Public financing for film and television content – The state of soft money in Europe

Published: 07/10/2016

European Audiovisual Observatory releases up-date of its landmark Film Funding Report

  • The number of fiscal incentive (tax credits, rebates and tax shelter) schemes more than doubled between 2008 and 2014 (up from 12 to 26 schemes)
  • 74.9% of film funding in Europe came from national/federal funds (a yearly average of EUR 1 895 million)
  • The average yearly spend for film and AV funds in Europe totalled  EUR 2.29 billion

These are the findings of Public financing for film and television content – the state of soft money in Europe. The report analyses extensive European film and TV financing economic data for the period 2010 – 2014.

Related press release here.

More information on how to purchase this report here.

Mandatory contributions and mandatory investments by the various stakeholders in Europe – the new challenges of the digital era and globalisation

Author: André LANGE, European Audiovisual Observatory

Published: 13/06/2014

At the occasion of a workshop organised by the European Audiovisual Observatory and the Ministerio dei beni e delle attivita culturali e del turismo in Rome on 12 June 2014, André Lange made a presentation on the role for new players in the funding for film and audiovisual production.

His presentation can be downloaded here.

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Public Funding for Film and Audiovisual Works in Europe

Author: Susan Newman-Baudais, European Audiovisual Observatory

Published: 01/10/2012

Published in October 2011, Public Funding for Film and Audiovisual Works in Europe focuses on film funds in 37 European countries operating at pan-European, national and sub-national levels and looks at their activities in support of film, television and new media.  The report provides detailed information on fund numbers, income and sources of finance as well as on funding spend and the different types of activities supported. Overview data includes country-by-country funding spend totals and national versus sub-national spend breakdowns. Data covers principally the period 2005 to 2009 with 2010/2011 updates in a series of special country-by-country reviews. The report also provides brief insights into a selection of special topics, including tax incentive schemes in Europe, funding for the transition to digital cinema, broadcasters' contributions to fund income and inter-regional initiatives.

Donwload this publication here.

Public Funding for Film and Audiovisual Works in Europe - A Comparative Approach

Author: Lange A. & Westcott T., OBS with the collaboration of Newman S. (OBS) and Debande O. (EIB)

Published: 01/09/2008

The European film and audiovisual sector lays back to a large extend on financing from public sources. The structure of these public funding sources are complex and diverse. Most professionals, even specialised in financing, don't have a real overview over all or even most of the sources. With its report "Public funding for film and audiovisual works in Europe. A comparative approach" the European Audiovisual Observatory draws the exhaustive landscape of public financing available to producers, distributors and exhibitors.

The report examines the schemes available on a national and international, but as well on a regional and local level. It examines the political goals behind the public funding (from commercial to cultural motivations), the distribution mode and stage of intervention and sizes available budgets. The report allows as well to compare the 35 examined countries in terms of level and structure of their system of public funding of the audiovisual sector.

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Public Aid Mechanisms for the Film and the Audiovisual Industry in Europe

Published: 01/01/2008

This report draws on an in-depth study carried out by the National Cinematographic Centre in Paris and the European Audiovisual Observatory and provides information on the sums of money distributed.

The whole landscape of public support systems for the cinema and audiovisual industries is depicted, portraying the great diversity of national and regional policies. This overview of the situation enables us not only to pinpoint the originality of cinema and audiovisual policies in each country, but also to identify their common elements. Through this study we gain an insight into the wealth of policies which have sprung up and the flexible way in which these are adapted to specific national situations, whilst appreciating the need for aid policies on a European level.

This analysis comes in two volumes:

  • Volume I: Comparative Analysis of National Aid Mechanisms
  • Volume II: National Monographies (Austria, Belgium, Switzerland, Germany, Denmark, Spain, Finland, France, United Kingdom, Greece, Ireland, Iceland, Italy, Luxemburg, Netherlands, Norway, Portugal, Sweden)

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