual report on developments in the media landscape, which was published this month. Even though DR’s latest high-end TV drama series