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Abstract by the authors: Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform’s investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets.
Abstract by authors: Over the last decades, media, IT and telecoms have been transitioning away from siloed markets dominated by legacy players. New entrants have been the engines of disruptive changes and the media sectors have witnessed new dynamics, opening up a phase of increased competition with competing business models. The context of convergence thus differs deeply from 20 years ago. The first section of the paper presents a picture of the European audio-visual markets, stressing its main features. It concentrates on the audiovisual service markets, describing its streams of revenue and structure. The second section tracks the way the European Commission has been dealing with the regulation of content over the last three decades. It sums up its main initiatives, goals and rationales. It shows how the European Commission has been catching up with technology with the progressive setting up of a two-pronged framework: sectoral (broadcasting-telecommunications) on the one hand, information society (e-commerce now digital services) framework on the other hand. The paper concludes with an assessment of the design and effectiveness of the policies, particularly DSA/DMA, and a view on the transition of the audiovisual markets. Based on a series of reports and research updated by desk research, the article reviews some of the existing literature, official publications and industry and consultancy data.
Abstract by authors: The impact of public service media (PSM) on media competition has become a topic of debate in many European countries. Some argue that PSM could starve commercial media, or discourage them from entering markets in the first place because they shrink commercial audiences, lowering both advertising income for free commercial television and willingness to pay for commercial products. Despite its prevalence as a policy argument, there has been limited research about the crowding out concept – and almost no research that is independent, comparative, and considers broadcasting as well as online markets. This article addresses these shortcomings by examining whether there is any evidence to support the crowding out argument by analysing national broadcast and online markets in all 28 European Union countries. More specifically, we focus on data on market resources, audience performance and payment for digital news. The analysis reveals little to no support for the crowding out argument for broadcasting and related online markets.
Résumé : La recherche sur le rôle des médias dans la construction d’un espace public européen s’est très souvent cantonnée aux frontières nationales des États membres, négligeant la dimension de communication transnationale, à savoir celle véhiculée par les médias transnationaux. Nous choisissons pour cela d’étudier les aspects liés à la réception télévisuelle d’Euronews, chaîne d’information transnationale à perspective européenne, à partir de l’expression du citoyen/téléspectateur dans l’espace public.
Abstract by authors: Public service media (PSM) are confronted with a continuing debate about public remits, performance, efficiency, and the public value of its offerings, and in many countries, public service organisations are put under pressure by political initiatives that question and oppose the traditional public funding models. This paper contributes to the debate about funding models and the assessment of public service media by exploring the relationship between funding (input) and audience performance (impact). Results of a comparative analysis of 17 European countries indicate that funding of PSM affects its audience performance. Broadcasters with stronger public income achieve higher market shares, stronger relevance as an information source, and greater trust in independence from external constraints. The findings underline the sensitivities around political reforms that aim at changes of PSM funding models. On the basis of the empirical analysis, the authors argue that substantial budget cuts or the abolition of public funding will probably lead to declines in audience performance—and a loss of relevance of public service media.
Abstract by authors: This article investigates contemporary cultural policy reforms enabled by paid digital media distribution services, taking the case of the integration of Spotify into the Swedish public media system. Specifically, it reflects on the conflicts arising over the prioritization of digital distribution over cultural preservation, during the gradual substitution of the Spotify digital services for the services provided by the traditional material media archive, the Grammofonarkivet. It considers the factors influencing changes in the Swedish cultural policy environment and the nature of the complaints and human rights claims made by employees of the Grammofonarkivet to UNESCO regarding its structural transformation. It also postulates a “Spotification” model of public service media emerging in Sweden but potentially affecting other countries with public media systems served by traditional media archives.
