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Diary of conferences and workshops

The European Audiovisual Observatory presents its work during numerous international conferences and workshops. Our Experts and Analysts are frequently invited to take part in events concerning the audiovisual industry. Every year the Observatory organises at least three of its own events, namely:

  • a spring event in Brussels targeting industry representatives and European decision makers, members of the press and the academic sphere.
  • the biggest public event on cinema during the Cannes Film Market (May);
  • a conference in the country holding the Presidency of the Observatory (June);

We announce Observatory events, also events where we are present on this page of our website as well as on our various web 2.0 platforms.

Current Events Current Events
Films of the latest Observatory workshops and conferences Films of the latest Observatory workshops and conferences

Creators in Europe’s Screen Sectors – Sketching Present and Future Challenges - 7 June 2022

Circulation of European films: is availability enough? - 21 May 2022

FOCUS 2022: Key Trends in the Film Sector 


Latest news Latest news

Streamers account for 16% of investments in European original content

The European Audiovisual Observatory has just published a new report on investments in European original content.
Strasbourg 8 September 2022
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Streamers account for 16% of investments in European original content

Download “Investments in original European 
content - 2011-2021 analysis” here

This brand-new report: “Investments in original European content - 2011-2021 analysis” has just been published by the European Audiovisual Observatory, part of the Council of Europe in Strasbourg. The report analyses the evolution of financing of original European content by broadcasters and global streamers since 2011. “Original content” refers to all categories of original works (fiction, documentaries, game shows, talk shows etc.). “European” refers to EU27 + UK + Norway. Take-aways include:

  • Total investments in original European content sharply increased with the entry of the global streamers in the European market. These investments by streamers were accompanied by an interesting knock-on effect: facing new competition and new standards for TV shows, private broadcasters also increased their investments while public broadcasters faced budget constraints.
  • The streamers’ investments in European original production grew faster than their acquisitions.
  • In 2021, Netflix accounted for about half of global streamers’ investments in Europe, but other streamers have started to catch-up.
  • Spain is comparatively the main beneficiary of the streamers’ investments, and the role of the United Kingdom as the leading market for the production of original European content has been confirmed.



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