Selected Online Reading on Audio-visual Sector in the EU

This book provides a global overview of the challenges and opportunities faced by Public Service Media (PSM) organizations, including the increasing power of digital platforms, changing consumption habits, and reforms on funding models. In order to survive in the new, transforming media ecosystem, PSM organizations need to retain their core values whilst also embracing new values stemming from society's increasingly complex communication needs and value systems. The contributions of 40 authors from three continents are grouped into three areas in which PSM organizations can create value: innovation, governance and relation to the market, and democratic reinforcement. The book illustrates how PSM can create value for different stakeholders, in different contexts, and through different methods. Contributing to a better understanding of the role of PSM in current media systems, PSM is shown as a key agent for the development of the public sphere and democratic societies.

Contributing to a rethink of Public Service Media, this book combines theoretical insights and legal frameworks with practice, examining theory and policy development in a bottom-up manner. It explores the practices of Public Service Media across Europe, assessing the rules that govern Public Service Media at both the EU and the National Member State level, identifying common trends, initiated by both the European Commission and individual countries, illustrating the context-dependent development of Public Service Media and challenging the theories of Public Service Broadcasting which have developed an ideal-type public broadcaster based on the well-funded BBC in an atypical media market. Seeking to further explore the actual practices of Public Service Media and make recommendations for the development of more sustainable policies, this book offers case studies of rules and practices from across a variety of EU Member States to consider the extent to which public broadcasters are making the transition to public media organisations, and how public broadcasters and governments are shaping Public Service Media together. This book is a must-read for all scholars who take an interest in Public Service Media, media policy and media systems literature at large. It will also be of interest to practitioners working in government, Public Service Media and commercial media.

In Broadcasters' Rights in the Digital Era, Sakthivel provides a cogent understanding into a hitherto unchartered territory on the applicability of copyright law on the live streaming of 'entertainment content'- an emerging medium of communication. The book examines in exhaustive breadth the scope of broadcasters' neighbouring rights under the copyright regime in the light of technological advancements vis- -vis authors' right and explores the experiences of EU & USA and then suggests suitable changes to the Indian Copyright regime. Sakthivel employs technological analysis and existence of differential market for different mediums to substantiate the relationship of live streaming and the copyright regime.

This IRIS Special aims to enlighten the reader on the definition of the independence of a regulatory authority or body, on the criteria used to assess its independence, and on the legal framework embodying this independence at the European level, as well as provide analysis of the status and functioning of regulatory authorities and bodies in a selection of nine European countries: Bosnia and Herzegovina, Spain, Hungary, Ireland, Italy, the Netherlands, Poland, Sweden, and Slovenia. This sample reflects the different levels of independence that can be found across Europe.

This book provides the most recent overview of media systems in Europe. It explores new political, economic and technological environments and the challenges they pose to democracies and informed citizens. It also examines the new illiberal environment that has quickly embraced certain European states and its impact on media systems, considering the sources and possible consequences of these challenges for media industries and media professionals. Part I examines the evolving role of public service media in a comparative study of Western, Southern and Central Europe, whilst Part II ventures into Europe's periphery, where media continues to be utilised by the state in its quest for power. The book also provides an insight into the role of the European Union in preserving the independence and neutrality of public service media. It will be useful to students and researchers of political communication and international and comparative media, as well as democracy and populism.  

This report is based on an analysis of the 30 most frequently pirated creative works in each of the EU Member States, including 316 films, 500 music artists and 309 TV series. The data on consumption of pirated content was purchased from MUSO, a leading commercial provider of such data, while the data on legal consumption of film (as measured by the number of admissions to theatres) was obtained from the European Audiovisual Observatory’s Lumiere database. For music and TV series, such data is not available at the title and artist level. For this reason, the analysis in this report is more extensive for film than for music and television. Piracy mainly affects creative works recently produced and released. In the case of film, two piracy patterns appear. Firstly, piracy follows commercial success. Therefore, it is suffered mainly by films that were commercially successful in cinemas and enjoyed wide international distribution. For this reason, piracy is suffered above all by US productions (84 % of the MUSO list) but also British, French and Italian ones. Piracy of films from these four countries represents 96 % of film piracy in the EU.

