European film industry

 

European Union box office inches to record high in 2011 as European comedies provide welcome relief and 3D matures

Published: 14/05/2012

2011 was a year of stabilisation at the European box office as the marked upward trend of GBO of the past two years slowed down significantly, resulting nevertheless in an overall year-on-year increase.  More


3D drives EU gross box office to record high in 2010 as market share for European films drops in 2010

Published: 09/05/2011

Based on provisional data available, the European Audiovisual Observatory estimates that 2010 gross box office takings in the European Union increased by 5% year-on-year to around EUR 6.45 billion, the highest level on record. In contrast to 2009 box office growth was exclusively driven by an increase in average ticket prices as admissions actually decreased by 1.6% to 966million tickets sold.  More


The Circulation of European Co-productions and Entirely National Films in Europe

Authors: Martin Kanzler in collaboration with Susan Newman-Baudais and André Lange, European Audiovisual Observatory

Published: 11/09/2008

This study analyses the circulation and performance of European co-productions and compares them to entirely national European films, both inside and outside their national markets. A sample of 5 414 films with theatrical release during the period 2001 to 2007 in 20 European markets are examined, using data from the European Audiovisual Observatory's LUMIERE database.  More


The Place of Third Country Film and Audiovisual Works in European Markets

Authors: Martin Kanzler and André Lange, European Audiovisual Observatory

Published: 07/07/2008

This report looks at the presence on the European Union market of films and audiovisual works from third countries. The expression ‘third countries' used in the report applies to works from outside the 25 European countries then member states of the European Union and excluding works from the United States. The period covered is 2002 to 2006 and the study analyses both the theatrical presence and performance of these films in the EU as well as share of non-EU, non-US fiction broadcast on leading television channels.  More


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