Markets
Trends in the EU SVOD market - 2017 edition
The state of play of SVOD in Europe: subscribers, revenues, main players and trends.
The circulation of EU non-national films - A sample study: Cinema, television and transactional video on-demand
How do European films circulate in cinemas, TV and TVOD? This report presents a European overview and a country by country analysis of film exports and imports, including a focus on co-productions
The circulation of European films outside Europe - Key figures 2016
This report focuses on the theatrical exploitation of European films outside Europe. It has to be kept in mind that the theatrical window is only one out of – broadly speaking – four market segments.TV, Video and VOD markets may also constitute relevant market potential for European films but...
Film production in Europe - Production volume, co-production and worldwide circulation
The European Audiovisual Observatory covers closely any trend related to feature film production volume in Europe. Thanks to the data provided mostly by the national film or statistical centers in most European countries, we are able to produce pan-European statistics on a yearly basis on the...
Films on TV: Origin, age and circulation – 2017 Edition
This brief provides an analysis of films programmed by a sample of TV channels in EU-countries.
The Russian Legal On-Demand Video Services Market
In 2016, the total legal on-demand services market size reached Rub 11.18bn (Euro 150.3m), a 32% increase from 2015 (in Rub).
Media Ownership: Children’s TV channels in Europe - Who are the key players?
This report focuses on portraying the children’s TV channels in terms of market offering, performance and major players.
Audiovisual services in Europe - Focus on services targeting other countries
Around one third of all audiovisual services based in the European Union (EU) are targeting other markets. Most of these were established in the United Kingdom.
VOD distribution and the role of aggregators
The exploitation of audiovisual works, and films in particular, is traditionally based on two pillars: a release windows chronology, mainly agreed upon on a contractual level, with theatres being the first (usually exclusive) window and a territory by territory exploitation of rights.
The access to film works in the collections of Film Heritage Institutions in the context of education and research
The present publication sets out to assess the volume of film works in the collections of European Film Heritage Institutions (FHIs) that are accessible for research and educational purposes. The scope of the study is two-pronged: on the one hand it seeks to determine the approximate volume of...
