March / April / May 1995. Vol. II, No. 3 Sequentia A quarterlymagazineoninformationsourcespublishedbytheEuropeanAudiovisualObservatory Harmonisation ofstatistical data A guide tostatistical databases salvation orthreat? Digital technology: 00 0 10 ieai Europe: in Cinema h first the years Dossier 3–13 The Council of Europe has the task of continuing to promote freedom of expression and the free flow of Cinema in Europe: information across frontiers. This is made all the more necessary given the present changes in the the first 100 years. political, economic and technological landscape in Markets and greater Europe. The thirty-four member states of the Council of Europe have committed themselves audiovisual works 14 –15 to defending and promoting freedom and pluralism in the media in accordance with Article 10 of the Harmonisation European Convention on Human Rights. Issues of statistical data. relating to the European cultural heritage as well as new opportunities for cultural co-operation have also been given priority. These efforts will be high- Rules of the game 16 –17 lighted in 1995 and 1996, when the Council of Europe acts as co-ordinator of the events celebra- International and European ting a 100 years of cinema. The media have also legal developments. been identified as playing a key role in combating racism, xenophobia, antisemitism and intolerance.

Publications 18 –19 All these endeavours show that the proper func- tioning of free, autonomous and dynamic media is essential for democracy and for fostering mutual Observatory file no. 3 respect and understanding among nations. The Council of Europe, with its specific vocation in the A guide to statistical human rights field, its intergovernmental experience in the area of mass media and its broad geo- databases. graphical base, offers an appropriate framework for activities that are geared towards improved col- laboration within the audiovisual media in Europe. Against the background Transparency of cultural and political challenges that Euro- in the media sector pean nations are expe- riencing on their way to enhances democracy closer co-operation, I warmly support all initia- Today 700 million people across Europe spend tives that aim to improve a considerable amount of their time in contact with the circulation of infor- the audiovisual media. A large and ever increasing mation from one country number of programme suppliers and distributors to another and promote are battling to make sure that their services secure greater transparency in adequate audiences. In greater Europe, approx- the European audio- visual sector. In parti-

imately 2 600 television channels, 10 000 cable ope- © Council of Europe rators and over 6 million cinema seats, together cular, such efforts are with a whole range of new multimedia products important in strengthening the mutual under- compete for the increasing attention of this Euro- standing, tolerance and daily links among the pean market. people of eastern, central and western Europe. The audiovisual industry and the professionals working Audiovisual communication consisting of informa- within it have a great responsibility in this respect. tion, education, culture and entertainment In the era of cross-border communication, assum- occupies a central place in modern democracies. It has become an important industry with enormous ing this democratic responsibility should become opportunities for economic growth. It influences a personal and professional challenge for pro- the behaviour of politicians, monitors governments gramme makers and journalists, as well as industry and administrations, and gives momentum to poli- executives. tical movements. It creates, preserves and The European Audiovisual Observatory, working disseminates cultures, thus providing the major within the legal framework of the Council of platform for cultural production in today’s Euro- Europe, offers a valuable service in this regard. The pean societies. It enables everybody to keep Observatory’s mission is to help the European abreast of the day's events - even from great dis- audiovisual industry and its professionals to gain a tances - and transmits essential information to the better understanding of the rapid and complex public at large. developments in the audiovisual sector in all Anybody who is committed to working towards an European countries, not just their own. improvement in the collaboration and under- My sincere wish is that audiovisual professionals standing both within and among nations needs to from all Council of Europe member states, as well bear in mind the central role played by audiovisual as Russia,1 will find the services of the Observatory media in today's Europe, both east and west. of benefit to their professional pursuits. I particu- Efforts to create economic and political co- larly want to encourage professionals from eastern operation across borders will come up against and central Europe to make use of these services. severe difficulties if the communication and infor- mation flows among these nations are weak or 1. Russia is presently member of the European Audiovisual Obser- distorted. Strengthening co-operation in the audio- vatory and Audiovisual Eureka, but not yet of the Council of Europe. visual field and investing in better flows of information pave the way to lasting links in other Daniel Tarschys walks of life. Secretary General of the Council of Europe

Coverphoto: “Metropolis” (1926), by Fritz Lang, newly restored by the Munich Film Archive. Courtesy of Films Sans Frontières. by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. Sequentia • Published by the European Audiovisual Observatory / 76 allée de la Robertsau / F-67000 Strasbourg / Tel. (33) 88 14 44 07 / Fax (33) 88 14 44 19 • Editorial Chairman and Publishing Director: Ismo Silvo • Editor: Lone Andersen • Editorial Board: André Lange (statistics and market information), Ad van Loon (legal information), Lone Andersen (production and distribution), Ismo Silvo (Chairman) and John Hunter (multimedia and IT) • Secretariat: Valérie Pfister.• Documentation: Michèle Weissgerber • Layout: Thierry Courreau • Typesetting: Gérard Grampp • Printing: Finkmatt Impression • ISSN 1022 6338 • Published quarterly • Copyright of the EAO. Not to be reproduced without the formal authorisation of the European Audiovisual Observatory • Subscription rates: 400 FF (western Europe) / 200 FF (eastern Europe) / 500 FF (non-member countries) • Subscription Manager: Anne Boyer. External contributions for this issue: Christian Zeender (Cinema Centenary Unit – Council of Europe), Lori Keating (Thomson/Council of Europe Liaison Committee), Dr Jacqueline Seignette (Goudsmit & Branbergen, Attorneys at law, Amsterdam), Lawrence Early (Head of the Media Section, Directorate of Human Rights, Council of Europe), Michael Müller (Institut für Europäisches Medienrecht), Giuseppe Santaniello (Garante per la radio diffusione et l'editori), Dr José Martín y Pérez de Nanclares (University of Rioja), Kirill Razlogov (Institute for Cultural Studies, Moscow), Dick Penny (Cinema 100), Michael Type and Dermot O'Sullivan (EBU), Jean Dacié and Gilles Fontaine (IDATE), Paolo Baldi (Acamedia), Nathalie Coste Cerdan (BIPE Conseil), Jacques Braun (Eurodata TV), Paul Madigan (Essential Television Statistics) and David Fisher (Screen Digest). We kindly wish to thank: Ms Cecchini (Private Office of the Secretary General of the Council of Europe), Sabine Rinck, Sara Mahoney and Kathryn Martin (Cinema Centenary Unit, Council of Europe), Bodil Gram (University of Copenhagen), Brigitte van den Elst and Béatrice Trouveroy (FIAF), Barbara Dent (British Council, Paris), Janus Barfoed (the Danish Film Institute), Jean Charles Canu (Films Sans Frontières), Tone Frelih (Slovenian Film Fund), Ms Fritsche (Babelsberg Studios), Thierry Fremaux (Institut Lumière, Lyon) Ms Palve (Celia Films, Paris), and Ms Michèle Aubert (Association Frères Lumière).

“Train arriving at the station of La Ciotat”

2 Sequentia No. 3 MARCH/APRIL/MAY 95 Dossier

Cinema in Europe: the first

• Celebrating the cinema to preserve it • A night in European studios • Digital technology: salvation or threat? • Keepers of the frame: 10 0 What is the FIAF? • Agenda of events years in Europe

Sequentia No. 3 MARCH/APRIL/MAY 95 3 Dossier

Celebrating the cinema to preserve it The invention of cinema gave rise to a new art form and in just a few years it became the biggest vehicle for mass entertainment the world had ever seen.

Despite Louis Lumière's encourage voluntary deposits A poster, designed by one of the ringing declaration back in 1895 and the restoration of great Russian artists, Erik with the first public film audiovisual recordings, while Bulatov, and which gives an projection that "Cinematography making them more generally immediate visual link between is an art with no future", the available for public use. the early days of filming and "seventh art" developed at an The convention could be signed the cinema of today will be astounding speed. A hundred at the Conference of European published together with a book years after its humble begin- Ministers of Culture in Budapest presenting decade by decade nings and despite the intro- in spring 1996. During this the major events which have duction of colour and sound, conference, ministers will also maked European film history. the process itself has remained be looking at ways to promote Each of the ten decades will be the same. A film in the pioneer- film production and distribution presented by a famous film ing days of cinema can still be throughout greater Europe. maker with contributions from shown on today's state-of-the-art some of today’s major film equipment. Moving images are On 30 June 1995, the Babels- critics. The book will be no longer shown solely in film berg, Cinecitta and Pinewood available in September 1995. theatres. They have invaded studios, along with other almost every household with the European production studios, The Council of Europe's Cultural advent of television, video and will be joining together to Convention has been signed by computer-linked multimedia celebrate the centenary. forty-three European states. technology. A whole host of actors, film The Council is able to use the makers and journalists will be programmes that arise from the In late 1992, the Council of gathered at the sites, which will convention to provide backing Europe urged its member states be linked by HDTV transmission, for the countries of central and to prepare special events to thanks to the financial and eastern Europe. Particular commemorate the cinema technical support of Thomson. attention is being paid, within centenary. Projects for retro- the framework of the centenary spectives, exhibitions and films An international exhibition, celebrations, to the development began to spring up everywhere, designed by Harald Szeeman of specific support mechanisms, but were held back, however, by and entitled "The Great Illusion", such as systems of guarantee for simple financial considerations. examines the fascinating production and distribution, relationships that have been as well as support for the A special unit has been working built up between cinema and at the Council of Europe to give development of the cinema other visual arts. It will take exhibition sector. The basis the centenary a European place in Venice, Madrid and dimension. for co-operation between Zurich - other cities have also government representatives, Cinema Centenary With limited financial means at expressed an interest. Unit and financial and banking its disposal - all funding comes Christian Zeender A number of other projects are institutions was defined in Council of Europe from member states - the also reaching the final stages Budapest in late 1994. Council of Europe took it upon F-67075 Strasbourg of preparation. One of the aims itself to help various projects The first public film screening Cedex of the Council of Europe during find the necessary funding. took place on 28 December Tel. (33) 88 14 20 00 the celebrations is to avoid Fax (33) 88 41 27 56 1895, in the Grand Café in Paris, concentrating them in any and a hundred years after, the Past and future one place. With this in mind, same day will provide the television channels that are highlight for centenary celebra- There can be no art without members of the European tions. It has not yet been memory. Film footage is a fragile Broadcasting Union will be possible to organise a single thing, and a lot of the earlier screening films made by students event involving all European films have already vanished. from film and cinema schools. cinemas for this very special day. Recently we have also begun to witness the disappearance of As we already saw, the Council Hopefully, the centenary other audiovisual recordings, of Europe is particularly celebrations throughout Europe which in turn means we are interested in film conservation will help the European film and it has asked its partner, losing documentary evidence of industry break into its second by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. our history. The Council of Thomson, to make a century stronger and more Europe (DECS) is therefore presentation on the latest vigourous than ever. The in the process of drawing up a developments in film restoration Council of Europe will naturally convention to cover the protec- techniques to the ministers of dedicate its efforts to this end. tion of the audiovisual heritage. culture in Budapest. Thomson is In the countries that ratify this also examining the possibility of By Christian Zeender convention, it will become presenting new broadcasting obligatory to provide copies of techniques, specially adapted General Secretary, audiovisual recordings. The draft to the countries of central and Cinema Centenary Unit convention also urges states to eastern Europe. Council of Europe

