26/02/2015 : Press release - The European Audiovisual Observatory publishes a report on fiction broadcast by television channels in Europe (2006-2013)
- The proportion of fiction in the programming schedules of European television channels is falling.
- The proportion of European fiction has improved slightly owing to an increase in the amount of national fiction broadcast in various countries.
- Delocalised television channels broadcast a very low percentage of European works.
The European Audiovisual Observatory has just published a summary report on the broadcasting of fiction by a sample of television channels in Europe between 2006 and 2013. By “fiction programmes” we understand five easily identifiable formats: films produced for television (TV films), series and soap operas, animation (excluding feature-length animated films), feature-length cinema films (including animated films) and short films.
The analysis of the origin of fiction programmes shows that the situation varies considerably according to the type of channel and the channel’s country of reception.
Only two categories of channel have more than 50% of European fiction in their programme schedules. Cultural and educational channels (those that broadcast the least amount of fiction) mainly offer European works (78.3% of the programme schedule time in 2013, of which just under one-third consisted of national programmes and two-thirds were imported or were co-productions). The proportion of the programme schedule time devoted to European fiction broadcast by the public service general-interest channels was 57.6% in 2013 and a majority of these were non-national works.
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Empowering users: rating systems, protection tools and media literacy across Europe
As part of their long-lasting collaboration, on 15 December 2014 the European Audiovisual Observatory (OBS) and the European Platform of Regulatory Authorities (EPRA) jointly organised in Strasbourg a workshop on “Empowering users: rating systems, protection tools and media literacy across Europe”. This workshop is the first experiment of its kind as it forged new paths of cooperation between experts, representatives of the industry and regulators, with the aim to address through a multi-stakeholders’ and cross-media approach important and societal topics, such as the empowering of users and the protection of minors in new audiovisual services. The interactive workshop was built around a four-tier structure encompassing regulatory aspects, self and co-regulatory commitments, protection tools and media literacy.
21/01/2015 : Press release - The European Audiovisual Observatory publishes the 20th edition of its Yearbook
The European Audiovisual Observatory has just published the 20th edition of its Yearbook. Television, cinema, video and on-demand audiovisual services. This brand new publication includes the following findings:
- Over the last five years (2009-2013), the European audiovisual groups lost 5.3% of their global market share.
- Despite the rapid rise in on-demand services in 2013, the audiovisual sector experienced its second year of stagnation.
- Between 2008 and 2012, the operating revenues of the non-European groups established in the European Union rose from EUR 48.2 to 53.1 billion.
This reference publication contains pan-European figures (on 40 countries) on the various branches of the sector. Using the different indicators available, the Observatory reveals that the entire audiovisual sector experienced a second year of stagnation in 2013. For the third year running, the market generated revenues in the order of EUR 133 billion, with even, for the first time, a very slight fall in its revenues in 2013 (-0.1%). The sector most affected is physical video (-11.3%), but 2013 was also a year of recession for cinema receipts (-4.3%), video games (-1.8%) and broadcasting services (-0.5%). The growth in the activities of pay-TV platforms (+2.7%) and in the production of online VoD services (+46.1%) was unable to compensate for the decline in the other activities.
This year, the Yearbook contains a significant innovation in the form of an analysis of the revenues generated in the European Union by the European subsidiaries of international groups.
Lange A., Yearbook. Television, cinema, video and on-demand audiovisual services, European Audiovisual Observatory, Strasbourg, 2014, ISBN 978-92-871-8017-9, EUR 185,00.
Journalists wishing to receive a free "press" copy of this publication, please contact:
Alison Hindhaugh, firstname.lastname@example.org - Tel.: + 33 (0)3 90 21 60 10
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18/12/2014 : Press release - The Influence of New Technologies on Copyright. European Audiovisual Observatory publishes new IRIS plus report
Our means of accessing copyrighted works have been transformed beyond recognition by the digital revolution. On line services, streaming, torrents and all other digital means offering content are challenging the current structures of current copyright legislation. Indeed, it seems that the rule makers are always chasing behind the latest technological developments in order to provide a suitable regulatory structure. The European Audiovisual Observatory has just published a brand new IRIS plus report:
The Influence of New Technologies on Copyright
Current copyright legislation was last overhauled 15 years ago. At the time, it was the InfoSoc Directive which stipulated the rules of communicating copyrighted content to the public. The SatCab Directive still lays down the rules for the retransmission of content and it remains unchanged since 1993. The Observatory sets out to explore the current legislative situation and raises the question of the need for a serious overhaul.