The journal of media law; 2018-07-03; Vol.10 (2); pp.219-243
Abstract by authors: This article investigates and compares the changes to both the Audiovisual Media Services Directive and the Copyright Directive, through which European Union policymakers have sought to protect European content producers, mainly in the face of competition from US-based platforms. Contributing to debates about platform and content regulation, we examine the approaches taken with these two legislative changes and assess the potential for success of the most recent efforts. Ultimately, we argue that if revised as proposed the Copyright Directive runs the risk of further adding to the imbalance of power between press publishers and online platforms, and that the level playing field approach taken in the AVSMD revision is more likely to be at least somewhat effective in addressing that imbalance.
Abstract by authors: This article addresses the 'wicked' problems met by contemporary public service media (PSM) institutions: to address the fragmentation of audiences across platforms; to have a positive impact on civil society and societal coherence; to facilitate cultural diversity; and to work with private creative industries and facilitate their growth. These objectives can be reduced to a conflict in producing both public and private value. In this article, we build on the combination of innovation systems theory and public value theory to investigate the interrelationships between the production of these different forms of value. Our case study is Estonia's national pre-selection competition for the Eurovision Song Contest, which is innovative in terms of its cross-media framing and its approach to working with private partners to facilitate the development of the Estonian popular music system.
Extrait : "...il me semble clair que nous devons en finir avec les millefeuilles qui multiplient les coûts et diluent les énergies. Surtout dans le domaine de la culture où, dès que vous créez une structure ou que vous donnez une subvention, il devient très difficile ensuite de revenir en arrière. En période de restrictions budgétaires, nous devons donc y réfléchir à deux fois avant d’engager des dépenses, et surtout définir une stratégie globale sur le long terme qui sera aussi synonyme de meilleure gestion. Mais attention aux grandes réformes qui n’aboutissent jamais. Le premier objectif, c’est de contenir la dérive financière. Pour cela, la proposition de créer une holding inspirée du modèle de la BBC semble une bonne piste, l’un des premiers objectifs de cette holding étant de lancer une grande plateforme numérique commune et ambitieuse. Celle-ci sera plus utile, plus puissante et moins onéreuse que les multiples sites autonomes actuels qui doublonnent et se concurrencent sans toujours savoir à quoi ils servent ni où ils vont."
Résumé: Le cinéma en tant que genre esthétique peut-il résister à l’expansion des plateformes américaines de streaming à travers le monde ? La salle de cinéma restera-t-elle le lieu privilégié dans lequel le septième art a jusque-là trouvé un socle pour son développement ? Beaucoup d’incertitudes subsistent quant à l’avenir, mais l’essentiel de l’enjeu va se déterminer dans les prochaines années.
Abstract by the authors: By analysing European cultural policies and paradigmatic case studies, this article highlights the close link between the normalisation of minority languages in Europe and film subtitling. Film subtitling is an activity that urgently needs to be protocolised insofar as it guarantees both the preservation of the cultural originality of the audiovisual work and its value as tangible and intangible European cultural heritage. To do so, we will analyse the legal divide between the all-encompassing European Union declarations and their implementation by state and local administrations, which often occur in erratic, random, contingent packages of measures that lead to a systemic absence of results. Finally, we will propose some key challenges and recommendations to provide Europe with a film subtitling protocol to promote cultural diversity and normalise non-hegemonic languages.
Abstract by the authors: The barriers which exist for European cinema distribution - problems with international distribution, and different practices of audiovisual translation - have a great impact in films produced in European minority languages, meaning that they find it hard to compete with larger-scale productions. Although minority and regional languages are protected by EU legislation and diversity is a key element in the Union's narrative, audiovisual policies do not directly address this protection. This article examines legislation connected with minority languages, on the one hand, and cinema, on the other, and presents a case study on the film produced in Galician O que arde (Oliver Laxe, 2019) to analyse the challenges that small cinemas face in the Digital Single Market.