“Train arriving at the station of La Ciotat”

4 Sequentia No. 3 MARCH/APRIL/MAY 95 A night in European studios In association with: Cinecitta Film Studios, Pinewood Film Studios and Studio Babelsberg.

In May 1994, the Council of Berlin as a place where programme using the events of Europe and Thomson Consumer decadence and anarchy are 30 June as the basis for an Electronics signed a partnership powerful creative forces. The entertaining guide to the agreement to promote a series of exhilarating new ideas of young obsession of European film events based around the cinema German film students, artists, making, drawing and expanding centenary in 1995-96. "The night designers and musicians will be upon what our audiences will of European studios" on 30 June presented along with demons- see live. We are currently in 1995 is the first event to take trations of the latest in film discussions for Werner Herzog place within that agreement and technology and interactive to act as Creative Consultant, will be the first of a number of multimedia. bringing his own distinctive large-scale public celebrations of Relaying all these events will be methods of film making and film in the Council of Europe a live two-hour satellite idiosynchratic production member states. transmission, bringing together experiences to the programme. the audiences in Rome, Berlin This programme, using archive Nothing like this has been and pre-recorded interviews, attempted before, certainly not and London. Screens around the studios will show different will ensure a continued on this kind of scale and with existence for "The night of these organisations. It is an cultures and different film making aesthetics in one large European studios" for years to invitation for the public to see come. how it all works and for the celebration of film.The event industry to celebrate the will be filmed on Ex Camera's Our audience will be active obsession and power of high-definition equipment - the participants in the shows, able to European film making. images themselves are interact with technology and guaranteed to be of the highest locations that they will only have "The night of European studios" quality, losing nothing in the heard about. Any professional will be the largest public vast distances they cover. Euro- working in film feels passionately celebration of European film pean stars will have live about the role of studios, and making held to date. Going live conversations between London, "the night of Europe studios" will in Berlin, London and Rome, the Rome and Berlin; the audience allow those who make it all evening is being constructed at Cinecitta will witness the happen to celebrate some of the around many different themes, spectacular stunt show at best moments in cinema history, with the common purpose of Babelsberg. Throughout 1995, in those places where history entertaining and educating we will film at other major was made. audiences about the magic of European film studios - Boul- film - past, present and future. ogne Billancourt, Shepperton Mediation, the Europe-based Mediation/Secretariat The geographical breadth of the Film Studios, Barrandov in media consultancy has been of the Council project is one of the essential Prague, Mafilm in Budapest and appointed as producer of “The of Europe/ themes the public will see, Mosfilm in Moscow - in an night of European studios” and Thomson Consumer providing windows into the attempt to provide an insight welcomes all enquiries. Electronics unknown with the help of into those particular historical Liaison Committee Thomson subsidiary Ex locations for our live audiences. By Lori Keating Lori Keating or Camera's high-definition satellite General Secretary, Kathryn Martin The night's proceedings will be F-67075 Strasbourg Council of Europe/ connection. Imagine an entire available for live transmission to Cedex studio complex open to the interested broadcasters. In Thomson Consumer Tel. (33) 88 41 28 57 public with the audience having addition, we intend to produce a Electronics Liaison Committee Fax (33) 88 41 27 56 a unique opportunity to see behind the scenes at the most legendary centres of European film making. Each European nation brings to the art of film making its own creative approach directly derived from the artistic tradition of its culture. This diversity will be reflected in the nature of the events presented at each venue. For example, at Pinewood, a sumptuous eighteenth-century garden party with different pavilions illustrating particular facets of the lyricism of British cinema. In contrast, Babelsberg, will be based on the theme “A shock to the senses” and will reflect the general European perception of Courtesy of the Danish Filmmuseum / Nordisk Film.

Sequentia No. 3 MARCH/APRIL/MAY 95 5 Dossier

Digital technology: salvation or threat? A hundred years of film what version he is going to watch respect by combining the making has left us with a rich the film: as a full-length motion presumption of assignment of audiovisual heritage. Digital picture, in the television or video exploitation rights to the storage and restoration of film version, dubbed or subtitled, producer with a requirement to images may help us to prevent Dutch or Chinese, colourised or consult the director in case of a valuable films from moulding black-and-white, interactive, 3D, transformation of the film to away with the celluloid or video rated 12 or 16, etc. While it may another medium with a view to a tape on which they were once be fun to watch a colourised, different mode of exploitation recorded. interactive version of King Kong, (Articles 121-5 and 132-24 of the the appreciation of the film as Law on Intellectual Property and While digital technology may Neighbouring Rights).1 thus prove to be an important the film maker's creative means to preserve our audio- expression tends to move a little In most copyright laws, the visual heritage, it also creates to the background. statutory provisions allocating unprecedented opportunities for Film makers may secure creative exploitation rights to the film film makers to visualise their control in their contracts with producer are complemented with ideas in a manner that previously the producer by stipulating provisions limiting the film would have been considered involvement in the post- author's moral right of integrity, impossible or simply too production stage and perhaps for example, by presuming that Contributions for expensive. Furthermore digital even beyond. These contractual the author has waived his moral Sequentia 1995 production techniques may stipulations cannot be invoked right to object to modifications of facilitate the storage, transpor- against post-publication his work (Netherlands) or by In 1995, Sequentia will be tation and combining of the adaptations by third parties, providing that the film authors published on the following various materials to be included however. Here, copyright can only object to gross dates: in a film (footage from different ownership and moral rights mutilations or other grossly No. 3 locations, existing material, protection may be essential. derogatory actions (Germany). sound, special effects). Case law indicates that courts, in March/April/May 1995 Copyright encompasses the 10 March judging moral rights claims, Like any other technology, exclusive right to reproduce and however, digital technology has generally take into account the No. 4 adapt the work and, as such, may medium and mode of June/July/August 1995 its downside. In digitalised form, be invoked by the owner to exploitation at issue, the purpose 1 June sounds and images can be very prevent undesired alterations. of the work, the amount of easily reproduced and manipu- This, however, only helps those No. 5 authorship involved and the lated. While this may increase film makers who are in the September/October/ financial implications of an the potential markets for the film position to retain ownership of November 1995 (CD-ROM, CD-I, video on injunction. 18 September adaptation rights. Most national demand, etc.), it also threatens copyright laws, in some way or While this approach enables No. 6 to undermine the control another, allocate exploitation courts to balance the interests of December/January/ rightholders have over the use of rights to the producer, either by the film maker and the exploiter February 1996 their films. How does one control directly vesting copyright of the work on a case-by-case 1 December the use of a film once it has been ownership in the producer (UK), basis, it does not guarantee that The editorial board made available on a digital or by providing for a more or less audiovisual works are preserved welcomes contributions network enabling users to extensive presumption of in their original version as from professionals to the download the film on to their transfer of exploitation rights to completed by the film makers columns of Sequentia. own computers? the producer (for example, and producer. The question is Digital technology may also affect Germany and the Netherlands). whether the copyright law should Contributions relating to the artistic integrity of the film. These statutory presumptions provide such a guarantee. The legal, economic or In addition to the techniques that include the right to dub and fact is that digital technology has practical developments in are traditionally applied to adapt subtitle the film (Article 14bis, made it very easy to manipulate the audiovisual sector in films for television (panning and Paragraph 2, Sub-paragraph b, film images and, hence, to make any of the Observatory's scanning, time compression and Bern Convention on Intellectual multiple versions based on the member states, should be extension, insertion of logos, Property and Neighbouring same film. Preservation of the sent to the Editor at least commercial breaks, etc.), it is Rights) and will generally imply a original version as completed by 6 weeks prior to the likely that digital techniques will licence to adapt the film to those the film makers and producer publication dates listed be used to meet the demands of formats that are presumed to therefore remains important, not above. an increasingly individualised have been transferred (from merely because of the decay of They can be sent by mail consumer market, for example by theatrical motion picture to the physical material in which or fax to the following adding additional information or television, video, etc.). Are digital the work has been embodied, but address: interactive elements to the film, media involving extensive editing because of the threat that digital Sequentia by changing the looks or voice of (for example, CD-I) included in technology may pose to the work European Audiovisual the characters, and by altering the presumed transfer? If the itself. Observatory the music, colours, dialogue, etc. statute does not specifically say Lone Andersen, Editor so, this answer will depend on By Dr Jacqueline Seignette

76, allée It is clear from these develop- whether the statutory presump- Goudsmit & Branbergen by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. de la Robertsau ments that the final cut of the tion includes the exclusive right Attorneys at law, Amsterdam F-67000 Strasbourg film - even if done or approved of of adaptation and - in the case of Tel. (33) 88 14 44 07 by the film maker - provides little older films - whether or not the Fax (33) 88 14 44 19 guarantee as to the way in which presumption extends to future References the film will actually be shown to means of exploitation. The 1. Marcellin, Yves (Ed). Code annoté de la In the case where a the public. It, in fact, no longer is propriété intellectuelle 1995. Paris, RDPI, various national copyright laws 1995, 850 FF. contribution is published, the film maker or the producer, are not always clear on this issue the name of the author Seignette J., Challenges to the Creator but the distributor or, in the near and anything but uniform. The Doctrine. Deventer, Kluttver. (Law and and their organisation will future, even the individual French copyright law strikes an taxation), 1994. 212 p. (Information Law be clearly stated. consumer who determines in interesting compromise in this Series; 3), ISBN 90-6544-8764, £ 35.