In this updated edition of the industry staple, veteran media executive Jeff Ulin relates business theory and practice across key global market segments--film, television, and online/digital--providing you with an insider's perspective that can't be found anywhere else. Learn how an idea moves from concept to profit and how distribution dominates the bottom line: Hollywood stars may make the headlines, but marketing and distribution are the behind-the-scenes drivers converting content into cash. The third edition: Includes perspectives from key industry executives at studios, networks, agencies and online leaders, including Fox, Paramount, Lucasfilm, Endeavor, Tencent, MPAA, YouTube, Amazon, and many more; Explores the explosive growth of the Chinese market, including box office trends, participation in financing Hollywood feature films, and the surge in online usage; Illustrates how online streaming leaders like Netflix, Amazon, Apple, YouTube, Hulu and Facebook are changing the way TV content is distributed and consumed, and in cases how these services are moving into theatrical markets; Analyzes online influences and disruption throughout the distribution chain, and explains the risks and impact stemming from changing access points (e.g., stand-alone apps), delivery methods (over-the-top) and consumption patterns (e.g., binge watching); Breaks down historical film windows, the economic drivers behind them, and how online and digital delivery applications are changing the landscape. Ulin provides the virtual apprenticeship you need to demystify and manage the complicated media markets, understand how digital distribution has impacted the ecosystem, and glimpse into the future of how film and television content will be financed, distributed and watched. An online eResource contains further discussion on topics presented in the book.

This book brings together contributions from scholars across Europe to present findings from a foresight analysis exercise on audiences and audience analysis, looking towards an increasingly datafied world and anticipating the ubiquity of the internet of things. The book uses knowledge emerging out of three foresight exercises, produced in co-operation with more than 50 stake-holding organisations and building on systematic reviews of audience research. It works through these exercises to arrive at a renewed agenda for audience studies within communication scholarship in the context of intrusive and connected interfaces and emerging communicative practices.  

This edited volume explores media management as engaged scholarship, building a bridge between theory and practice and discussing research collaboration between academia, policymakers and the media industry. In addition to advancing the scholarly discipline, it also questions, investigates and discusses the practical value of the research undertaken, showing how media management research can provide actionable, practice-relevant knowledge to decision makers throughout the media industry. The volume is broken into two parts: a section reflecting on the need for collaboration between research and practice, and a section overviewing specific projects that aim to deliver administrative value to stakeholders. The international research projects presented here span topics such as digital transformation, business models in news and digital journalism, media entrepreneurship and start-ups, ad-blocking, location-based services, audiovisual consumption preferences, the sustainability of small television markets, co-located and clustered industries and digital privacy. Incorporating under-used methodological approaches, such as action research and ethnography, Media Management Matters brings suggestions for how scholarship might be promoted outside academia. Simply put, this book aims to demonstrate why media management matters.　 Featuring an international roster of contributors, this collection is essential reading for scholars and practitioners of media management, business and policy.

The exponential growth of Audiovisual Translation (AVT) in the last three decades has consolidated its place as an area of study within Translation Studies (TS). However, AVT is still a young domain currently exploring a number of different lines of inquiry without a specific methodological and theoretical framework. This volume discusses the advantages and drawbacks of ten approaches to AVT and highlights the potential avenues opened up by new methods. Our aim is to jumpstart the discussion on the (in)adequacy of the methodologies imported from other disciplines and the need (or not) for a conceptual apparatus and framework of analysis specific to AVT. This collective work relates to recent edited volumes that seek to take stock on research in AVT, but it distinguishes itself from those publications by promoting links in what is now a very fragmented field. Originally published as a special issue of Target 28:2 (2016).