Abstract by the author: Co-production was developed by several European countries to revive their film industries and has become increasingly popular, spreading across the region and beyond. However, this scheme should be carefully examined as to whether it is truly beneficial to the film industry. In response, this paper proposes two new concepts, “corporation-led” and “state-led” co-productions by distinguishing them from the prevailing notion of “(international) co-production.” Corporation-led coproduction is to achieve the best outcome through the optimal utilization of production (or creative) factors and business activities. By contrast, state-led co-production has been used to enhance the national image and has been supported by financial incentives. As such, this type of co-production becomes a hindrance for the optimal utilization of production factors. All of these aspects can be found throughout the history of Europe’s co-production efforts. In the future, such an instrument should be redesigned in order to promote the film industry more effectively.
Abstract by the authors: It has been widely believed that subsidies can help revive film industries, but the link between the intent and the actual results deserves more careful scrutiny. This paper addresses this issue by comparing and analyzing Europe and the United States. Originally, Europe’s subsidies were developed to increase the number of film productions, but they soon became ineffective and were largely exploited by Hollywood as a way to circumvent European protectionist measures. By contrast, US subsidy policies have been initiated and implemented by local state governments in order to enjoy the economic and cultural benefits from the filmmaking business, instead of supporting the film industry per se. Again though, these local subsidies have been exploited by Hollywood studios leaving little benefit for the local states. All of these points show that subsidies can easily become a myth, thus careful consideration should be undertaken when developing more effective policies for the future.
Abstract by the authors: In recent years, the role of cultural industries has been of increasing interest for governments around the world. This has been particularly the case with the audio-visual industries, such as the film sector, due to the fact that they are considered as both a core component of soft power and a potential economic driver. The dominant perception in many countries is to view audio-visual products as a form of art, culture, or even as an extension of national identity. Such an approach has led many to believe that both culture and its related industries must be protected by various legal and economic measures.
Résumé: Cet article étudie le cas d’une stratégie collective développée au niveau européen dans la filière de la vidéo à la demande. L’étude réalisée à propos d’EuroVoD montre comment, depuis une dizaine d’années, une stratégie s’est structurée autour des plateformes européennes du cinéma indépendant pour faire face collectivement à la fragilité de leurs modèles d’affaires et à l’instabilité de leur environnement. L’analyse pointe également le discours véhiculé par EuroVoD en appui aux activités de lobbying et de coopération mises en œuvre, qui se concentre sur la valorisation de la diversité culturelle et sur la défense des industries cinématographiques européennes vis-à-vis des grandes plateformes américaines.
Introduction: The digital revolution of recent decades, which has brought affordable broadband access to consumers in large parts of Europe, is having a profound impact on audiovisual markets. While cinemas, terrestrial and satellite broadcasting and cable distribution remain important modes of film exploitation, online services and platforms have rapidly captured significant market share, with rental and sales of DVDs concomitantly decreasing. Arguably, the future of film distribution lies largely in the digital realm. Since the internet knows no natural borders, digitisation has enabled new global players to enter European markets, and has put existing business practices and models for distributing and financing films under enormous pressure. EU policies aimed at removing legal obstacles to achieving the Digital Single Market exacerbated this development. In the European Union, the exclusivity that a copyright confers upon its owner is, in principle, limited to the Member State where the right has been granted. This allows right holders and licensees to partition markets along national borderlines, and to structure their financing model accordingly. However, since this may pose obstacles to intra-European trade and services, from the 1990s onwards a variety of European policies and regulatory instruments have been deployed to reconcile territoriality with the Internal Market. Such EU policies might affect current film financing practices that are considered by many stakeholders to be vital to the European audiovisual industry. This raises the first research question of this paper: what exactly is the role that territoriality plays in financing films in Europe today? The second and related question concerns the role of public support schemes for financing European films.
Résumé : Le cinéma belge peut-il être un « laboratoire européen » ? En étudiant une cinématographie bicéphale (car composée de productions en deux langues et de cultures distinctes, flamande et francophone), on peut tenter de cerner les enjeux à la fois économiques, artistiques et institutionnels, en lien avec l’édification d’un cinéma européen. Il s’agit de comprendre les interactions entre une politique cinématographique et le type de films pouvant être produits et diffusés.
