 |
| MEDIA |
| TOPICS |
| PRODUCTS / SERVICES |
|
|
 | ||
 |
 |
 |
Press ReleaseStrasbourg, 10 May 2004 |
 |
Methodological remarks by the European Audiovisual Observatory
concerning its press release on European Cinema Trends 2003 [1]
Following queries from various readers about the methodology used in the calculation of market shares in the European Union in 2003, the European Audiovisual Observatory would like to provide the following clarifications:
The provisional data on market shares in the European Union in 2003 are based on the data on admissions to individual films as collected in the LUMIERE database as at 26 April 2004. At this date the coverage rate of the database for admissions in the 15 European Union countries was of around 82%. Due to various gaps in data collection and delivery in various countries, coverage of 100% of admissions is currently unachievable. By the end of each calendar year, however, the LUMIERE data coverage rate for EU 15 generally reaches 89 or 90%. For 2003, LUMIERE has still to include complementary data on the following EU 15 countries: Austria, Finland, Greece, Ireland, Portugal and data for films released in Spain with less than 400,000 admissions. As for Greece, Ireland and Portugal, the only figures available are admissions to European non-national films, as published in June each year by the MEDIA Programme Technical Assistance Office, D&S Media Service GmbH [2], based on the distributors' declarations made in the framework of the MEDIA Programme automatic support scheme.
The inclusion of this data may have an effect on the calculation of market shares. In particular it may increase the market share for European films outside their national market. For example, the market share for European films outside their national market in 2002 in the 15 European Union countries was of 7.9% in the press release published on 5 May 2003 by the Observatory, but increased to 9.9% when further figures became available. This increase was partly due to the late success of films such as The Others and Le fabuleux destin d'Amélie Poulain in Greece and Portugal.
The European Audiovisual Observatory is not responsible for data collection at the national level and regrets that comprehensive figures are not available for all countries. However, the Observatory notes with satisfaction some progressive improvements: for the first time extended data for the Slovak Republic from the Slovak Film Institute Audiovisual Information Centre have been entered into the database. In Portugal, the ICAM has announced that comprehensive figures on admissions will be available for the first time next year. As for France, the Observatory has reached an agreement with the Centre national de la cinématographie (CNC), whose exhaustive official admissions figures should soon be available for consultation in the LUMIERE database.
The European Audiovisual Observatory's mission is to improve transparency in the European film and audiovisual market and it is keen to provide detailed information on methodological issues on request. The Observatory will organise this autumn a meeting of the film researchers' network created within the framework of the EFAD (European Film Agency Directors). This researchers' network held its first meeting on 19 November 2003 at the initiative of the UK Film Council and has entrusted the Observatory with the drafting of a report on the need for improvement of statistical data on the film industry in Europe.
_______________________________________________________
[1] "Positive results for European films on national markets in 2003, but circulation abroad disappoints", embargoed 10 May 2004 - reproduced over.
[2] Details on the website maintained by D&S Media Services at: http://www.d-and-s.com/
Press ReleaseStrasbourg, 10 May 2004 |
|
Positive results for European films on national markets in 2003, but circulation abroad disappoints
-
954 million cinema tickets were sold in the 25 Member States of the European Union in 2003, a decline of 4.4% in relation to 2002
-
Around 26% of these tickets were sold for European films, principally on their home markets
-
American films increased their share of a shrinking market by 1.6% as European films travelled with less success
-
Almost absent from EU 15 cinemas - films from new Member States.
Production volume grows in 2003...
On the basis of available data, the European Audiovisual Observatory estimates that 752 films were produced in the 25 Member States of the European Union in 2003, an increase of 25 films (+3%) in relation to the total estimated for 2002 (727 films). Countries that showed an increase in production levels were Belgium (an estimated 17 films as opposed to 14 in 2002), Denmark (from 19 films in 2002 to 24 in 2003), Greece, Ireland, Portugal and Sweden. For Ireland, Portugal and Sweden, 2003 signalled a return to normal levels of production, after a quiet year in 2002. Among the larger markets, France was the only country to register an increased level of production in 2003, with an overall total of 212 films that is the highest on record. International co-productions comprised more than half of this total (107 films). In Germany, Italy and Spain on the other hand, levels dipped, generally due to a fall in the number of co-productions. Among the new Member States, first estimates would appear to indicate a drop in production volume in Poland and Hungary, whereas the number of feature films produced in the Czech Republic remained stable.