The Influence of New Technologies on Copyright – time for an overhaul of our legislation in Europe?
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09/12/2014 : Press release - Who’s afraid of the big bad data? New forms of audiovisual commercial communications in a converged audiovisual sector
European Audiovisual Observatory publishes new IRIS Special report
“Amazon knows me better than my wife” exclaimed a notable European media pundit at a recent conference. And he may not have been joking. The face of advertising has changed forever. “Commercial communications” (as they are now known) now exist in an increasingly converged media universe. As a result, the lines between real content and advertising are increasingly unclear. Furthermore, “big data” giving precise details about our needs and behaviour as consumers is stored and exchanged as currency so that advertisers can target us ever more precisely with their message. The European Audiovisual Observatory, part of the Council of Europe in Strasbourg, has just published its latest in-depth IRIS Special report to examine:
New forms of commercial communications in a converged audiovisual sector
This new publication is the result of a workshop organised by the Observatory and its partners the Saarbrücken-based Institute of European Media Law (EMR) and Amsterdam’s Institute for Information Law (IViR). The workshop (and hence this publication) focused on these developments in the sphere of commercial communications from a regulatory point of view. The participants also analysed the various EU directives which lay down the rules for commercial content and its delivery via the myriad of new channels available in our hyper-connected environment. Peter Matzneller (EMR) and Jenny Metzdorf of the University of Luxembourg provide the opening summary of the workshop. More information on how to purchase this new publication in our on line shop here.
The Turkish film industry. Key developments 2004 to 2013
As Turkish cinema celebrates its 100th anniversary, the Turkish film industry looks back at a dynamic and eventful history. Today, Turkey is firmly established as the 2nd largest European theatrical growth market and the 7th largest theatrical market in terms of admissions, only superseded by the ‘big 5’ EU markets and the Russian Federation. The Turkish film market also stands out in the pan-European landscape as the only market where national films regularly outperform US films.
The Observatory’s report is probably the most comprehensive market analysis of the Turkish film industry available in the English language. It can be downloaded free of charge here.
Workshop organised by the European Audiovisual Observatory and the European Platform of Regulatory Authorities European Youth Centre, Strasbourg - 15 December 2014 More
18/09/2014 : Press release - Only 16.3% of European films directed by women between 2003 and 2012
- Within the same period 8.9% of the admissions for European films went to films by female directors.
- On average, a film by a male director recorded slightly more than twice the number of admissions (1:2.02 female:male) than the average film by a female director.
These figures are drawn from the European Audiovisual Observatory’s latest report: Female directors in European film productions. State of play and evolution between 2003 and 2012 produced by Film Analyst Julio Talavera Milla. This first-of-its-kind pan-European analysis of films by female directors (produced using the Observatory’s LUMIERE database on admissions of films released in Europe) reveals that only 16.3% of the European films produced between 2003 and 2012 were shot by female directors. This percentage is even lower when it comes to the share of admissions, with European films by women directors accounting for 8.9% of the total admissions in Europe during the same period.
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04/09/2014 : Press release - Enabling Access to the Media for all – how does European law take care of disabled media users? New IRIS plus report by the European Audiovisual Observatory
In today’s ultra-connected world of smartphones, tablets and smart watches, it has never been more important to protect the rights of disabled members of our society to access audiovisual content. Indeed, barrier-free access to audiovisual content is paramount to our fundamental right to freedom of expression and information. But how does guaranteeing maximum access work in practice? What steps have European lawmakers taken, and are taking, to ensure that the 15% of our society with some form of impairment can enjoy optimum access not only to traditional TV, but also the internet and the increasing number of on-demand services? The European Audiovisual Observatory, part of the Council of Europe in Strasbourg, examines the current legal state of play in its latest IRIS plus report:
Enabling Access to the Media for All
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