Abstract by authors: Within the framework of the Creative Europe programme, and due to the inexplicable lack of current academic information on the topic, this exploratory cross-cultural study seeks to advance the understanding of the relationship between European adolescents and cinema through a sample of 937 secondary students from eight countries of the European Union. Specifically, the research contributes to the identification of young people’s conceptions of the artistic value and functions of cinema, their knowledge of cinematography and their opinions about national, European or foreign cinema. In addition, it explores the extent to which these factors are alike and differ according to nation. The results of this work are relevant for academics from different disciplines, regulators, educators and members of the audiovisual industry.
Abstract by authors: This paper reports the results derived from the research project, entitled "eDCINEMA: Towards the European digital Space. The role of small cinemas in original version" (CSO2012-35784), which focused on the analysis of the role of movies in ov/ovS in achieving diversity of languages and cultures (as viewed from the European digital Agenda) as well as Community policies on the promotion of small cinemas in the European digital space. The current study is based on a methodological triangulation, a transnational exchange of information between 62 European experts and a multistage organization, which included: a critical review of the scarce essay writing and profuse Community rules, in-depth interviews with international experts and a design and implementation of a prospective delphi questionnaire. one of the most remarkable research results is summarized as an indicator of the conflict between the clearly demonstrated ov influences to make progress towards achieving the ideal of a real language diversity, and Community-wide application of packages of random measures, which often leads to lack of expected results. Consequently, the study suggests a strategic reorientation of the European Audiovisual Model toward further exploitation of its 24 languages, on the role of vernacular and not just as vehicular languages, and eventually as guarantors in the process of reliable access to cultural and scientific repertoires.
Abstract by authors: The interactivity and participation of the public in the media is not a novelty, but has increased significantly with ihe adaptation to the digital convergence process. The possibility for audiences to share content through soc¡aI platforms or generating its own is raising new ethical and legal issues. In this context, the public service audiovisual media must be pioneer both in the introduction of new participatory experiences and in the debate on the behaviour of the media regarding the interaction with its users. The objective of this article is twofold: on the one hand, to approach the current scenario of participatory mechanisms present in the European public service audiovisual media; on the other hand, to determine how this media is solving the new problems generated by the increase in user interaction, The research on participatory mechanisms offered by public service media shows that social networks, blogs. and comment sections are the main tools for discursive participation, while the field of creative participation requires the exploitation of new innovation strategies. The main challenge arising from this Situation is how to control the legality of user-generated content and how to manage the ownership of copyright according to social values represented in public service media.
Résumé : La généralisation rapide de l’usage des technologies numériques pour la réalisation du cinéma comme le passage très rapide à la diffusion numérique en salle laissent croire que la transition numérique du cinéma est derrière. Ce constat ne rend néanmoins pas compte de bouleversements plus profonds de la filière et plus exactement de la mutation que connaissent l’écosystème et son épine dorsale en termes d’exploitation des œuvres et de régulation que constitue la chronologie des médias. Ce n’est pas l’un et l’autre qui sont affectés par la transition numérique, mais tous ensemble qu’ils le sont, notamment parce qu’ils sont au cœur du financement du cinéma à travers chaque fenêtre d’exploitation des films du cinéma. Pareille transition s’effectue dans un contexte où chaque mode d’exploitation est l’objet de tendances profondes : le nécessaire renouvellement de l’expérience en salle, l’extinction de la vidéo physique, la crise de l’audiovisuel face aux nouveaux médias, le changement d’échelle provoqué par le numérique et l’inflation des droits cinémas où sportifs. L’article cherche à démêler ces tendances de fond et à identifier les points de rupture qui s’opèrent dans le cadre français. Il dessine au-delà d’une transition numérique apaisée les ferments d’une mutation plus significative.