The average production budget of a French film rose by 4% to reach EUR 4.63 million (from EUR 4.44 million in 2002), and Italian budgets also moved ahead, going from EUR 2.14 million in 2002 to EUR 2.58 million in 2003 (+21%). Budgets for British films also increased significantly during the year, reaching an average of around GBP 10.40 million (EUR 15.19 million). 5 Hollywood films were produced in the United Kingdom in 2003, a figure similar to that registered in 2002 (6 films).
...while European Union admissions fall back.
Some 954 million cinema tickets were sold in the European Union in 2003, 45 million less tickets than were sold in 2002. This represents a decline in attendance of around 4.4% for the 25 Member States. The majority of countries registered falling ticket sales with just eight countries (the Czech Republic, Finland, Hungary, Ireland, Latvia, Malta, the Netherlands and Slovenia) escaping this trend. Among the larger markets Germany registered the steepest decline (-9.1%), followed by France (-5.6%) and the United Kingdom (-4.9%). Admissions totals in Spain (-2.3%) and Italy (-1.9%) resisted somewhat better. For many of these larger (and indeed some smaller) markets, the decline observed in 2003 was registered in relation to relatively high attendance figures recorded in 2002 and exceptional figures in 2001.
Table 1: Admissions in the European Union (1998-2003)
In millions - Figures in italics are estimated or provisional
| 1998 |
1999 |
2000 |
2001 |
2002 |
2003
prov. |
2003/2002 |
|
| AT - Austria | 15,2 |
15,0 |
16,3 |
18,8 |
19,3 |
17,7 |
-8,3% |
| BE - Belgium | 25,4 |
21,9 |
23,5 |
24,0 |
24,4 |
22,7 |
-7,0% |
| CY - Cyprus | 1,0 |
0,8 |
0,9 |
0,9 |
0,9 |
n.c. |
- |
| CZ - Czech Rep. | 9,3 |
8,4 |
8,7 |
10,4 |
10,7 |
12,1 |
13,5% |
| DE - Germany | 148,9 |
149,0 |
152,5 |
177,9 |
163,9 |
149,0 |
-9,1% |
| DK - Denmark | 11,0 |
10,9 |
10,7 |
11,9 |
12,9 |
12,3 |
-4,8% |
| EE - Estonia | 1,1 |
0,9 |
1,1 |
1,3 |
1,6 |
1,3 |
-18,2% |
| ES - Spain | 119,9 |
131,3 |
135,4 |
146,8 |
140,7 |
137,5 |
-2,3% |
| FI - Finland | 6,4 |
7,1 |
7,1 |
6,5 |
7,7 |
7,9 |
2,6% |
| FR - France | 170,1 |
153,6 |
165,5 |
187,1 |
184,5 |
174,2 |
-5,6% |
| GB - Great Britain | 135,2 |
139,1 |
142,5 |
155,9 |
175,9 |
167,3 |
-4,9% |
| GR - Greece (est.) |
12,4 |
13,0 |
13,5 |
13,4 |
n.c. |
n.c. |
- |
| HU - Hungary |
14,6 |
13,4 |
12,4 |
14,1 |
13,5 |
13,5 |
0,3% |
| IE - Ireland |
12,4 |
12,4 |
14,9 |
15,9 |
17,3 |
17,4 |
0,6% |
| IT - Italy |
118,4 |
103,5 |
103,4 |
110,0 |
111,5 |
109,3 |
-1,9% |
| LT - Lithuania |
1,6 |
1,8 |
2,1 |
2,4 |
1,9 |
1,4 |
-27,3% |
| LU - Luxemburg |
1,4 |
1,3 |
1,4 |
1,4 |
1,4 |
1,3 |
-11,4% |
| LV - Lettland |
1,4 |
1,4 |
1,5 |
1,2 |
1,1 |
1,1 |
1,8% |
| MT - Malta (est.) |
n.c |
1,0 |
1,0 |
1,0 |
1,1 |
1,1 |
1,7% |
| NL - Netherlands |
20,1 |
18,6 |
21,5 |
23,9 |
24,1 |
24,7 |
2,5% |
| PL - Poland |
19,9 |
26,6 |
18,7 |
26,2 |
25,9 |
23,8 |
-8,2% |
| PT - Portugal (est.) |
14,8 |
17,0 |
17,9 |
19,5 |
19,5 |
n.c. |
- |
| SE - Sweden |
15,8 |
16,0 |
17,0 |
18,1 |
18,3 |
18,2 |
-0,7% |
| SI - Slovenia |
2,6 |
2,0 |
2,2 |
2,5 |
2,8 |
3,0 |
7,0% |
| SK - Slovak Republic |
4,1 |
3,0 |
2,6 |
2,8 |
3,0 |
3,0 |
-1,5% |
| EUR 15 estimated |
828 |
810 |
843 |
931 |
936 |
893 |
-4,6% |
| EUR 10 estimated |
56 |
59 |
51 |
63 |
62 |
61 |
-2,3% |
|
EUR 25 estimated |
884 |
869 |
894 |
994 |
999 |
954 |
-4,4% |