This new book offers an insightful guide into the complex tapestry of global entertainment media markets. It features analyses and case studies from leading international media scholars, who explore the causes and effects of globalization upon this ever-evolving industry. There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differences in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi. Editor Paolo Sigismondi's insightful, engaging collection presents a compelling and novel approach to the analysis of global entertainment media. World Entertainment Media: Global, Regional and Local Perspectives is an ideal starting point for students and practitioners alike looking to build a solid understanding of the global mediascape, and a great resource for instructors and scholars in global media entertainment.

This book reflects critically on issues of diversity, access, and the expansion of digital technologies in audio-visual industries, particularly in terms of economics and policies. 　It brings together specialists in cultural diversity and media industries, presenting an international and interdisciplinary collection of essays that draw from different fields of studies - notably Communication, Economics, Political Science and Law. Among the topics discussed are: the principle of diversity as a goal of cultural and communication policies, the assessment of the UNESCO Convention on Cultural Diversity, free trade agreements and the conception of cultural goods and services they advance, the challenges faced by the production, circulation and consumption of cultural content through the Internet, the role algorithms play in the organization and functioning of online platforms, Netflix and the hegemony of global media. The approach is a critical understanding of audio-visual diversity, that aims to transcend specific issues like media ownership, ideas portrayed or modes of consumption as such, to focus on a more balanced distribution of communicative power. This volume is an essential read for scholars and researchers in Communication Studies, Economy of Culture, International Relations and International Law, as well as policy makers, journalists specialized in media and culture, and managers of public and private institutions involved in the development of cultural and communication policies. Postgraduate students will find it a key reference point. diversity, that aims to transcend specific issues like media ownership, ideas portrayed or modes of consumption as such, to focus on a more balanced distribution of communicative power. This volume is an essential read for scholars and researchers in Communication Studies, Economy of Culture, International Relations and International Law, as well as policy makers, journalists specialized in media and culture, and managers of public and private institutions involved in the development of cultural and communication policies. Postgraduate students will find it a key reference point.

A groundbreaking handbook that takes a cross-national approach to the media history of Europe of the past 100 years The Handbook of European Communication History is a definitive and authoritative handbook that fills a gap in the literature to provide a coherent and chronological history of mass media, public communication and journalism in Europe from 1900 to the late 20th century. With contributions from teams of scholars and members of the European Communication Research and Education Association, the Handbook explores media innovations, major changes and developments in the media systems that affected public communication, as well as societies and culture. The contributors also examine the general trends of communication history and review debates related to media development.  To ensure a transnational approach to the topic, the majority of chapters are written not by a single author but by international teams formed around one or more lead authors. The Handbook goes beyond national perspectives and provides a basis for more cross-national treatments of historical developments in the field of mediated communication. Indeed, this important Handbook: Offers fresh insights on the development of media alongside key differences between countries, regions, or media systems over the past century Takes a fresh, cross-national approach to European media history Contains contributions from leading international scholars in this rapidly evolving area of study Explores the major innovations, key developments, differing trends, and the important debates concerning the media in the European setting Written for students and academics of communication and media studies as well as media professionals, The Handbook of European Communication History covers European media from 1900 with the emergence of the popular press to the professionalization of journalists and the first wave of multimedia with the advent of film and radio broadcasting through the rapid growth of the Internet and digital media since the late 20th century.

Audiovisual Media Services Directive (AVMSD), which provided a legal framework for traditional TV broadcasts and on-demand services, was revised in November 2018 in order to align with new developments in audiovisual technologies and on audiovisual markets. To facilitate the implementation of the AVMSD, this study looks at regulatory and business practices relating to three topics included for the first time in the EU media framework: video-sharing platforms (VSPs), media ownership and transparency, and signal integrity. Concerning VSPs, the study looks at the extent to which VSPs can and do take measures to protect minors and the public, as envisaged by the AVMSD. It also looks at developments in implementation at Member State level and the transnational dimension. The media ownership and transparency part explores approaches across the EU to constraining media concentration and promoting transparency, the extent to which current rules are sufficient and enforced, the related best practices, and whether action should be taken at EU or national level. The signal integrity part discusses the prevalence of problems with signal integrity and the conditions that need to be met for the successful implementation of the Directive.