Critical studies in television, 2021, Vol.16 (3), p.304-325
Abstract by the authors: The European audiovisual market has unique contextual characteristics that constrain the sustainability and development of audiovisual content. Among other shifts, the rise of global subscription video-on-demand players like Netflix have been reshaping this market. Although Netflix has been investing in Europe, little is known about their actual investment strategies. This study’s goal is to analyse Netflix original investment in European scripted series and examine their implications for the European market. Based on a mapping of all European Netflix Originals, we identify four investment patterns. The analysis shows a significant uptake of Netflix investment, yet concurrently these reinforce existing discrepancies between large and small states in Europe.
Abstract by authors: This article analyses the response of European Public Service Media to the crisis caused by Covid-19, especially the impact of the pandemic on Europe's major public broadcasters, with a particular focus on technical and professional constraints, alterations in audience volume and habits, production strategies, type of broadcast content and journalists' routines. The research is based on public information from the European Broadcasting Union (EBU) and 19 in-depth, structured interviews with a convenience sample of innovation and strategy managers from public broadcasters in Austria (ORF), Belgium (VRT and RTBF), Denmark (DR), Finland (YLE), France (France TV), Germany (ARD and ZDF), Great Britain (BBC), Ireland (RTÉ), Italy (RAI), Netherlands (NPO), Portugal (RTP), Spain (RTVE), Sweden (SVT), Switzerland (RTS) and the European Broadcasting Union (EBU). The results indicate that the corporate projection of PSM was increased by emphasising their role as essential services and their defence of the values that characterise them. The pandemic forced the adaptation of programme production from technical standards to an emotional approach, accelerating a formal hybridisation with native online contents. Dependence on software grew and newsmaking processes were altered towards 'remote journalism'. Changes are drawn that may be maintained in the future.
Abstract by authors: Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.
Abstract by authors: European television channels harbour a significant amount of imported programmes within their schedules. This presence, with its social and cultural impact, is directly affected by the established practices of the television industry which conditions the type and origin of the foreign programmes that are being acquired by linear broadcasters. This research article aims to analyse the criteria used by local television buyers when acquiring international programmes and understand the reasons behind transnational television flows. The findings of the interviews with the television buyers of the main free-to-air television corporations of the United Kingdom and Spain reveal that there is a high level of standardization across the two countries in the decision making process and this homogenizes the range of programme viewers are exposed to. However, a differentiation between public and commercial channels has to be made since public broadcasters consider social and cultural aspects to a higher degree.
Berber Hagedoorn, Vera Alexander, Pablo Valdivia, Alberto Godioli, Florian Lippert, Lars Rensmann; London, England: SAGE Publications Journal of European studies; 2019-11-01, Vol.49 (3-4); pp.427-447
Abstract by authors: Television is a public mediator of what constitutes ‘crises’ in Europe. Audio-visual archives and researchers are facing new complexities and ‘information bubbles’ when telling stories and reusing televised materials. I reflect on these practices, among others, via a comparative case analysis of the EUscreen portal offering access to thousands of items of European audio-visual heritage. I question how practices of selection and curation can support comparative interpretations of such representations. This approach aims to understand and support (1) interpretations of digitized/digital audio-visual sources in the era of information overload; (2) user interaction with digital search technologies – especially researchers as platform users; and (3) contextualization for reuse of audio-visual texts. Support for cultural memory research is crucial as television’s audio-visual heritage can help us to recognize which cultural practices result in the production of specific texts in European societies, representing conditions of the multiple crises that European citizens are experiencing today.
Abstract by authors: Television was heralded as a catalyst of European solidarity when satellite technology arrived, but financial failure, regulatory barriers and contrived cross-border stories – defamed as ‘Europuddings’ – quickly stifled this enthusiasm. This article reconsiders television as a medium for narratives of European solidarity within today’s TV industry, policy and culture. The crime drama The Last Panthers (2015), co-produced by Sky and Canal+, serves as a case study of the interplay between economic, political and cultural Europeanization in contemporary TV production. The analysis builds on Jürgen Habermas’s reflections on crisis dynamics in late capitalist societies (1980, 2005), which informs his response to the crisis of the European Union (2012). The case study shows how the pressure of global competition on European broadcasters, the European Commission’s support for distribution of audio-visual media, and the lessons learnt from the Europudding years have created a fragile window of opportunity for narratives of transnational solidarity.