Source: European Audiovisual Observatory
Among the countries which witnessed a positive trend in 2003, it is worth noting that the success of domestic production may have been a causal factor. Dramatic comedy Pupendo in the Czech Republic, action film Pahat Pojat in Finland, locally-set true-life drama Veronica Guerin in Ireland were all amongst the most popular films of the year in their respective countries, achieving admissions totals ahead of films such as The Lord of the Rings: The Two Towers and The Matrix Reloaded. Market shares for national films were also on the increase in some of the larger markets, but were not always capable of stemming the general downward trend. This was the case in Germany, for example, where locally-produced films recorded a comparatively high market share of 17.5%, and in France, where the provisional market share for national films remained stable in relation to 2002, at an estimated 34.8%. A relatively limited overall admissions decline in Spain may, on the other hand, be linked to the fact that market share for local films went from 13.5% in 2002 to 15.8% in 2003.
Among non-European Union countries for which results are available, Bulgaria, Norway and the Russian Federation registered positive results. The Russian Federation in particular has shown strong growth in cinema attendance since 2000 and the climb in admissions is matched by rapid expansion of box office receipts (from around 112 million US dollars in 2002 to 191.2 million in 2003). Bulgaria also showed strong growth (51%), probably linked to multiplex construction. In Norway, the positive result is certainly partly due to a very successful year for national films, which obtained a market share estimated at almost 19%, compared to a share of just over 7% registered in 2002. No less than 5 local titles entered the Top 20 films by admissions, led by Mors Elling, sequel to the 2001 hit comedy Elling. Switzerland and Romania followed the general European downward trend.
Table 2: Admissions in European countries non-Members of the European Union (1998-2003)
In millions - Figures in italics are estimated or provisional
| |
1998 |
1999 |
2000 |
2001 |
2002 |
2003
prov. |
2003/2002 |
| BG - Bulgaria |
3,5 |
2,5 |
2,2 |
2,0 |
2,0 |
3,0 |
51% |
| CH
- Switzerland |
15,9 |
15,4 |
15,6 |
17,1 |
18,8 |
16,5 |
-12% |
| HR - Croatia |
2,7 |
2,3 |
2,7 |
2,9 |
2,8 |
n.c. |
- |
| IS
- Iceland |
1,5 |
1,6 |
1,6 |
1,5 |
1,6 |
n.c. |
- |
| MK - "The
Former Yugoslav Republic of Macedonia" |
0,6 |
0,5 |
0,6 |
0,4 |
n.c. |
n.c. |
- |
| NO
- Norway |
11,5 |
11,4 |
11,6 |
12,5 |
12,0 |
13,1 |
8% |
| RO - Romania |
6,8 |
4,2 |
5,1 |
5,7 |
5,3 |
4,5 |
-15% |
| RU
- Russian Federation (est.) |
36,2 |
37,6 |
42,8 |
60,0 |
65,0 |
80,0 |
23% |
| TR - Turkey |
22,6 |
24,8 |
25,3 |
28,2 |
23,6 |
n.c. |
- |
Source: European Audiovisual Observatory
Better results for European films on their home markets, but circulation abroad disappoints
The European Audiovisual Observatory estimates that the overall market share for European films in the European Union reached 25.7% in 2003, 2.1% less than the score of 27.8% registered in 2002. In terms of admissions to European films on their home markets, results for the year were positive, with 19.4% of admissions recorded as being for locally-produced films on their domestic market in 2003 as opposed to 17.9% in 2002.