“Train arriving at the station of La Ciotat”

6 Sequentia No. 3 MARCH/APRIL/MAY 95 Keepers of the frame: what is the FIAF ? The cinema centenary has The yearly FIAF General Indexing, based in London, brought about a renewed interest Assembly is an opportunity to started publishing annual in national film and television organise international symposia volumes, with regular updates on heritage throughout Europe. on technical or legal problems, microfiche, for its subscribers. It Many of the film classics such as on future developments in now also appears on a CD-ROM

Metropolis and Jour de Fête archiving and on little-known format. “Gandhi”. would have disappeared and aspects of cinema history. FIAF has always had an active turned into dust if it had not The FIAF Commissions have a international profile. For been for the continuous preser- very important role within the example, it was closely involved vation and restoration efforts network of film archives. in the preparatory work for the carried out by the members of The four commissions which are Unesco Recommendation on the the International Federation of currently functioning: Courtesy NFTVA / Sir Richard Attenbourough during the shooting of Film Archives (FIAF). Safeguarding and Preservation of 1. Technical Commission; Moving Images. FIAF brings together institutions 2. Cataloging Commission; This recommendation, adopted dedicated in their respective 3. Documentation Commission; in Belgrade in 1980, calls for: countries to the collection and and – the creation of film or television preservation of films, both as 4. Commission for Programming archives in all countries that lack elements of cultural heritage and and Access to Collections, them; as historical documents. are groups of experts that meet – the provision of sufficient FIAF This international organisation periodically, set up work resources to protect this heritage programmes, collate results and Ms Brigitte van der Elst owes its existence to the desire to from the effects of time and the prepare publications for FIAF. save films, since cinema has a environment; Rue Franz Merjay 190 history just as any other art does. The oldest commission is the – the introduction of a system of B-1180 Brussels The idea of creating a federation Technical Commission, which compulsory legal deposit for Tel. (32) 2 343 06 91 has the task of assembling, of film archives was due to people national productions; Fax (32) 2 343 76 22 like Henri Langlois, father of the studying and publishing the most – the encouragement of Cinémathéque française, and the reliable scientific information voluntary deposits of foreign Briton Ernest Lindgren (National relating to storage, preservation productions. Publications available Film Archive), who in the mid- and restoration of audiovisual from FIAF: recordings. It was created in Another recent joint FIAF- 1930s were brutally made aware Unesco initiative is the creation of the perishable nature of films. 1960, it has always tried to Journal of involve in its work not only the of a special support fund for the The silent films (from 1896 to preservation of the national film Film Preservation 1930) were thrown away by the best technicians responsible for film preservation in the FIAF heritage. The International Biannual publication tonne: they had no commercial Unesco-FIAF Fund was launched ISSN 1017 1126 value any longer. The talkies had member archives, but also a wide variety of specialists from as part of the Unesco cinema Editor-in-Chief: arrived and people were queing centenary celebrations. Unesco to see the new all singing, all industry, universities and the Paolo Cherchi Usai scientific world. provided the fund with 100 000 dancing, all talking films. No one dollars in May 1994. The fund (Rochester House, USA) was interested in keeping, Another important forum is the also relies on the support of Subscription: $ 45 collecting, cataloging or restoring Documentation Commission, member states, the (for 4 issues /2 years) these older films. which aims to promote the entertainment industry, and Past issues: $ 18 FIAF was born in 1938 not only exchange of information, public and private foundations. knowledge and expertise on film from a desire to save films, but Its aim is to identify, catalogue documentation with a view to International Film also from a desire to show films and establish priorities for the standardising working pro- Archive CD-ROM that were no longer on the restoration of endangered film cedures thereby improving and stocks that are important for the Includes an International commercial market. The member facilitating exchanges at all levels. archives of FIAF are trying to world's cinematographic Index to Film/TV promote an awareness and In 1972, an international Film heritage. Periodicals 1983-94: and Television Periodical L. A. consciousness of the need to Bibliography of FIAF archive moving images through Members Publications many different methods: by affecting national and inter- 1986 - 1993; International national legislation, by arranging Directory of Film and courses and summer schools, by TV Documentation developing special methodology Collections, etc. in cataloging, documentation and Annual subscription: preservation; and of course by keeping alive the visual heritage £ 295 ”, Copenhagen. by arranging screenings, and Beauclair, R. (Ed). publishing books and catalogues. The federation has its adminis- International Directory of Film and trative headquarters in Belgium. Grand Teater The Executive Secretary is TV Documentation Brigitte van der Elst. Collections. When it was founded in 1938, Brussels, FIAF, 1994. FIAF had four members. Today it 220p., £ 50. comprises 110 institutions in 62 countries. This is an indication of the extent to which preservation of the cinematographic heritage has become a world-wide concern. Courtesy Det Danske Filmmuseum / “

Sequentia No. 3 MARCH/APRIL/MAY 95 7 Dossier

Selective agenda of events, based on information from the national centenary committees on 15 February 1995

National screenings FRANCE RUSSIA "La première séance": screening of "The golden fund of Russian films": BELGIUM the ten films which were shown Over 100 of the best national Screenings of Belgian films at the on 28 December 1895 at the films, which will be ensured National Film Museum in Brussels. Grand Café in Paris. The restored special conditions of conservation, Publications eight-minute film will be shown in are planned to be widely shown At the Royal Belgian Film Archive: film theatres throughout France. during festivals, meetings with 100 restored films from the audiences and on TV. The films AUSTRIA collections of the Royal Belgian Retrospective of twenty-four French films from the Liberation are offered for international Young film makers will be Film Archive; 100 x Ledoux cinema trading. given the chance of re-editing (Hommage to Jacques Ledoux); up until the immediate after-war historical material from 365 times Belgian Cinema : period, at the Cinémathèque private sources. A retrospective of short films. française, which have been SLOVENIA restored as part of the restoration Retrospective of Matjarz Klopcic BELGIUM BULGARIA plan for nitrate film. from contemporary cinema, Royal Belgian Film Archive : Gala showing of the newly Colour and cinema: a retro- accompanied by an exhibition Filmography of Belgian spective organised by the Louvre (1995) Feature Films. restored "Under the Eagle's Nest" in the Odeon theatre at the and the Musée d'Orsay in Paris. Celebration of the centenary Belgian Cinema Posters, National Film Archive. by Robbe de Hert and Rik together with the 90th anniversary Stallarts. GERMANY of Slovenian cinema (film institute CROATIA and TV) (1995). 100 critiques, by Patrick The travelling cinema in a circus Duynslaeger-Knack) Restrospective of Croatian tent, tour of seventy-five cities in Formation of the Slovenian Film documentary films, November- Germany (March-October 1995). Institut (1994-96). December 1995, Zagreb. BULGARIA Retrospective of a selection of Multimedia encyclopedia: Restrospective of the Zagreb films produced by Oskar Meester SPAIN Bulgarian cinema. School of Animated Film, (Deutsches Museum, Munich, Retrospective of Spanish cinema December 1995 and January 1996, 15 March-2 July 1995). (42 representative films chosen by CYPRUS Zagreb. Numerous local screenings in each professional organisations in the Special booklet on European Länder (detailed programme Spanish film industry.) cinema including list of CZECH REPUBLIC available from the FFA). Retrospective of Spanish cinema events organised on the Presentation of the new wave in occasion of the centenary (300 films) at the National Film Czech cinema. Madrid, Barcelona Archive (1995-96). and Valence (January-February IRELAND CZECH REPUBLIC 1995 and in Moscow, June-July The Irish Film Centre will host a SWEDEN Catalogue "Czech animation 1995). number of special screenings in its 1934-94". First showing of the film Erotikon. two cinemas during the centenary Big centenary gala at TV4 in co- Catalogue of Czech silent year. operation with the Swedish Film fiction 1898-1930. Review of Czech Film (Ljubljana, Institute (18 September 1995). March 1995). Various yearbooks and The Big Cinema Day. All of collections. The history of Czech film from the LITHUANIA Sweden's film theatres celebrate silent films to present-day (ninety Retrospective of Lithuanian the centenary (24 September FINLAND films): Centre Pompidou, Paris cinema. 1995). September-November 1996. Commemorative stamps on The start of the seven-month tour the history of Finnish cinema. POLAND through Sweden with the Film DENMARK Train (October 1995). FRANCE Presentation of experimental films Retrospective of documentaries by Krzyztof Kieslowski. Les Lumière, Bernard during 7 months SWITZERLAND Chardere (Gallimard). (300 000 viewers) Retrospective of Polish comedies Drive-in and open-air Correspondance Lumière, between the wars. performances. Jacques Rittaud-Hutinet Series of films on "A hundred (Cahiers du cinéma). years that shook the world". Two cinema caravans to travel to suburbs and the countryside Le temps des frères Lumière, Retrospective of films by Pola collective work, (Réunion des during four months at sixteen musées nationaux - Editions Negri. different locations (one week Textuel). each, autumn 1995). Les cahiers Lumière - (Actes PORTUGAL Sud Institut Lumière). Screenings, in all major UNITED KINGDOM L'écran des Lumière, André Portuguese cities, of three Gardies and Jean-Claude “First showings” tour: live cinema different film versions of the novel show that will visit sixty different

Seguin, (European edition). Det Danske Filmmuseum.