In light of continuing media convergence, the present volume critically examines the EU's legal framework for audiovisual media services. To this end, it analyses measures taken by the French, German and British national regulatory authorities to implement and apply a certain number of rules set out in the EU Audiovisual Media Services Directive (AVMSD). It focuses in particular on the rules defining the Directive's scope of application and those protecting minors in an on-demand environment. This book pinpoints the similarities and differences of national regulatory processes, from which it derives best practices, and it takes a clear position in the current debate on the revision of the AVMSD, offering concrete suggestions for the future design of the EU legal framework for audiovisual media services.

A study was undertaken to identify the skills needed in the audiovisual sector, evaluate the contribution of the Creative Europe MEDIA Training Actions to closing skills gaps, formulate recommendations and cross-check with policy goals. The study considered the 58 Training Actions selected via the first call for proposals. These Actions have received funding of €7.98m and provided training in 33 countries. The main findings are that the Training Actions are unique, highly valued and effective. They address a range of skill needs and support a diversity of nationalities. Learning is highly personalised, individualised and relational, with a heavy emphasis on collaboration with other participants and experts. Participants are supported to take forward projects such as new scripts or productions. Training Actions deliver the intended impact on participants, including improved skills, access to market, contacts and networks. The main recommendations are to make the Training Actions sustainable without EU funding and more widely available to audiovisual professionals.

The interim evaluation of the Creative Europe Programme and the ex-post evaluation of the three predecessor programmes: Culture, MEDIA 2007 and MEDIA Mundus assesses their relevance, coherence, effectiveness, efficiency, sustainability and EU added value, as well as the long term results and impact of predecessor programmes. It considers the context of the implementation of the programmes also reflecting on their contribution to smart, sustainable and inclusive growth, on the new Commission priorities, including the Digital Single Market Strategy and the European Agenda for Culture. In sum, the programmes have been relevant to the current emerging needs of the Creative and Cultural Sectors linked to the globalisation and digitalisation; are mostly internally coherent; are externally coherent with the Member States’ policies, EU and other international interventions; are effective and efficient in generating their expected results; somewhat generate somewhat sustainable impacts and bring significant EU added value mostly by supporting transnational cooperation in the sector. The recommendations are to enhance the design of the current and future programme, flexadapt it to upcoming challenges, communicate on other sources of funding available, target the budgetary allocation on the most efficient schemes, strengthen the dissemination of project results and capitalise on the partnerships and networks developed through the supported projects.

Equal parts historical study, industrial analysis and critical survey of some of the most important films and television programs in recent European history, this book gives readers an overview of the development and output of this important company while also giving them a ringside seat for the latest round of the oldest battle in the film business. With films like Lucy, The Impossible and Paddington, European studios are producing hits that are unprecedented in terms of global success. Christopher Meir delves into StudioCanal, the foremost European company in the contemporary film and television industries, and chronicles its rise from a small production subsidiary of Canal Plus to being the most important global challenger to Hollywood's dominance.

The circulation of European films helps demonstrate Europe’s cultural diversity and makes it possible for international audiences to discover and enjoy European audiovisual works. Wider circulation also means better market opportunities for European productions. This in turn improves the sector’s overall competitiveness, in particular vis-a-vis non-European players. The ability of EU audiovisual and interactive entertainment to deliver economic and cultural value has been significantly enhanced by enlightened public policies. These policies have led to a vibrant sector with a dynamic ecology, which includes an unusually rich mixture of public and private companies, an ambitious independent production sector, and large-scale investment by global media companies. This ecosystem has developed very significantly in recent years, facilitated by a range of technological developments and insightful regulation. More recently, the rise of new video on demand services has characterised continuous innovation in European films.