Table 3: Market shares of films distributed in the European Union (15 countries - 1996-2003)
| 1996 |
1997 |
1998 |
1999 |
2000 |
2001 |
2002 |
2003 prov. |
|
| Admissions
to US films in the European Union |
71,6% |
65,9% |
77,5% |
69,2% |
73,3% |
65,1% |
70,5% |
72,1% |
| Admissions to European national films on their own market | 17,0% |
21,3% |
14,4% |
17,5% |
15,7% |
20,6% |
17,9% |
19,4% |
| Admissions to European films outside their own market | 8,8% |
10,8% |
7,0% |
11,3% |
7,2% |
10,8% |
9,9% |
6,3% |
| Admissions to non-US, non-European films | 2,6% |
2,0% |
1,1% |
2,0% |
3,8% |
3,5% |
1,7% |
2,2% |
Source : European Audiovisual Observatory - LUMIERE database (http://lumiere.obs.coe.int)
Nonetheless, 2003 was the worst year for the circulation of European films since 1996, the first year for which detailed analysis is available. Only 6.3% of admissions to European films were earned in European Union markets other than their home markets, a disappointing result in relation to the corresponding figure for 2002 (9.9%).
As a result, the market share for American films moved ahead by 1.6% to reach a total of 72.1% of the European Union market, while films from other parts of the world earned 2.2% of admissions. The most successful of these films were Ying Xiong (Hero - Hong Kong / China, 2002 - 1.5 million admissions), Cidade de Deus (City of God - Brazil / France / US, 2002 - 1.5 million admissions) and Les invasions barbares (The Barbarian Invasions - Canada / France, 2003 - 1.4 million admissions).
Graph 1: Breakdown of admissions in the European Union according to the origin of films (provisory 2003 figures) - In %
Source: European Audiovisual Observatory - LUMIERE database (http://lumiere.obs.coe.int)
Note: Admissions to European films on their national markets are included in the calculation of percentages.
Fewer popular European films with export potential in 2003
Spy comedy Johnny English and romantic comedy Love Actually were the only European films to figure in the overall Top 20 for the year, figuring at 11th and 14th places respectively in an annual ranking dominated by childrens animation title Finding Nemo, with more than 37.7 million tickets sold.
Table 4: Admissions to films in distribution in Europe in 2003
Provisional ranking on the basis of available data from 21 European countries including Turkey (around 82 % of admissions in 15 European Union countries analysed)
| Original title | Nationality | Year |
Director |
Admissions |
|
| 1 |
Finding Nemo | US | 2003 |
A.
Stanton & L. Unkrich |
37
714 270 |
| 2 |
The Matrix Reloaded | US | 2003 |
A.
& L. Wachowski |
31
903 696 |
| 3 |
Pirates of the Caribbean: Curse /Black Pearl | US | 2003 |
Gore
Verbinski |
28
990 197 |
| 4 |
Lord of the Rings: Two Towers (1) | US / NZ | 2002 |
Peter
Jackson |
27
343 536 |
| 5 |
Lord of the Rings: Return of the King | US / NZ | 2003 |
Peter
Jackson |
27
221 839 |
| 6 |
Bruce Almighty | US | 2003 |
Tom
Shadyac |
22
015 534 |
| 7 |
The Matrix Revolutions | US | 2003 |
A.
& L. Wachowski |
18
349 309 |
| 8 |
Terminator 3: Rise of the Machines | US / DE / GB | 2003 |
Jonathan
Mostow |
17
267 985 |
| 9 |
Catch Me If You Can | US | 2002 |
Steven
Spielberg |
16
432 648 |
| 10 |
American Wedding | US / DE | 2003 |
Jesse
Dylan |
13
902 085 |
| 11 |
Johnny English | GB / US | 2003 |
Peter
Howitt |
13
779 900 |
| 12 |
X2: X-Men United | US | 2003 |
Bryan
Singer |
13
547 808 |
| 13 |
8 Mile | US | 2002 |
Curtis Hanson |
13 304 095 |
| 14 |
Love Actually | GB / US | 2003 |
Richard
Curtis |
12
566 125 |
| 15 |
The Jungle Book 2 | US / AU | 2003 |
Steve Trenbirth |
11 913 646 |
| 16 |
Bad Boys 2 | US | 2003 |
Michael
Bay |
10
429 492 |
| 17 |
The Ring (2) | US / JP | 2002 |
Gore Verbinski |
9 785 243 |
| 18 |
Chicago (3) | US | 2002 |
Rob
Marshall |
9
774 108 |
| 19 |
Two Weeks Notice | US | 2002 |
Marc Lawrence |
9 709 159 |
| 20 |
Gangs of New York | US/DE/IT/GB/NL | 2002 |
Martin
Scorsese |
9
483 666 |
(1) 25 611 709 admissions in Europe in 2002.
(2) 303 792 admissions in Europe in 2002.
(3)24 865 admissions in Europe in 2002.