Amor de Perdicao. by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. Les centres-villes Lumière, “Abgrunden” by U.GAD cities. A tribute to Antonio Reis. Jacques and Chantal Rittaud- First cinematographic screening in Cinema days (spring 1996). Hutinet, (Lug editions). a special cinema building, the Leicester Square Gala event La saga Lumière, Jacques Pachts Panorama Biograf, ROMANIA (7 March 1996). Rittaud-Hutinet (Flammarion). located in the Town Hall Square in Season of films on the history of Festival of cinema-going Promio, premier opérateur Copenhagen (7 June 1996). Romania and Romanian art mondial, Jean-Claude Seguin, (April 1996). (Institut Lumière-Actes Sud). National retrospective: 1897-1948 Reconstruction of first UK FINLAND Louis Lumière, inventeur et (fiction and non-fiction); October- Lumière show on 20 February cinéaste, Vincent Pinel Open-air screenings in various December 1995 at the National 1996 at the Regent Street (Editions Desjonquères). locations across the country. Film Institute. Polytechnic, London.

“Train arriving at the station of La Ciotat”

8 Sequentia No. 3 MARCH/APRIL/MAY 95 Exhibitions GERMANY SLOVAK REPUBLIC Hundred years of German film A 100 years of cinema. AUSTRIA posters, The Film Museum in The Slovak Technical Museum, Potsdam, 3 January - 25 May 1995). Kosice (December 1995). The technical beginnings of cinema; travelling exhibition Slovakia and the history of its throughout Austria. HUNGARY cinema, Bratislava (December 1995). Exhibition organised by the Hungarian Film Institute, in the BELGIUM SLOVENIA Gaumont, un siècle de Petofic Museum, on the Hungarian The personal film poster collection Photography in the films of cinéma, François Garçon film centenary (autumn 1995). (Découvertes Gallimard). of Pierre Levie. method and Milka Badjura (1995). Exhibition of works by Alexander Les premières feuilles de la Travelling exhibition: The prehis- Trauner, organised in the series of Karol Grossma, a photographer Marguerite: les premières tory of cinema: behind the screen. meetings with Hungarian film and pioneer in Slovenian cinema affices de Gaumont jusqu'en makers (April 1996). (1995). 1914 (Découvertes Gallimard). BULGARIA Le grand art de la Lumière et SPAIN de l'ombre, Laurent Mannoni, ICELAND (Nathan). Bulgarian cinema and its place in Luis Bunuel exhibition, National European cinema. A touring exhibition arranged by Museum, the Queen Sofia Arts Le cinéma et la couleur, Centre (Madrid, January 1996) Jacques Aumont, the Alliance Française on the (Cinémathèque française). Lumière Brothers and their CROATIA The fantasy of cinema (Madrid, Les émigrés russes dans le technique in June or October spring 1996). cinéma français des années Retrospective exhibition of Zelimir 1995. Zagotta (art designer's films). 20, François Albera, SWEDEN (Cinémathèque française). LITHUANIA The Post Museum opens the Catalogue des films français, CYPRUS 1908-1918, Raymond Chirat, The history of Lithuanian cinema. exhibition Swedish film in 11 (Cinémathèque française). Exhibition of cinema posters. scenes to coincide with the issue of stamps with Swedish film Pour une contre-histoire du cinéma, Francis Lacassin, LUXEMBOURG motifs (27 March 1996). (Institut Lumière-Actes Sud). CZECH REPUBLIC Old film equipment and The opening of four exhibitions at 100 000 heures de cinéma, the Museum of Technology, Noël Simsolo. Czech animated films. projectors, July-August, Ciné Sura, Kino 16, Echternach). Stockholm; The prehistory of Vocabulaire technique du Restored cinema posters. cinema; The history of the motion cinéma - cinéma, formes picture camera; Greta Garbo and techniques, Vincent Pinel. A hundred years of cinema POLAND Swedish film comedians (28 Mille et mille baisers : Gabriel (Prague, April-October 1995) December 1995) Several individual exhibitions on Veyre, opérateur des frères Lumière, Philippe Jacquier. Documentary films by Jiri Lehovec the stars of Polish and world-wide cinema. SWITZERLAND La musique de la lumière: Sixtieth anniversary of animated les œuvres complètes d'Abel Michel Simon (Geneva, Palexpo, film (Uruguay, July 1995; and Gance, Bambi Ballard. PORTUGAL 27 April - 30 May 1995) with the Spain: Bilbao, Vallodolid, possibility of becoming a travelling Cinéma rêve, cinéma réel Salamanca). A large exhibition on the d'Abel Gance, Brigitte exhibition. Devismes. prehistory of cinema in Swiss cinema in 80 films, Centre collaboration with the National André Hugon, Dominique DENMARK Georges Pompidou in Paris Lesourd. Museum of Cinema in Torino (autumn 1995). History of Danish cinema (December 1995). Albert Kahn en Utopie, collective work (Musée Exhibition of the best Danish film Theatre and Cinema, Painting and UNITED KINGDOM départemental Albert-Kahn). posters (new Film House) Cinema, Photography and Cinema 100 years of cinema with little or De la lanterne magique au - Lisbon, Porto, Combra (1995- unknown work from national film cinématographe, edited by 96). Laurent Mannoni (Editions FINLAND and television archives. Mazzota). Closing of commemorations in Cinema Train - travelling Jean Renoir, Roger Vitry Porto, birthplace of the first Babel (Ramsay). exhibition (summer). Portuguese film maker, with an Musique à l'écran (Réunion exhibition of his films as a director des musées nationaux). and photographer. The showing of FRANCE Catalogue analytique des silent Portuguese films. films Lumière (archives du Au pays des Lumière (Institut film du CNC-Université Lumière, Lyon). ROMANIA Lumière-Lyon 2). De la lanterne magique au Le cinéma des Frères cinématographe : exhibition on Exhibition of rare books on Lumière, edited by cinema, December 1995 at the Emmanuelle Toulet (Réunion the archaeology of cinema. Romanian Film Makers Union. Courtesy Det Danske Filmmuseum. des musées nationaux- (Espace Electra, Paris) “Witchcraft through the ages” (1922) Editions Textuel). by Benjamin Christensen. Compartiment cinéma: the train Notes sur un cinéma RUSSIA testamentaire, Jean Douchet, and cinema., Halle Saint-Pierre A centenary exhibition of the Cinema on the threshold of the (Institut Lumière-Actes Sud). (Musée en Herbe, until summer National Museum of Photography, XXIst century: conference in Film and Television (opening 100 ans de cinéma à Lyon, 1995). which professionals from different January 1996) at the Museum of Philippe Roger (Lug editons). Cités-Cinés II, Colline de la countries take part. Modern Art in New York. Décors de cinéma, les studios français de Méliès à Défense (1 March - 1 November Exhibition and conference on the The Bill Douglas Centre for the nos jours, Max et Jacques 1995), Science Museum London technical development of Russian history of cinema and popular culture Douy (Editions du (1996). cinema. (official opening in April 1996). collectionneur).