Créé en 2007, le PRIX LUX est décerné chaque année par le Parlement européen. Le Parlement européen œuvre activement à la promotion de la diversité culturelle et linguistique, conformément à la charte des droits fondamentaux de l’Union européenne. En outre, ses pouvoirs législatifs en font un acteur de poids dans la conception des politiques de l’Union qui affectent directement les 500 millions d’Européens dans leur vie de tous les jours. Son champ de compétences englobe les domaines essentiels que sont l’immigration, l’intégration, la lutte contre la pauvreté, la liberté d’expression, ou encore les droits des femmes. Dans ce contexte, le PRIX LUX poursuit deux objectifs principaux: diffuser plus largement les films européens à travers l’Europe et encourager un débat européen sur des problèmes de société majeurs. Le PRIX LUX favorise la distribution de ses trois films finalistes en sous-titrant chacun d’entre eux dans les 24 langues officielles ainsi qu’en produisant une copie numérique par pays de chaque film. Il a également donné naissance aux JOURNÉES LUX DU CINÉMA, qui offrent une expérience culturelle inoubliable. Le PRIX LUX du Parlement européen continuera de mettre un coup de projecteur sur des histoires et des films qui vont audelà du simple divertissement. Des films qui reflètent notre quête de réponses, notre recherche d’identité et notre capacité à surmonter les difficultés, qui nous aident à prendre conscience du monde dans lequel nous vivons et de la réalité vécue par autrui.

This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today's global challenges in the film industry such as industry change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries. This highly informative book will help both scholars and practitioners in the film industry to understand the complexity of issues and the requirements necessary to preserve the social benefits of film as an important cultural good.

English summary: This book explains digital changes within film distribution in Germany both competently and understandably, and can be seen as a standard introduction to theory and practice. More and more digital market players are penetrating existing markets and promoting variety and innovation. However, they are also disrupting long established market structures. This book highlights their influence on three players: distributors of content rights, both traditional and new digital TV platforms along with their current and future roles, and strategic approaches to safeguarding their market coexistence. For this purpose, the book examines the German TV market and local film distribution, the legal structures and diverse exploitation of programme rights, as well as the digital TV platform Netflix. The results of expert interviews and a theoretical concept give clear business guidance in coping with the ongoing structural changes.

German description: Das Buch erklart verstandlich und kompetent den digitalen Wandel der Filmdistribution in Deutschland und kann als Standard zur Einfuhrung in Theorie und Praxis gelten: Immer mehr digitale Marktteilnehmer penetrieren die bestehenden Markte und bringen so Vielfalt und Innovation in einen traditionellen Mediensektor, wuhlen aber auch lang etablierte Strukturen auf. Der Einfluss dreier Akteure wird dabei beleuchtet: Verkaufer von Filmverwertungsrechten, klassische sowie neue digitale TV-Plattformen. Auaerdem werden deren aktuelle und zukunftige Rollen sowie strategische Ansatze fur ein langfristiges Bestehen im Markt untersucht. Dazu werden der TV-Markt in Deutschland unter dem Augenmerk der Filmdistribution, die rechtlichen Strukturen und Verwertungsmoglichkeiten sowie "Netflix" als Fallbeispiel fokussiert. Die Ergebnisse von Experteninterviews und dem vorangegangenen theoretischen Konzept leiten dann konkrete Handlungsempfehlungen in Bezug zu dem voranschreitenden Strukturwandel ab.

Film is often conceived as a medium that is watched rather than experienced. Existing studies of film audiences, and of media reception more broadly, have revealed the complexity of viewing practices and cultures surrounding cinema-going and its exhibition spaces. Experiencing Cinema offers the first in-depth study of participant engagement with a range of experiential media forms derived from cinema culture. From sing-a-long screenings to theatrical extravaganzas, a broad spectrum of alternative film-going practices and immersive spaces are explored and analysed in this original audience study. Moving from intimate community gatherings to blockbuster urban venues, from isolated farmhouses to Olympic stadia, Experiencing Cinema considers the lure and value of these popular events. Often attracting a diverse, intergenerational range of participants, from early-adopter urban hipsters to DIY rural communities, the growing demand for participatory cinema within the contemporary marketplace is analysed alongside broader debates circulating around the move away from traditional tiered seating and increased audience mobility and the de-centring of the film text.