Press Release

Strasbourg, 28 January 2003

American Fiction and Feature Films Continue To Dominate Western European Television Channel Programme Imports

• The total volume of fiction and film programming imported and broadcast by Western European television channels in 2001 reached 320 239 hours, a 3% increase on the 2000 level.
• Though the volume of American imports fell back for the third year in succession, American initiated programming continued to dominate programme imports, due to the growth in the number of US co-productions imported.
• Among the principal Western European exporting countries, only German export volumes showed significant growth in 2001 (+16%).
• 93% of the total volume of feature films imported and broadcast by the United Kingdom channels analysed in this study came from or were co-produced by American companies.

On the occasion of the publication of the fifth and final volume of its 2002 Yearbook, the European Audiovisual Observatory provides a more detailed analysis of imported fiction broadcast by Western European channels than has previously been possibly.  Data is provided by Essential Television Statistics (ETS) and is based on an analysis of the fiction and feature film programming of Western European television channels since 1994 [See Note on Methodology]. 

The overall volume of imported fiction broadcast by Western European TV channels registered positive growth in 2001

Following three years of growth from 1996 to end 1999, the total volume of fiction (television fiction and feature films, including repeats) imported by Western European TV channels fell back slightly between 1999 and 2000 (- 2%). This situation was reversed in 2001, as the volume of imports grew once more to reach a total volume of 320 239 hours (+ 3%).

Figure 1: Origin of imported fiction broadcast by TV channels in Western Europe (1994-2001)

In hours broadcast

Source: ETS/European Audiovisual Observatory

The overall picture in terms of the sources of programming remained relatively stable.  Despite the emergence of a number of new zones of interest in terms of programme acquisition, the traditional dominance of American fiction and feature films in the European market was not seriously called into question in 2001.

The volume of entirely American imports declines for the third year in succession but co-productions involving American producers become increasingly important

For the third year in succession the total volume of American fiction programming imported by European TV channels fell back, with a drop of -1% in 2001.  However if the focus is broadened to include international co-productions the overall trend appears somewhat different.  In fact the reduction in the volume of entirely American programming imported has been largely compensated by the increasing interest in international co-productions.  These co-productions may or may not involve a European partner but in the vast majority of cases can be considered as being at the intiative of an American company.  They can, as a result, be included as part of the total volume of American-originated programming. 

Figure 2: Imported American, European and other programming broadcast on TV channels in Western Europe (1997-2001)

As a percentage of total hours broadcast

Source: ETS / European Audiovisual Observatory

Analysed in this way,  American dominance of European programming schedules becomes even more evident.  In relative terms American programmes actually increased their share between 1999 and 2000 and fell back only slightly between 2000 and 2001.

Co-productions generally, whether entirely European or involving international partners, are becoming an increasingly important component of channel programme schedules.  In 1997 they represented just 6% of the total hourly volume, while in 2001 they had claimed 13% of the total programming time devoted to imported fiction and films. 

A number of opposing trends can be observed in relation to non-US, non-European programming.  Japanese programming illustrates a generally upward trend, with imports more than doubling between 1999 and 2000, and growing by 25% between 2000 and 2001. On the other hand the volume of imported programming from Australia and New Zealand has declined sharply from a peak in the mid-90's, with the downward trend becoming particularly clear since 1999.

Figure 3: Volume of non-European/non-American programming and of international co-productions imported and broadcast by Western European television channels (1994-2001)

In hours broadcast

Source: ETS / European Audiovisual Observatory

Among the European exporters, only Germany showed significant growth

The overall volume of European fiction programming and feature films imported by Western European television channels remained relatively stable over the past five years, at between 15 and 16% of the total volume of imported fiction broadcast.  Against this general background of stability, analysis of individual national export volumes shows nonetheless a more varied picture.

ETS analysis provides details of the import volumes of programmes originating in the five principal European markets, as well as a separate analysis of the volume of European co-productions imported.  Programmes originating in European countries outside the five major markets are regrouped in the category `Other European'.