Sequentia No. 3 MARCH/APRIL/MAY 95 9 Dossier

Festivals and events IRELAND Restoration of the first Bulgarian A major conference relating films. to the cinema centenary will be A Film Reborn restoration and BELGIUM organised at the Irish Film Centre, development (credits, music and 13th International Festival of autumn 1995. libretto) of the silent Bulgarian Fantasy Films, 10-25 March 1995. film Under the Eagle's Nest. Includes a special section LITHUANIA dedicated to "Belgian Pioneers". CROATIA International animation film International Flemish Film festival "Nordic Light" (August Restoration of flammable film Anthologie du cinéma Festival (100 Jaar film Gent), 10- records (1916-53) - 29 titles of invisible, cent scénarios pour 1995). un centenaire, Christian 21 October 1995. Includes a short films. retrospective section on restored Janicot (Editions Jean-Michel RUSSIA Place). film classics. CZECH REPUBLIC Histoire de la critique de Numerous traditional festivals Restaging of the first showing of cinéma en France, followed BULGARIA held in different Russian towns the Czech-Polish film Twelve by Anthologie and include special events dedicated 22nd Festival of Bulgarian Cinema Chairs (Prague, Warsaw, May Dictionnaire, supervised by to centenary in their programmes. 1995). Syndicat français de la "The Golden Rose award" is dedicated to the centenary. The XIX Moscow International Project "100": the most renowned critique (to be published in Festival (July 1995) will be 1996). films from throughout the world devoted to the 100th anniversary that are distributed non- Contact: CROATIA of cinema. The Bookshop of the First commercially in the Czech Cinema Centenary, Centre Pula Film Festival The All-Russia Cinema Day Republic. national du livre, 53, rue de (Croatian feature films), (August 1995) will open the round Verneuil, 75007 Paris Pula, July-August 1995. of mass meetings of professionals DENMARK Tel. (33) 1 49 54 68 68. XII World Festival of Animated with their spectators, during Restoration of some of the older Film, Zagreb, June 1995. which events will attract wide Danish films to be presented in GERMANY audiences. the new Film House. 100 Jahre Film: Die Besten CYPRUS 100 Filme, TV Movie Sony, SLOVAK REPUBLIC Michael Lohmann (ed), European film festival. FINLAND Art Film Trencianske Teplice (23- Heinrich Bauer Cypriot film festival. Restoration of great Finnish works 29 June 1995). Spezialzeitschriften Verlag which will be distributed KG, TV Movie Leserservice, CZECH REPUBLIC Biennale of Animation, Bratislava throughout the country. 20690 Hamburg. (12-17 September 1995). 100 Jahre Kino: Austro-Hungarian silent film 1895- Forum '95, Bratislava (1-7 October FRANCE Ausstellungskatalog "Oskar 1918, a seminar organised during 1995). Messter - Filmpionier der the Acamedia Olomouc Film A history of film through the Kaiserzeit", Frank Kessler, Festival (2-6 April 1995). Gaumont Actualités newsreels, Sabine Lenk und Martin SLOVENIA produced from extracts of Loiperdinger, Stroemfeld DENMARK World preview of the rediscovered restored material from the Verlag, Holzhausenstrasse 4, Gaumont Archives. 60322 Frankfurt/Main. films Als ich tot war by Ernest Many small events in local cinemas Lubitsch (1916), Ljuljana, 1995. Fantomas by Louis Feuillade Das Beste aus 100 Jahren or libraries all over the country. Kino auf Video, VideoTip, (release early 1995). Entertainment Media, Ulrich SWEDEN Jour de Fête by Jacques Tati, Höchert (ed), Entertaiment FRANCE Göteborg Film Festival shows restored in its original colour Media Verlag GmbH & Co International seminar on historical version (release January 1995). oHG, Stahlgrberring 11 a, films chosen by Ingmar Bergman research on the Lumière brothers, together with films from 40 81829 München. 7-10 June 1995. Die UFA- ein Traum: 100 European countries (3-12 HUNGARY Jahre deutscher Film: CinéMémoire (autumn 1995), with February 1995). The Golden Man by Alexander Ereignisse und Erlebnisse, a special tribute to two repertoire Korda, restored with the funds of Hans Borgelt, Edition - theatres, the Studio 28 and the UNITED KINGDOM the Lumière project of the MEDIA Verlags GmbH, Ipfenfad 2-4, Studio des Ursulines (Paris). programme. 12107 Berlin. Retrospective on the first New copies of leading films at Geschichte des deutschen European films and from present in the National Film Films, W. Jacobsen, Anton francophone countries. Archives. Kaes, Hans Helmut Prinzler, Screenings of European film New prints of classic films will be J.B. Metzler und Carl Ernst made available to theatre owners. Poeschel Verlag, classics throughout 1995: Stuttgart/Weimar. a collective initiative of the foreign cultural centres in Paris. Restoration HUNGARY of film heritage HUNGARY Review of the last 100 years of the Hungarian Film Institue The twenty-sixth week of © RTL / Celia Films. (Magyar Filmunio). Hungarian films (centenary AUSTRIA “Beaty and the Beast” (1946) by Jean Cocteau. Hungarian film makers, opening, February 1995). All nitrate-based material will be by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. published in Hungarian and Festival of European Films, recopied in order to preserve it. HOLY SEE English, containing organised by Budapest Films in information on films by Restoration of films in the Vatican Hungarian film makers. several Budapest cinemas (end of BELGIUM Library with their subsequent 1996). Restoration of one important film release on video-cassette. from the national film heritage. HOLY SEE ICELAND ICELAND Film summary using material BULGARIA provided by the Vatican Touring film festival to visit 15 With support from Unesco at least Council II, followed by a towns in Iceland showing old Renovation of the first Bulgarian two films (one documentary and version on video-cassette. Icelandic films. cinema Tzarko Tzerkovski. one feature film) will be restored.

“Train arriving at the station of La Ciotat”

10 Sequentia No. 3 MARCH/APRIL/MAY 95 LUXEMBOURG Participation in IRELAND Restoration of the Jean Cocteau international projects The Irish Film Archive and Kevin film La Belle et la Bête. Rockett contributed to the Joint European Filmography to be Prensentation of two to three BULGARIA published by the Media Project programmes (approximately Danube Filmboat (Vienna, Lumière in 1995. ninety minutes each) of Bratislava, Budapest, Bulgaria) documentary and advertising films Sexaginta Prista (May 1995). PORTUGAL newly restored and often also unknown to the public at the Cine Collaboration with Cinememoire CROATIA Critical filmography of Utopia (autumn 1995). (November 1995 and with Restrospective of Hungarian Film Il Cinema Ritrovato (April 1995). religous cinema on a world- (October 1995). wide scale (December 1995). PORTUGAL The French cinema in the 1930's ROMANIA ICELAND A version of Amor de Perdicao by (autumn 1995). Progetto '95 (Italy). Georges Pallu (1921) restored by Icelandic films after 1979, Danube Film (Austria, Hungary, Peter Cowie (English the Portuguese Film Library with CZECH REPUBLIC Bulgaria). the help of funds from the version). Lumière programme. Festival of restored films in Los Flagship films (Council of Angeles. Europe). IRELAND Aversion of Os Faroleiros by The Irish Filmography Maurice Mariaud (1922) recently Participation in Cinémémoire 94 The Big Illusion (Council of and 95 (Paris, Autumn 1995). Europe exhibition at the Venice by Kevin Rockett, will be rediscovered, restored by the published in autumn 1995. Portuguese Film Library with A short film Art Nouveau on the Biennale de l'Art, September funds from Lumière. occasion of the centenary 1995). LUXEMBOURG (director Jar Jires) - the A version of O Vendadal Mara Publication of a complete beginnings of film in Lyon and SLOVAK REPUBLIC Villoso by Litao de Barros (1949). filmography of cinema in Prague. Danube Film Festival, Bratislava Luxembourg (8-9 June 1995). (December 1995). ROMANIA FINLAND SWEDEN POLAND Rebuilding a stock of copies (70 to Possibility for all children at 80 short and feature-length films). primary schools to experience the Swedish silent films on the theme Book on Andrzej Wajda. Repackaging of 8 to 10 important world of films. "Art and film" will The birth of Swedish cinema are Encyclopedia of Polish shown at the film festival in culture in the twentieth films. be the theme for all libraries (one century, dedicated to film and week in Autumn 1995). Laon/France introduced by Modernisation of two film depots Professor Leif Furhammar (8 April written by Edward Zaijcek: (100 000 film reels). Vocabulary of film FRANCE 1995). terminology by Hendrykowski. RUSSIA Diffusion of representative films SWITZERLAND from the last hundred years of Geneva Fonction cinema: series of PORTUGAL Restoration of films in the French cinema, "Gaumont, Pathé, colloquia. Portuguese filmography of framework of the "Lumière" La France vue par...in foreign feature-length films. programme : It includes the countries: Czech Republic, US, restoration of Good-bye America etc. TURKEY by A. Dovzhenko, SVD by G. ROMANIA Screening of the reconstituted Participation in the projects of the Kozintsev and L. Trauberg, fifteen Council of Europe. History of Romanian film form films of pre-revolutionary Russian "première séance" in all of the 350 its beginnings to present day. cinematography, directed by such flagship screens, in 50 European Monographs dedicated to famous masters as V. Starevich, cities, which are part of the Miscellaneaous actors, studios, distribution Ja. Protazanov, P. Chardynin, etc. Europa Cinemas network (Media), companies. 1995-1996. AUSTRIA Indexing of Romanian films. SLOVAK REPUBLIC HUNGARY Promotion of cinema - evaluation Filmography with notes on of cinemas based on a system of Romanian fiction films 1930- Restoration of the film Janosik 21. 1948 (7th and last volume of Cinema Boat from London to points and bonuses awarded for Restoration of the first ethnologic a series dedicated to national Budapest (exhibition, screenings, technical merit and variety of film Dream and Reality (1927). productions). show, present-day technology) programming. with the participation of Thomson Filmography of feature-length SLOVENIA Consumer Electronics. Acquisition of rights for film Romanian fiction films: classics with the aim of making 1981-94. Restoration in 1995 of films Danube Filmboat from Passau to them available to cinemas on by Karol Grossmann. Rousse: screenings on the ship as favourable terms. RUSSIAN FEDERATION well as in the main cities along the "National Cinema. The Past Danube, including Budapest, and the Present" (5 volumes). SPAIN conferences and meetings with BELGIUM Bienvenido Mr Marshall (Luis gr professionnals, concerts and Decentralisation of the Belgian "The Masterpieces of Russian Cinema" (illustrated book). Berloga, 1952). exhibitions (June 1995). Film Museum in Liège. "The Actors of World Cinema" Viridiana (Luis Bunuel, 1961). Spectator show by Thomson Deposit at the Royal Belgian Film (reference book). introducing the audiovisual Archive of intermediate prints of "The Catalogue of Feature "highways" of the second century SWITZERLAND feature films. Films" of cinema, high definition/broad- National logo for stamps, stickers, RAPT by Kirsanoff (to be shown casting numerical readings, posters, etc. SLOVAK REPUBLIC during the Locarno festival) multi-channel and satellite restored by the Swiss Film transmissions, etc. (April 1996). Domain Bokryk The origins of the Slovak film Institute. (Grenluchtmuseum), 20-28 May industry 1896-1948 1995: Film set/ screenings (video) (December 1994). ICELAND on location/ Exhibition "100 years The History of the Slovak TURKEY Garmont authorities visit Iceland of cinema"/ Live cinema Cinema (December 1995). Restoration of ten Turkish film in July and organise a film festival (+ musique)/ Flemish films The development of film classics. with their own films. (retrospective)/ the cinema village. technology (1995).

