Press Release

MipCom, Cannes, France, 7.10.2002

European TV Fiction: Highest production level in a turbulent environment

The European Audiovisual Observatory, Strasbourg - France, publishes for the sixth consecutive year the report "EUROFICTION. Television Fiction in Europe". The report is the result of the collaboration of the five national research teams  which, since its launch in 1996, have participated in the Eurofiction project: Italy: Fondazione Hypercampo (Co-ordinator), University of Firenze, Osservatorio sulla Fiction Italiana (OFI) - France: Institut National de l'Audiovisuel (INA), Conseil Supérieur de l'Audiovisuel (CSA) Germany:  Universität Siegen - Spain: Universitat Autònoma de Barcelona (UAB), Corporación Multimedia y TVC - United Kingdom: British Film Institute (BFI).

• Highest production level since 1996
• Highest increase in Italy and Spain, France against the trend
• Produced fiction formats differ significantly
• A turbulent environment

Highest production level since 1996

The overall offer of first run domestic fiction programmes in European television in the five biggest European tv markets Germany, United Kingdom, Italy, Spain and France in the year 2001 amounts to 5883 hours. The growth of just over 300 hours represents an increase of 5,7% compared to 2000 and even compensates the drop observed from 1999 to 2000. With respect to 1996, the year of the first Eurofiction study, the presence of first run national fiction programmes (excluding feature films) in the schedules of both, public as well as private channels went up by more than 1700 hours (43%).

Highest increase in Italy and Spain, France against the trend

Already the development of the hourly production volumes by country indicates significant national differences. While one could hardly call the Italian tv fiction production an "industry" in 1996, the last six years gave way to a production system with an output of three and a half time more the 1996 one. Spain has experienced a similar growth. At the same time France has seen an opposite development. Excluding a temporary revival in the two years 1998-99 French production volumes fell systematically and it is the only case of national industry with a lower production level than of 1996.

Produced fiction formats differ significantly

Considering two additional indicators, the number of different titles and the number of episodes per title produced allow to further differentiate the situation. Germany remains the major European producer whatever indicator is taken into consideration. The fact that 45% of all titles are produced in Germany is presumably not unrelated to its competitive capacity on the export front. In regards to the variety of titles produced France takes in spite of its low hourly volumes the second position and proves fairly high creative potentials. Both countries continue to cultivate in high quantities the one-off format such as tv movies. On the other side are Spain and Italy with a particularly high seriality index of their production.

Structure of First Run Domestic TV Fiction Programmes in 2001 by Country

Source: Eurofiction           *average number of episodes per title

A turbulent environment

In spite of these figures still in expansion in 2001 the conditions for the fiction production all over Europe have undeniably worsened. This is due to the coincidence of many unfavourable factors. One of the most significant is the establishment of reality and game shows in the European tv schedules. They have become a strategic priority for broadcasters. Broadcasters develop important planning, promotional and fulfilling commitments on these programming genre. In comparison to fiction the reality shows have a double competitive advantage. They imply decisively lower costs than fiction of a medium standard but they can be as successful as these. In addition they allow creative economies and their setting up is often based on tested international formats.

A second unfavourable factor is the weak position of independent tv production in Europe due to well known reasons, such as their unsatisfying financing capacities, no remaining rights on their productions and underdeveloped secondary markets for fiction programmes in Europe.

The third major threat for tv fiction production in the coming years can be made out in its poor capacity of renewal and regeneration. Though the advent of very short formats (only a few minutes) in European schedules have opened up a small space of innovation it does not change the rather static panorama in European drama, where a prudent reliance on the tried and tested prevails.

Eurofiction, Television Fiction in Europe contains in addition to the in-depth analysis of the five big European tv markets reports on the situation of domestic tv fiction in Portugal and Poland and short updates on the situation in the Netherlands, Switzerland and Turkey.

"Eurofiction. Television Fiction in Europe. Report 2002" is produced by the EUROFICTION working group co-ordinated by the Foundation Hypercampo and published by the European Audiovisual Observatory, Strasbourg, France. ISBN 92-871-5028-1, 220 pages, EUR 685,-

Established in Strasbourg in December 1992, the European Audiovisual Observatory is dedicated to gathering, processing and publishing information on the European audiovisual sector. A European public service organisation, it currently comprises 35 Member States and the European Union. It operates within the legal framework of the Council of Europe and works with various partners, relevant professional organisations and a network of correspondents. Its main activities are producing publications, databases and a comprehensive Internet site.