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The EU will lose 14% of the European TV advertising market post-Brexit.

Understand the audiovisual market shifts in Europe after BREXIT thanks to the European Audiovisual Observatory’s new online Yearbook!
Strasbourg, France 17 November 2020
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The EU will lose 14% of the European TV advertising market post-Brexit.

Brexit marks the emergence of the UK as a powerful European but non-EU player on world audiovisual markets. How can we understand the seismic shifts in the European markets post-Brexit? The European Audiovisual Observatory has just launched the 2020/2021 edition of its online Yearbook. With its coverage of 40 European countries and Morocco, the Yearbook provides a unique overview of what’s happening in the audiovisual sector with:

  • 287 tables 
  • 40 country fact sheets
  • This new 2020/20201 edition includes the data range of 2015 to 2019 

A single user subscription costs 370 euros and multi-user access costs 800 euros. Subscribe here.
We offer a free subscription to selected media journalists. For further information contact: alison.hindhaugh@coe.int

So what are the new post-Brexit changes we can expect in the media markets?

• The EU loses a TV channel hub.

The UK has hitherto been the main hub for the establishment of TV channels in the EU. Other non-European Union countries hosting a large number of TV channels include Russia and Turkey and, to a lesser extent, Switzerland, Albania and Georgia.

European channels established outside the European Union (proforma, 2019)


Note: includes all European countries members of the European Audiovisual Observatory
Source: European Audiovisual Observatory/MAVIS Database

Due to Brexit, the European Union loses 14% of the European TV advertising market.

The European Union‘s weight on the European audiovisual market obviously decreases with Brexit. It will for instance capture only 73% of the European market, vs. 87% before the Brexit.

Due to Brexit, the European Union loses 11% of its pay-TV subscribers and 23% of its SVOD subscribers. 

But the UK joins a very diverse club post BREXIT. 

Outside the European Union, European countries present very different profiles in terms of media concentration. The audience share of the main TV groups is slightly lower than in the EU, with strong differences between countries.

Audience share of the 4 main broadcasting groups (%, 2019)


Source: European Audiovisual Observatory analysis of Glance data.

The yearbook 2020/2021: all the key data to understand the market shifts in Europe after Brexit.

 


Featured event Featured event

Assessing and labelling the nationality of European audiovisual works

How do we determine the nationality of a film or TV programme?
The nationality of an audiovisual work can unlock funding. It can also open doors to the inclusion of film or TV content in broadcast or VOD quotas within Europe. 
With the revised Audiovisual Media Services Directive (AVMSD), the share obligations for European works on on-demand services have been reinforced, so defining nationality can be a key to success.

This online conference, held on 15th October 2020, brought together representatives from industry players such as Netflix, Canal+ and Vodafone, interest groups such as CEPI and EFAD, the Belgian CSA and ISAN (International Standard Audiovisual Number).

Topics discussed include:

  • How do we determine the nationality of a film or TV programme in Europe? 
  • The nationality of an audiovisual work can unlock funding and open doors to the inclusion of film or TV content in broadcast or VOD quotas within Europe. 
  • What are the different approaches adopted by the various member countries of the EU?

Watch the conference replay here:
 Assessing and labelling the nationality of European audiovisual works

Presentation by Observatory Senior Legal Analyst, Francisco Cabrera Blazquez: 
 "Of apples and pears: the concepts of "nationality" and "European works" 

Presentation by Observatory Legal Analyst, Julio Talavera Milla: 
 "Stakeholders, identifiers and databases"

Read the report: 
 "Mapping of the regulation and assessment of the nationality of European audiovisual works"

Featured Newsletter Featured Newsletter

IRIS Newsletter – our latest legal observations 

The IRIS Newsletter reports monthly on the most important legal developments for the audiovisual industry in 39 European countries.
In more than 30 short articles, it provides a regular, free overview of what has been happening at national and international level. In short, the IRIS Newsletter is an indispensable publication for all decision-makers and experts in the audiovisual sector, produced by us to improve the flow of information and transparency in the sector.

Featured Workshop Featured Workshop

Artificial Intelligence in the audiovisual industry

In the audiovisual industry, as in other sectors, the increasing use of Artificial Intelligence (AI) is likely to announce a paradigm shift, as it can transform the entire value chain.
The Observatory decided to take a closer look at these effects and devoted the 2019 edition of its annual workshop in December to discussing the opportunities and challenges raised by AI in the audiovisual sector, particularly in the journalistic field and in the film sector.

Tracking measures for COVID-19 Tracking measures for COVID-19

We're tracking support measures for audiovisual industries

TRACKING THE REVISED AVMSD TRANSPOSITION TRACKING THE REVISED AVMSD TRANSPOSITION

We're tracking the transposition of the Revised Audiovisual Media Services Directive in the EU

Latest update 09/11/2020

paid for services paid for services

Yearbook Online Service 2020/2021

A UNIQUE SOURCE OF DATA on:
• television • film • video • on-demand audiovisual services in 40 European countries and Morocco

Published: 17/11/2020

► 287 tables featuring more than 25 000 figures
► 40 country data sheets
► Data from 2015 to 2019

More

Price:  370 €
(click here for details)

Database of studies and data from the European film agencies

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