Sequentia No. 3 MARCH/APRIL/MAY 95 11 Dossier

CZECH REPUBLIC PORTUGAL UNITED KINGDOM Gift to the Vilnius Film Foundation Inauguration of the national Commemorative plaques laid on of the 1930' s film Lithuania seen Archives of Moving Images near the sites of the original film through Czech Eyes. Lisbon, one of the largest archives theatres. in Europe (1996). A number of TV programmes: DENMARK Centenary year in schools, a BBC 100 films, BBC Radio drama Three special film productions: a programme organised with the (Cinema 100 season, November 1995 - Autumn 1996). film on Carl Th. Dreyer by Torben Ministry of Education. Skjødt Jensen; episodic-film made The critical reflexion on film in National centenary Slovakia since 1915 (1995). by about twenty different ROMANIA directors on the theme Danish committees Film Guide: Slovak animated Construction of a large depot for film. women show everything. film prints. AUSTRIA Two short films consisting of a SLOVENIA humorous mix of excerpts from New software for archiving films. Mrs Bettina Leidl Danish films throughout the Reintegration of the National Film Ministry of Science, Filmography of Slovenian Research and Art cinema 1931-1993 (1994). century, to be shown in cinemas Archive as a permanent member Department 34/3, Freyung 1, Silent images of Slovenian all over the country during the of FIAF. centenary year. Minoritenplatz 5 Film (1994). A-1010 Vienna Films of Method and Milka RUSSIA Tel. (43) 1 53 120 2357 Badjura (1994). FRANCE Creation of the Federal Fund of Fax (43) 1 53 120 2215. Literature on the pioneer of Les Lumières du Cinéma, National Cinema Support: based Slovenian cinema Karol a documentary by André S. on contributions from commercial BELGIUM Grossmann (1995). Labarthe (Ardèche Images structures, merchants and Mr Walter Lerouge Filmography on Slovenian Production). Director, Art Administration, Films on TV. sponsors. 28 December 1995: a ticket for Media and Film the next cinema century (free Special films dedicated to the Flemish Community SPAIN invitation distributed in all film Centenary, such as: Potiomkin is 29-31 Kolonienstraat Critical anthology of Spanish theatres). Coming Back, S. Eizenstein, B-1000 Brussels cinema (300 films). The Almanach of Young Tel. (32) 2 510 35 65 Catalogue of films on the HUNGARY Cinematographists; a series of Fax (32) 2 510 36 51 Spanish civil war. documentaries Cinema addresses Search for places where the first has also been planned. Ms Marie-Paule Carael Catalogue of Spanish films were shown (Magyar animated films. Creation of a Film Museum. Head of the Audiovisual Filmunio). Department SWEDEN Retracing the history of the Ministry of the French Community Lumière brothers cameramen SLOVAK REPUBLIC in Belgium The publication of Norstedts' International Film (Andras Szirtes - film Seminar on new technologies of 44 Blvd Leopold II Encyclopedia. maker/cameraman). film editing, Bratislava Brussels Tel. (32) 2 413 23 11 The publication of the History (September 1995) HOLY SEE Fax (32) 2 41 3 20 68 of Cinema Pt 3. Author: Rune Commemorative stamps. Waldekranz. International meeting on the Renaming streets after Slovak film BULGARIA The publication of a book in theme of cinema values (April which 100 Swedish cultural 1996). makers Mrs Maya Nyagolova personalities write about their Series of documentary films on Bulgarian National Film Centre favourite films. Chaplin and IRELAND Slovak TV. 2a Knyaz Dondoukov Blvd. Filmkonst (Autumn 1995). BL-1000 Sofia The publication of a film and (under discussion) A film train, Tel. (359) 2 88 38 31 or 87 40 96 TV guide, Bonniers Förlag which will run between Dublin SPAIN Fax (359) 2 87 36 26 (September 1995). and other cities such as Belfast, Congress on the historic films of Cork and Galway to celebrate Spanish cinema (Barcelona, CROATIA a 100 years of cinema. SWITZERLAND December 1995). National Film Committee Mémoire d'outre cinéma Creation of a database of Sources Congress on the Spanish film Bruno Gamulin/ Alida Matkovic (More than just memories for the History of Film making in industry both now and in the Trg Burze 6 from the cinema), book of F. Ireland, compiled by Robert future (Madrid, November 1995). 41000 Zagreb Buache interviews, illustrated Monks, will be published in 1996. Croatia (publisher: Payot, Lausanne, Co-funded by the department of The audiovisual memory of Tel. (385) 1 46 90 32 Spring 1995). Arts, Culture & Gaeltacht, RTE, Spanish cinema (an original work Fax (385) 1 41 04 21 Irish Film Board, Arts Council and by the Spanish Cinemas Audio and TURKEY National Library of Ireland. Audiovisual Archive). CYPRUS A book, named Turkish Creation of a database of the Ms Patricia Hadjisotirjou Cinema on its 80th birthday. LUXEMBOURG Spanish film press. National Committee for the Various publications about Restaging of the first film showing Centenary of the European the 100th anniversary of Research on the conservation in Luxembourg (July-August 1995, conditions of Spanish cinema Cinema cinema. Press and Information Office by Louis Lumière (1895). © Association Frères Lumière. Collection CNC. Ciné Sura, Kino 16, Echternach). output in existing laboratories. Nicosia, Cyprus Work begins on new archives in UNITED KINGDOM POLAND Fax (357) 2 36 61 23 Commemorative stamps. the Spanish Film Archives. The Making of a Hundred Years of CZECH REPUBLIC Catalogue of important films Polish Cinema by Pavel Lozinski, TURKEY Mrs Hana Vachalova listed by theme. based on an idea by Kryzstof Souvenir guidebook that Ministry of Culture Kieslowksi. A documentary on the history of Valdstejnska 12 details the first film shows Turkish cinema. during the year 1896, with a Making of a series of films entitled CZ-118 11 Prague 1 run down of centenary Long Live Cinema by the A documentary on the history of Tel. (42) 2 513 2479 celebrations in 1996. Semafor Studios in Lodz. Turkish animation. Fax (42) 2 53 70 55

“Train arriving at the station of La Ciotat”

12 Sequentia No. 3 MARCH/APRIL/MAY 95 DENMARK IRELAND RUSSIA The following Mr Henrik Bering Liisberg Ms Sheila Pratschke Mr Valeriy Ryabinsky individuals and Managing Director Director Vice-President organisations Danish Film Institute The Irish Film Institute Roskomkino have contributed to Store Søndervoldstroede 4 6 Eustace street M. Gnezdnikovsky per. 7 the file on the cinema DK-1419 København K Temple Bar 103877 Moscow centenary: Tel. (45) 31 57 65 00 IRL-Dublin 2 Fax (7) 095 229 77 31 Fax (45) 31 57 67 00 Tel. (353) 1 679 96 57 • Riitta Lampelto Fax (353) 1 679 57 44 SLOVAK REPUBLIC • Jerzy Schonborn ESTONIA ITALY • Henrik Bering Liisberg Mr Tovio Klaar Mr Vladimir Ondrus Assistant to the Minister Mr Stenfano Rolando Director • Lisa Prime Presidenza del Consiglio Koliba - Slovenska Filmova Tvorba Ministry of Foreign Affairs • Betina Leidl Lossi Plats 1 A Dipartimento per l'Informazione e Brectanova 1 EE-200 100 Tallin l'Editoria SK-833 14 Bratislava • Valeria Ciompi Via Po 14/16 Tel. (42) 7 371 921 Tel. (372) 244 34 36 • Dr Josef Gerboc Fax (372) 260 14 23 I-00198 Rome Fax (42) 7 372 224 Tel. (39) 6 85 48 472 • Dr Hana Vachalova FINLAND Fax (39) 6 48 14 232 SLOVENIA • Giannis Iliopoulos Mrs Marianne Möller LATVIA Mr Silvan Furlan • Joao Benard da Costa Director Mr Andris Rozenbergs Slovenski gledaliski in Filmski • Richard Gramfors Finnish Film Foundation Deputy Director muzej Kanavakatu 12 National Film Centre Mestni trg 17 • Freddy Buache Fin-00160 Helsinki Smerla Str. 3 SLO-1000 Ljubljana • Zsolt Kézdi Kovacs Tel. (358) 0 6220 300 LV-1006 Riga Tel. (386) 61 212 728 Fax (358) 0 6220 3050 Tel. (371) 2 224 772 Fax (386) 61 210 142 • Andrius Liuga Fax (371) 2 227 916 • Pierfranco Pastora FRANCE LITHUANIA SPAIN • Patricia Hadjisotirjou Mr Philippe Coutant Mrs D. Valeria Ciompi Administrator Mr Audronis Liuga • Philippe Coutant Spanish Film Archive Association Premier Siècle du Ministry of Culture and Education Ministry of Culture • Dimitar Dereliev Cinéma J. Basanaviciaus g. 5 LT-2683 Vilnius Ctra Dehesa de la Villa s/n, 12 rue Saint-Meri • Sheila Pratschke Tel. (370) 2 62 39 76 E-28040 Madrid F-75004 Paris Fax (370) 2 62 31 20 Tel. (34) 1 549 00 11 • Walter Lerouge Tel. (33) 1 42 77 58 14 Fax (34) 1 549 73 48 • Phil Waitkin Fax (33) 1 42 77 55 06 LUXEMBOURG Mr Joseph Hoffmann • Marianne Möller SWEDEN GERMANY National Audiovisual Centre • Thorsteir Johnsson Mr Rolf Bähr, Managing Director 5 Route de Zoufftgen Mr Rickard Gramfors Filmförderungsanstalt (FFA) L-3598 Dudelange The Swedish Film Institute • Valery Ryabinski Budapesterstrasse 41 Tel. (352) 52 24 24 1 Borgvägen 1-5 • Vladimir Andres D-10787 Berlin Fax (352) 52 06 55 Box 27126 Fax (49) 30 262 89 76 S-102 52 Stockholm NORWAY Tel. (46) 8 665 1100 GREECE Mr Kjell Billing Fax (46) 8 661 1820 Mr Giannis Bakgiannopoulos The Norwegian Film Institute PO Bos 482 Sentrum Cinema Centre SWITZERLAND 10 Panepistionmiou Ave. N-0105 Oslo GR-106 71 Athens Tel. (47) 22 42 87 40 Mr Freddy Buache Tel. (30) 1 36 31 733 Fax (47) 22 33 22 77 President Fax (30) 1 36 14 336 Swiss Film Institute POLAND Allée Ansermet 3 HUNGARY Mr Jerzy Schonborn CH-1002 Lausanne Director of Programmation Tel.(41) 21 331 01 01 Mr Zsolt Kézdi-Kovács Cinematography Committee General Director Fax (41) 21 320 48 88 21/23 Krakowskie, Przedmiescie “Four Weddings and a Funeral” (1994) by Mike Newell. Magyar Filmúnió PL-00-071 Warszawa Városligeti fasor 38 Tel. (48) 22 267 489 TURKEY H-1068 Budapest Fax (48) 22 276 233 Mr Ömer Tuncer Tel. (36) 1 269 7760 - 269 7761 Director of Department Fax (36) 1 268 0070 - 269 7766 PORTUGAL Ministry of Culture Mr João Bénard da Costa Ankara, Turkey HOLY SEE Director of the Portuguese Film Fax (90) 312 231 96 94 Mr Enrique Planas/Pierfranco Archive Delegato della Filmoteca Vaticana Rua Barata Salgueiro 39 Palazzo San Carlo P-1200 Lisboa UNITED KINGDOM I-00120 Città del Vaticano Pastora Tel. (351) 1 54 62 79 Mr Dick Penny Tel. (39) 6 689 83 194 / 6 698 83 697 Fax (351) 1 35 23 180 Office for Cinema 100 Fax (39) 6 698 85 373 10 Stephen Mews ROMANIA UK-London W1P OAX ICELAND Mr Alexandru Marin Tel. (44) 71 636 7214 Mr Thorstein Johsson National Centre of Fax (44) 71 255 2315 Icelandic Film Fund Cinematography Box 320 Str. Julius Fucik 25 IS-121 Reykjavik RO-Sector 2 Bucharest Tel. (354) 162 35 80 Tel. (40) 1 611 25 15 Fax (354) 562 71 71 Fax (40) 1 211 36 88