Abstract by authors: Changes on media context urge companies to adopt alternative and innovative strategies for decision-making regarding audience's habits and preferences. In this respect, the neuroscience methodology provides an appealing option to analyze consumers' viewing experience. This paper aims to determine the impact of neuromarketing on TV channels for the latter purpose, through an in-depth review and a survey addressed to analyze the use of this methodology by European private broadcasters. The results achieved point to the potential of neuromarketing to improve efficacy of linear and non-linear TV commercial spaces, as well as to design television contents and to optimize the impact of social TV and multiscreen viewing.
Abstract by the author: In the context of Netflix’s rapid expansion in European markets and its growing investments in original content, this article conducts a comparative case study analysis of Netflix offerings and investment strategies in four European Union countries: Belgium, Romania, Spain, and Sweden. A first aim of the article is to establish the extent to which offerings in these markets confirm or reshape the findings of transnational flow studies on the imbalance of content supply. A second aim is to analyze how these offerings reflect the platform’s investment strategies in the different markets. Although findings point to increased diversity in catalog composition, as well as growing investments in European works, Netflix also reconfirms and contributes to existing power imbalances between markets. US content dominates the four European catalogs, while investments in European original content considerably favor strong media markets over weaker ones.
Abstract by author: In a scenario of abundance of digital contents, audiovisual works need to be easily discovered to be consumed. Prominence, therefore, becomes essential. In Europe, the idea of giving prominence became key to address how works can be promoted after the adoption of the Audiovisual Media Services Directive in 2007. In light of the amendment of this norm, this article provides an overview of the regulation regarding prominence of Video on Demand (VoD) services at the European Union (EU) level. The aim is to analyse its transposition into national provisions to identify different approaches and characterize them according to their implications for the general interest. It is concluded that to guarantee and justify that certain contents are easy to discover by citizens in an overwhelming digital world, the formulation of principles-based rules can be an appropriate solution.
Abstract by authors: This article builds on comparative case study research of four EU countries which have imposed 'Netflix taxes' - France, Germany, Belgium (Flanders) and Italy. It examines to what extent the introduced investment obligations are actually future-proof as part of developing long term sustainable audiovisual policy toolkits. We argue that Netflix taxes are introduced in a path-dependent manner, by building on familiar policy instruments, previously applied to other audiovisual players. We identify differences between the imposed investment obligations in terms of the type of Netflix taxes and their scope and pinpoint the similarities. Our findings show that Netflix taxes are driven by an economic rationale, that is to increase the global competitiveness of domestic films and improve their performance on global VOD platforms and that policymakers aim to integrate players such as Netflix, into their cultural models, rather than going against them.
Abstract by authors: Whilst operating in the shadows of powerful market leaders Netflix and Amazon, the specialised subscription Video-on-Demand (VOD) platform MUBI has branded itself as a pioneering and innovative platform with a global presence in international markets. MUBI has put itself at the forefront of the evolving online market for specialised films after a period of trial and error. In particular, their business model has undergone radical change over the course of their brief history. We chart the historical development of MUBI with the purpose of analysing its business model and its role as cultural gatekeeper and tastemaker. Through a discussion of their engagement with online distribution, it becomes clear that MUBI’s platform strategies are rooted in an underlying practice and philosophy that closely aligns with conventional traditions and practices of linear and physical media delivery formats. Therefore, we argue that established practices in the physical media market have been relocated online in somewhat new and interesting ways. We also scrutinise MUBI’s response to the challenge of promoting specialised film in a crowded and volatile market. In particular, we analyse MUBI’s recent venture into the wider business of distribution and demonstrate that this strategy is needed to add promotional values to their platform.