Source: European Audiovisual Observatory - LUMIERE database (http://lumiere.obs.coe.int)
The 2003 ranking of the 20 most popular European films tends to confirm an observation made by the Observatory over the past few years - only a limited number of European films can be described as having real popular potential beyond their national borders. Among the new titles in 2003, only Johnny English, Love Actually and Good Bye Lenin ! achieved more than 20% of their European admissions outside their national market, while Taxi 3 was relatively successful in Eastern Europe. A similar result is observed on the US market, where European films achieved a market share of around 3.3% in 2003, a further drop in relation to already low 4.5% earned in 2002.
Table 5: Admissions to European films in distribution in Europe (2003)
Provisional ranking on the basis of available data from 21 European countries (around 82% of admissions in 15 European Union countries analysed)
| |
Original title | Nationality | Year |
Director |
Admissions |
| 1 |
Johnny English | GB / US | 2003 |
Peter Howitt |
13 779 900 |
| 2 |
Love Actually | GB / US | 2003 |
Richard
Curtis |
12
566 125 |
| 3 |
Good Bye, Lenin! | DE | 2003 |
Wolfgang Becker |
9 209 683 |
| 4 |
Taxi 3 | FR | 2003 |
Gérard
Krawczyk |
7
378 194 |
| 5 |
Die Another Day (1) | GB / US | 2002 |
Lee Tamahori |
6 048 188 |
| 6 |
Calendar Girls | GB | 2003 |
Nigel
Cole |
5
103 315 |
| 7 |
La gran aventura de Mortadelo y Filemón | ES | 2003 |
Javier Fesser |
4 979 991 |
| 8 |
Chouchou | FR | 2003 |
Merzak
Allouache |
3
989 163 |
| 9 |
Tais-toi | FR | 2003 |
Francis Veber |
3 472 059 |
| 10 |
The Pianist (2) | FR/DE/GB/PL | 2002 |
Roman
Polanski |
3
266 755 |
| 11 |
Das Wunder von Bern | DE | 2003 |
Sönke Wortmann |
3 253 216 |
| 12 |
Natale in India | IT | 2003 |
Neri
Parenti |
2
594 918 |
| 13 |
28 Days Later (3) | GB | 2002 |
Danny Boyle |
2 517 056 |
| 14 |
Días de fútbol | ES | 2003 |
David
Serrano |
2
424 949 |
| 15 |
Luther | DE | 2003 |
Eric Till |
2 342 972 |
| 16 |
La beuze | FR | 2003 |
François
Desagnat & Thomas Sorriaux |
2
042 933 |
| 17 |
La finestra di fronte | IT / PT / TR | 2003 |
Ferzan Ozpetek |
1 967 024 |
| 18 |
Das fliegende Klassenzimmer | DE | 2003 |
Tomy Wigand |
1 870 041 |
| 19 |
Ricordati di me | IT / FR / GB | 2003 |
Gabriele Muccino |
1 868 152 |
| 20 |
Il paradiso all'improvviso | IT | 2003 |
Leonardo Pieraccioni |
1 829 916 |
(1) 19 757 094 admissions in Europe in 2002 - (2) 4 920 127 admissions in Europe in 2002 - (3) 1 362 045 admissions in 2002
Source: European Audiovisual Observatory - LUMIERE database (http://lumiere.obs.coe.int)
Absence of films from new Member States on EU 15 cinema screens
The twin problems of limited circulation potential and access to non-national markets would appear even more pronounced in the context of the new Member States. In 2003 just six films from these ten countries were distributed in the original fifteen Member States. Their total audience amounted to just 37 000 tickets sold, representing a market share of 0.005%.
Yet as Table 6 below shows clearly, certain films produced in new Member States frequently meet with great success on their domestic markets. Will post-enlargement European Union audiences be pursuaded to reserve a warmer welcome for these films in 2004?