Sequentia No. 3 MARCH/APRIL/MAY 95 13 Markets and audiovisual works

Harmonisation of statisticaldata

The first edition of The pean data is that VAT should were able to add additional Statistical Yearbook. Cinema, be systematically taken into information to the IDATE file Television, Video and New account, whenever it actually through the contribution of the Media in Europe 1994-95 is exists. Data and Reference Centre of now out. The yearbook marks the EBU. The data obtained the first step in the realisation of from the balance sheets and the Observatory's mission for the Sources and methods income statements of audio- harmonisation and transparency The yearbook is divided up into visual companies are one of the of statistical information. The seven chapters, each dealing most reliable ways of obtaining production of the yearbook in with a single major theme: gene- relatively accurate, regular itself provided a acid test in the ral data, equipment, companies statistical series for a spectral gathering of comparative statis- and employment, cinema, video analysis of the market. Never- tical data. Harmonisation of and new media, television and theless, it still remains difficult statistical data is a considerable, advertising. Each theme covered to make a comparison of the long-term task. It can, however, had its own inherent difficulties, different companies when one be said that two of the preli- the details of which are included considers the diverse nature of minary stages in this work have in the " comments on metho- the audiovisual sector and been successfully completed: a dology". the different ways in which survey of existing structures and the companies present their an initial editing of the data. Assessing the level of audio- accounts and the breakdown of visual equipment in households their various activities. Problems The survey of existing structures (televisions, VCRs, cable, satel- can also be encountered when involved identifying, as fully as lite dishes, new digital players, trying to obtain data on certain possible, existing data and etc.) varies according to the kinds of smaller company (inde- sources. The Observatory was kind of equipment considered. It pendent production companies, able to use information drawn is relatively easy to find the service companies, etc.) and from the specialist pan-Euro- number of connections and whole sections of the audio- pean information networks subscribers to cable networks visual sector lack statistical comprising its various partners from the data provided by the coverage. (BIPE Conseil, IDATE, the cable distributor associations, European Institute for the members of the European Cable The work carried out by the Media, Screen Digest) and Communication Association. various national bodies (national thematic correspondents (EAT, Only Spain and the Russian cinema centres, national statis- ECCA, Eurodata-TV, GEAR; Federation are problematic in tics institute, professional Statistical Group of the EBU). this respect. For electronic organisations and the trade All the data we received were goods, on the other hand, it is press) means there is a fair in fact either systematically much more difficult to gain an amount of statistical information checked, wherever possible, or accurate picture. The number of available on the cinema sector subjected to critical analysis. televisions can be computed as regards production volumes, distribution and cinema opera- The editing of the data cannot according to the number of licence fees paid, in those tions. The Observatory worked really be considered as a hand in hand with these national genuine harmonisation. What countries where the licence fee system exists. However, the sources to gather data on the harmonisation actually means is main indicators for the period the use of common definitions absolute veracity of the results cannot be guaranteed, given the 1985-93 and, for some countries, and similar data gathering varying level of licence fee up to the first half of 1994. Most methods. Therefore we took up evasion from one country to of the indicators are familiar and a pragmatic approach, as it did another. For the other kinds of commonly used, even though not appear to be within the equipment (VTRs, digital-system there are wide differences in realms of possibility to adopt players, video games, etc.), the how they are computed. There specific definitions and gather- yearbook relied on data provided still remain grey areas, which ing methods, but rather to by two of its partners, BIPE should be looked into later: the Statistical Yearbook. incorporate a sort of "principle Conseil and Screen Digest, who number of companies active in Cinema, Television, Video of statistical subsidiarity" within use and model data supplied by the sector, the level of invest- and New Media in Europe. the scope of the survey of the manufacturers and their ment, the number of European 1994-95 edition. existing structures, based on Strasbourg, European national or European profes- co-productions, broadcasting of the actual national statistical Audiovisual Observatory. sional organisations (Euro- films on television, etc. apparatus in current use. 1995, 280 p., pean Association of Consumer Editing the data followed a more Any official statistics for the ISBN 92-871-2661-5 Electronics Manufacturers - modest method but with an video and new media sector are 800 FF H.T. / £ 95 / USD 150 EACEM). + postage immediate effect: it aims to practically inexistant. The only Europe 53 FF / present existing data so that The Observatory's data on major sources are the pro- Rest of the world 83 FF. the most obvious differences are audiovisual companies are based fessional publisher and distri- To order your copy: corrected. For example, the on statistics gathered by IDATE butor associations. The Obser- Ms Anne Boyer definition and data gathering (Montpellier, France), one of our vatory was able to make use of European Audiovisual Observatory methods for household expen- partners, whose industrial the recent work carried out by 76, allée de la Robertsau diture on cinema tickets have database has been collecting Screen Digest in collecting and F-67000 Strasbourg not been harmonised. However, business reports and balance synthesising information for Tel. (33) 88 14 44 04 a basic requirement when sheets from over a 1000 commu- western Europe, in collaboration Fax (33) 88 14 44 19 editing the synthesised Euro- nication groups in the world. We with the International Video