Abstract by author: The purpose of this article is twofold: to consider whether and how the European Union has a strong influence in global audiovisual politics and economy and to analyse whether the United States keeps playing a key role in global audiovisual flows or its domination is challenged by the European Union or other countries. These two purposes are analysed in the light of the rise of global online platforms, seen as the new dominant development in the audiovisual industry. In order to understand the European Union role and influence, the article highlights three interlinked factors: European/internal audiovisual policies, market profile and foreign audiovisual diplomacy. In the end, the article examines the competition that European Union faces in the global film economy, focusing notably on the US/Hollywood, China, India and global online platforms.
Résumé : Cet article étudie le cas d’une stratégie collective développée au niveau européen dans la filière de la vidéo à la demande. L’étude réalisée à propos d’EuroVoD montre comment, depuis une dizaine d’années, une stratégie s’est structurée autour des plateformes européennes du cinéma indépendant pour faire face collectivement à la fragilité de leurs modèles d’affaires et à l’instabilité de leur environnement. L’analyse pointe également le discours véhiculé par EuroVoD en appui aux activités de lobbying et de coopération mises en œuvre, qui se concentre sur la valorisation de la diversité culturelle et sur la défense des industries cinématographiques européennes vis-à-vis des grandes plateformes américaines.
Abstract by authors: A firm step in order to impose a quota for the catalogues of video-on-demand service providers has been given by the EU through the amendment of the Audiovisual Media Services Directive in 2018. This paper aims to analyse the potential implications of this change, in relation to the way the promotion of European works has been implemented so far, since some comments can be made in light of this revision. It will be argued that more interesting than the obligation to comply with a quota, defined by the geographical origin of audiovisual works, is the idea of making VOD service providers part of every national audiovisual production and financing system via direct or indirect financial contributions. It is concluded that indirect obligations could offer a wider room for manoeuvre to better help focus public policy decisions.
Development Distribution? EU Aid for Formal Audiovisual Distribution and the Case of Africa's First Video-on-Demand Platform.; Pearson B.A.J.;Television & New Medi; . 2020;21(7); pp.768-784
Abstract by author: This article examines the European Union's support for formal distribution initiatives abroad, focusing on ACPCultures+, an economic development program that aims to grow the audiovisual industries of developing countries through the expansion and adaptation of the logics and mechanisms of intra-European media policies. While these distribution initiatives aim to challenge Hollywood's reach in developing countries, their activities nevertheless foster the integration of audiovisual industries in developing countries into global media industries. At the same time, the program's pairing of formal distribution and development aid is at times at odds with audience and industry expectations. Using data from policy documents, fieldwork in Brussels, and interviews with recipients of ACPCultures+ distribution project awards—including a detailed case study of Africa's first VOD platform—I explore how these initiatives attempt to shape formal distribution in countries on the peripheries of large audiovisual industries.
The impact of global platforms on media competition and on the results of European communication companies.; Campos-Freire F, de Aguilera-Moyano M, Rodríguez-Castro M.; Communication & Society; 2018; 31(3); pp. 223-238
Abstract by authors: The market value and capitalization of traditional media companies have dropped dramatically in the last five years. This is due to the evolution of digital platforms and the emergence of global communications mega-corporations that have since absorbed the distribution of new information and entertainment content. It is also a consequence of the aggregation of value-added services generated through incessant innovation. Communications mega-corporations, the GAFANs (Google. Amazon, Facebook, Apple and Netflix), and audiovisual and telecommunications platforms reached market capitalizations ranging from 56% to 170% in the last five years (2012-17) respectively, whilst those of traditional media did not exceed 75 percent. Asymmetries on competition regulations against traditional media and the political alarm ignited by the so-called fake news or scandals due to the mishandling of users data awakened the European states and the EU about the urgency of filling the legal gap existing around the development of such platforms, particularly in order to demand rules and responsibilities comparable to those that apply to editorial groups.
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