Table 6: Examples of results for films originating in new Member States or by new Member State directors (2000-2003)
| Title | Director |
Country of origin film / director |
Total
admissions on national market |
Position
in annual national ranking (Year) |
Genre |
| Princezna ze mlejna
2 (Princess of the Mill 2) |
Zdenek Trosca |
Czech Rep |
480 719 |
1 (2000) |
Fantasy |
| Tmavomodrý svet (Dark Blue World) |
Jan Sverák |
Czech Rep |
1 128 990 |
1 (2001) |
History |
| Pupendo |
Jan Hrebejk |
Czech Rep |
958 327 |
1 (2003) |
Comedy |
| Nimed marmortahvlil
(Names in Marble) |
Elmo Nüganen |
Estonia |
136 171 |
1 (2002) |
History |
| Vanad ja kobedad saavadjalad
lla (Made in Estonia) |
Rando Pettai |
Estonia |
81 921 |
1 (2003) |
Comedy |
| A napfény íze
(Sunshine) |
István Szabó |
Hungary |
199 787 |
13 (2000) |
History |
| Sacra Corona |
Gábor Koltay |
Hungary |
254 623 |
17 (2001) |
History |
| Valami Amerika (A Kind of America) |
Gábor Herendi |
Hungary |
526 114 |
4 (2002) |
Comedy |
| A Hídember (Bridgeman) |
Géza Bereményi |
Hungary |
286 836 |
10 (2002) |
History |
| Kontroll |
Nimród Antal |
Hungary |
151 470 |
24 (2003) |
Thriller |
| Prymas - trzy
lata z tysiaca (The Primate) |
Teresa Kotlarczyk |
Poland |
736 399 |
3 (2000) |
Drama |
| Quo Vadis |
Jerzy Kawalerowicz |
Poland |
4 302 445 |
1 (2001) |
History |
| W pustyni i puszczy
(In Desert and Wilderness) |
Gavin Hood |
Poland |
2 223 491 |
2 (2001) |
Adventure |
| Przedwiosnie (The Spring to Come) |
Filip Bajon |
Poland |
1 738 259 |
3 (2001) |
History |
| Zemsta (Revenge) |
Andrzej Wajda |
Poland |
1 958 956 |
3 (2002) |
Drama |
| The Pianist |
Roman Polanski |
Poland |
1 252 740 |
4 (2002) |
History |
| Stara baśń.
Kiedy słońce było bogiem (When the Sun Was God) |
Jerzy Hoffman |
Poland |
901 000 (est.) |
6 est. (2003) |
History |
Source: European Audiovisual Observatory - LUMIERE database (http://lumiere.obs.coe.int)
The European Audiovisual Observatory will be present at the Marché
du Film, Cannes, Stand Riviera A4, Palais des Festivals,
Tel +33 (0)6 79 95 46 72
For further information, please contact:
-
Alison Hindhaugh (Press Officer)
Alison.HINDHAUGH@coe.int - Tél.: +33 (0) 3 90 21 60 10
The European Audiovisual Observatory compiled the seventh edition of FOCUS 2004. World Film Market Trends, published by the Marché du Film. This publication is distributed to all participants at the Marché du Film.
_______________________________________________________
Notes for Editors
Volume of production of feature films
Estimating the total volume of production of feature films in the European Union remains difficult, chiefly due to the risk of double-counting of co-productions and to differing national methodologies for the collection of this data. Included in most cases are feature-length fiction films and documentaries intended for theatrical exploitation.
LUMIERE database
The database, available on-line and free-of-charge, is the result of collaboration between the European Audiovisual Observatory and various specialised national sources as well as the MEDIA Programme of the European Union. LUMIERE provides country-by-country analysis of admissions for more than 12,000 films released in Europe since 1996. 2003 data for 21 European countries is now available, including data for the major European Union markets, as well as data for the North American market (United States together with English-speaking Canada) and for the province of Quebec (Canada).
The rankings (Tables 4 and 5) shown in this press release are based on data from 21 European countries while the breakdown of admissions shown at Table 3 and Graph 1 is based on results for the 15 original European Union countries.
Market Shares (Table 3)
Market share for national films on their own market is an overall figure for the combined total of market shares of, for example, French films (including French majority co-productions) in France plus market shares of Spanish films, including Spanish majority co-productions, in Spain etc. for each of the original 15 European Union countries. Market share for national films outside their own market is the overall share of total European Union admissions achieved by French films outside of France, plus admissions to Spanish films outside of Spain etc. for each of the 15 European Union countries.
International co-productions are attributed the `nationality' of the majority co-producing country for the purposes of the calculation of market shares. It should be noted that the `nationality' of a film in LUMIERE may not be identical with that indicated by national sources. As 2003 data will continue to be entered into LUMIERE during the course of 2004, all market share figures for 2003 remain provisional.
Contacts at the European Audiovisual Observatory:
|
 |
EUROPEAN AUDIOVISUAL OBSERVATORY, Strasbourg, France
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 the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and it works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, the compilation and management of databases and the provision of information through the Observatory's Internet site (http://www.obs.coe.int).