Figure 4: Origin of imported European fiction broadcast by TV channels in Western Europe (1997-2001)

In hours broadcast

Source: ETS / European Audiovisual Observatory

Programmes and films originating in the United Kingdom are clearly those most programmed on television channels in Western Europe, achieving volumes more than double those of France, the next best exporter.  French-originated programming is closely followed in volume terms by Germany, while Spanish programmes are those least programmed by channels in other European countries.

Of the five principal exporting countries, German-originated programming was the only one to achieve a significant level of growth in 2001, with an increase of 16% in the volume imported and broadcast.  The United Kingdom and, to a lesser extent, France, also showed small gains in 2001, as did the total volume of fiction and films from other European countries (+17%).  Import volumes of Italian and Spanish programmes and films both fell back in 2001, for the second time in sucession in the case of Italian-originated programming.

Although the volume of European co-productions imported also fell back slightly, it is worth noting the important place occupied by programmes and films made as co-productions between European partners.  The small decline registered in 2001 (-1%) comes after an encouraging period of growth between 1998 and 2000.

United Kingdom channels depend most on American-originated material

Among the five principal markets in Europe, United Kingdom channels are the most heavily dependent on American-originated material  - 88% of fiction programming imported into the UK and 93% of feature films are either entirely American or American co-productions.  If only for linguistic reasons, this predominance is unsurprising.  However it should be noted that 2001 data analysed here does not include imports by pay TV channel FilmFour, whose programming includes films from a wider variety of origins.

Figure 5: Volume of US-originated fiction and films imported and broadcast on television channels in the five principal European markets  (2001)

As a % of the total volume of fiction and film imported and broadcast

Source: ETS / European Audiovisual Observatory

Italy and France are the two countries least dependent on imports of American-originated material, with 69% of fiction imports and 75% of feature film imports into Italy coming from the United States.   The figures are slightly lower for France with 68% of fiction imports and 67% of feature films registered as American-originated.

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Volume 5 of the Yearbook also includes data on programme output by strand of European television channels, and summaries of the EUROFICTION 2002 report as well as of the up-dated version of the accompanying Economy of European television fiction (Eurofiction-Economy) study.  The volume includes for the first time a profile of the financial situation of the European Union television production and distribution sector.

Contacts:

• André Lange (Head of Department, Markets & Financing) - Andre.LANGE@coe.int - tel.: +33 (0) 3 88 14 44 00
• Susan Newman (Analyst, Department Markets & Financing) - Susan.NEWMAN@coe.int - tel.: +33 (0) 3 90 21 60 15

Notes for Editors

Methodology

The data discussed in this press release is compiled by Essential Television Statistics (ETS), a United Kingdom based  company specializing in the analysis of television fiction broadcasts on more than 200 channels in Europe, the Far East and Australasia.  For the European Audiovisual Observatory ETS has provided a specific analysis covering the programme output of Western European television channels output since 1994.  This data includes repeats and reruns. From 2000 separate analysis of the volume of fiction programming (which includes animation) and of feature film programming has been available and this is reproduced for the first time in this edition of the Yearbook.  Volume 5 of the 2002 Yearbook also provides for the first time a breakdown between the volumes of programming imported by free-to-air channels and by pay TV channels.

It should be noted that ETS tracking covers only imported fiction and films broadcast, and consequently does not provide data concerning the volume of national fiction and feature films broadcast by the selected channels.  Data concerning the volume of national TV fiction broadcast  in a number of European countries is included in the EUROFICTION reports, also published by the European Audiovisual Observatory. 

Reproduction of graphics from this press release

Underlying data permitting the reproduction of the figures contained in this press release can be found here.

The EUROPEAN AUDIOVISUAL OBSERVATORY

Set up in December 1992, the European Audiovisual Observatory's goal is to gather and distribute information on the audiovisual industry in Europe.  The Observatory is a European public service body comprised of 35 member states and of which the European Community is also a member.  It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry, together with a network of correspondents.  In addition to contributions to conferences, other major activities are the publication of statistics and newsletters, compilation and management of databases, and the provision of information through the Observatory's Internet site (http://www.obs.coe.int/).