14 Sequentia No. 3 MARCH/APRIL/MAY 95 Federation and Programme Statistical Media's EVE project. However, Consumers’ audiovisual expenditures in EU (Eur 15) : subtleties 63 billions Ecu in 1993 central and eastern Europe The yearbook allows the remain largely unknown terri- record to be put straight tory. Piracy is of such pro- over certain claims or portions in this part of Europe misconceptions relating that only the MPAA, repre- to the audiovisual sector: senting the interests of the American majors, is prepared to "Turnover in the video attempt a statistical analysis of industry in western Eu- the industry's loss of earnings. rope went down by Data for new optical-disc based 10,8% between 1992 technology (LaserDisc, CD-I, CD- and 1993". This claim is Video, CD-ROM, 3-DO) and not true if we take video games are firmly in the the turnover computed hands of the manufacturers. according to the ex- Most of these products, unlike change rate between the the video cassette, which is now dollar and the European approaching its period of matu- currencies. Turnover as rity, are still in their launch calculated by Screen phase: published data appear Source: European Audiovisual Observatory Digest, went down from therefore within a promotional 6,6 thousand million context, which does not make considerable sums to obtain cerning the gathering of data dollars in 1992 to 5,9 thousand million in 1993. for transparency. these data. A working party, related to the production and However, if the same including broadcasters, adver- distribution of television pro- In order to organise its statistical figures are considered in tisers and research organ- grammes. This workshop aims analysis of television, the Obser- ecus, turnover has gone isations, has already looked at at drawing up a consensus vatory has set up the Persky up from 4,6 thousand the subject of pan-European between the various orga- database containing basic million ecus in 1992 to harmonisation of audience nisations that collect the data information covering all tele- 4,9 thousand million viewing-figure measurement. as to common definitions and vision organisations broad- ecus in 1993, in other We have worked alongside classifications. casting on a regional, national or words an increase of 7%. European scale in member sates Eurodata-TV, the international The European Advertising "The United Kingdom is (see the Observatory file on department of Médiamétrie, to Tripartite launched a gradual the European country statistical databases). There are, draw up basic data relating to harmonisation process for the with the greatest number unfortunately, several problems TV viewing figures for most western European countries: statistical analysis of advertising of major audiovisual to be overcome when it comes budgets back in the mid-1980s. to making a European com- average viewing time, daily companies": the Euro- reach: audience market share The tripartite is a professional pean classification of parison, due to the hetero- body that includes all three geneous way in which the for the day as a whole and during companies according to prime time. The measurement of sectors of the advertising sector corporate "audiovisual" national television systems are (agencies, advertisers and structured: for example, a audience viewing figures is still turnover indicate that in its trial stages in central and media) and draws up statistics of these companies, Flemish regional television for western Europe, while eastern Europe, but it has still 23% were British, as channel covers two or three aiming to eliminate factors average-sized towns, whereas proved possible to present the opposed to 19 French most recent data for the causing distortion (counting German regional public-service small ads, discounts and agency and 16 German compa- channels are mostly broadcast different member states of the nies. On the other hand, Observatory. expenses, etc.) between natio- by satellite and can therefore be nal sources. For central and the German companies watched not just in all of Work carried out by the eastern Europe, where the account for 26% of the Germany, but also over much of Statistical Group of the EBU advertising market is undergoing total turnover of the top Europe. The estimated potential has produced a computer pro- full development, the gathering 100 companies, while audience could provide the basis gramme to harmonise the of data, carried out by a few British companies only for objective comparisons, but analysis of programme grills large international agencies, is have 25% and French the broadcasters are not always (ESCORT 2.3) by allowing still going through a trial period. companies 12%. very explicit when it comes systematic classification of down to giving audience figures programmes into specific cate- A.L. for their channels. gories. Thanks to the EBU's Measuring audience viewing work, we now have an analysis, figures is, statistically speaking, according to programme type, of the most advanced area in the the programmes broadcast by television sector: these figures just about all public service are now of major strategic organisations. Data relating to importance in determining private channels' programmes where advertising budgets will are also available in some coun- be spent, the make-up of the tries, but they are not yet programme grill, rights of harmonised according to the purchase, the salaries of the star EBU model. The Observatory presenters, etc. Some organ- has set up a methodological isations are ready to spend workshop for questions con-

Sequentia No. 3 MARCH/APRIL/MAY 95 15 Rules of the game

International and European legal developments

Europe ted that after the planned dere- MB/BS, including this time all gulation of basic telephone the changes made to the bill by European Union: services in 1998, the cable tele- the Senate. This second erratum The MSG Media Service case vision market will also be was published in the MB/BS of A decision concerning European deregulated. The Commission 22 November 1994. Besides this concentration control was taken referred to the programme three-page erratum, a co-ordina- by the European Commission on resources controlled by Bertels- ted non-official version of the 9 November 1994 (pursuant to mann and Kirch as an obstacle new law was added in the Council Regulation (EEC) Nr. to future free competition. appendix. In the French version 4064/89 of 21 December 1989 of the act, only a limited number By Michael Müller of provisions had been changed, on the control of concentrations Institut für among undertakings, and espe- while in the Dutch version, Europäisches Medienrecht thirty of the ninety-two sections cially pursuant to Article 8, (Saarbrücken) paragraph 3, and pursuant to the had been corrected by the Sena- European Economic Area Agree- Reference: Decision of the Commission te and these corrections had not ment, especially pursuant to of the European Communities in Case Nr. been made to the version pub- Article 57, paragraph 1, of this IV/M.469-MSG Media Service. Available lished on 27 July 1994. The agreement), which prohibited in German from the Observatory. errata published in the MB/BS Bertelsmann AG, Taurus Beteili- finally rectified these mistakes. gungs GmbH & Co. KG (Kirch National developments Did this mean that all the prob- Group) and Deutsche Bundes- Belgium: lems had been solved with the post Telekom from setting up a New Belgian copyright act publication of the errata ? joint venture as planned. According to Section 36 of the Two acts covering the far-reach- The Commission considers that Constitution, federal legislative ing reform of copyright in power is shared equally between the intended Media Service Belgium were published in the GmbH (MSG) constitutes a the King, the Chamber of Repre- Moniteur belge / Belgisch sentatives and the Senate. It concentrative joint venture as Staatsblad (the Official Journal, defined by Article 3 of the remains to be seen if the series hereafter MB/BS) of 30 June of changes made by the Senate, concentration regulation. 1994. The (general) Act of 30 According to the Commission, so as to bring the Dutch version June 1994 relating to author's into line with the French one, the concentration would exer- rights and neighbouring rights cise a Community-wide effect should not have been subse- abrogates the Act of 22 March quently put to the Chamber of and would go over the take-up 1886. The (specific) copyright threshold with an expected total Representatives for approval. protection accorded to compu- The problem of the different ver- turnover of more than 5 thou- ter programmes was finally sand million Ecus. sions of the law, which had been removed from the Act of 30 June approved by the Chamber for Council of Europe The planned company was to 1994: as the Act of 30 June 1994 one and the Senate for the other, 4th European supply administrative and tech- transposed into Belgian law the Ministerial cannot be solved simply by publi- nical services to digital pay-TV European Directive of 14 May shing an erratum in the MB/BS. Conference on Mass suppliers. 1991 on the Legal Protection of Media Policy Strictly speaking, this means an The Commission decided that it Computer Programmes, special Introduction act was published without was unlikely that new competi- protection was given to compu- The 4th European Minis- ter programmes in the form of a having been adopted by the two terial Conference on Mass tors would be able to enter the chambers, as required under Media Policy was held in market because of the dominant sui generis copyright. Prague on 7-8 December Section 36 of the Constitution. It position of Telekom in the cable The version of the act relating to is not yet fully clear what the 1994. The general theme TV networks, and the involve- "the media in a democratic author’s rights and neighbouring actual legal consequences will society", was explored ment of Bertelsmann and the rights published in MB/BS of 27 be. The entire act will come from the following angles: Kirch Group in the pay-TV July 1994 turned out to be the the future of public service into force on 1 August 1994, station Premiere and its wide- version that had been adopted although some parts of the law broadcasting, and journal- ranging programme sources. istic freedoms and human by the Chamber of Representa- will be gradually phased in. Cer- rights. The key conference The Commission sees the pay- tives in late March 1994, tain provisions concerning reports on the sub-themes TV market as an autonomous whereas in June 1994, the Sena- copyright management com- were delivered by the one and believes that this could te had made several technical panies will come into force at Minister of Education and and textual changes to the bill Audiovisual of the Go- create or reinforce the market the same time as the relevant vernment of the French leader position of Bertelsmann that had come through from the ministerial decrees prescribed Speaking Community of and the Kirch Group. The Com- Chamber (See Documents du by the law. This applies to regu- Belgium (the future of mission also considers the Sénat, S.E., 1991 - 1992, lations on taxation on home public service broad- 145/12, text corrected by the casting) and by the Fe- present market position held by taping, photocopying, public len- deral Minister of Justice these two companies - which Commission. See also: Annales ding and new legislation of Austria (journalistic together with Canal Plus have du Sénat, 23 June 1994, p. 2645 regarding inheritable royalties. freedoms and human run the only pay-TV station in and following pages). The Act of 30 June 1994 concer- rights). existence until now - and the The 4th European minis- A first erratum was published in ning the legal protection of terial conference assumed limited programme resources the MB/BS on 5 November computer programmes, in accor- increased political impor- available as a considerable com- 1995. The erratum made no dance with normal practice, tance as a result of its petitive advantage in the quickly mention, however, of any correc- came into force on 6 August pan-European reach. In growing pay-TV market. The addition to delegations of tions to the text, but simply gave 1994, ten days after its publica- 30 of then 33 member one-third share of Telekom did supplementary details concer- tion in MB/BS. states of the Council of not help in convincing the Com- ning the basic lines of the Europe, delegations were mission that this was an legislation along with the Sena- By Professor Dirk Voorhoof also present from 7 cen- unbiased merger. te's consideration of the bill, as Media Law Section tral and east European of the Department non-member states. This Finally, the Commission believes this had been mistakenly omit- pan-European dimension that the concentration will also ted when the act was published. of Communication Sciences of the made it possible to reach reinforce the dominant position The Minister of Justice hurriedly State University of Ghent the widest possible Euro- pean geographical con- enjoyed by Telekom in the cable announced that a second er- Reference: "Loi relative au droit d'auteur television markets. It is expec- ratum would be published in the et aux droits voisins/ Wet betreffende het

16 Sequentia No. 3 MARCH/APRIL/MAY 95 © Council of Europe.

auteursrecht en de naburige rechten" of 323/1993, which allowed fran- television stations in Spain is a sensus on basic media 30 june 1994, Moniteur belge / Belgisch chise holders to continue their much contested legal point of values and the nature of Staatsblad of 27 July, pp. 19297-19314 radio-television activities right late. Until now, no legally de- future policy develop- and Moniteur belge / Belgisch Staatsblad ments in the media sector. of 22 November 1994: 3-20. Both ver- up to the end of the franchise fined rules about cable television The determination of the sions are available in French and Flemish period (August 1996), the legis- have existed (neither laws nor participating ministers to from the Observatory. lation should re-examine the regulations), which led the build future media law and government to present a bill on policy on these tenets is new regulations regarding reflected in the main texts Italy : concentration of ownership, 23 December 1994. Despite this adopted at the close of the Constitutional Court ruling whatever the factors involved. legal no man's land some cable conference. on media ownership rules. networks do exist and work at a They are: It should also be noted that local level but not without a cer- The Italian radio and television 1. Declaration on Article 15 of the Mammi Law tain amount of control. system comes under Law No. only applies to the private sec- media in a democratic society 233/90 of 6 August 1990 (known tor; this means that the ruling of In accordance with Article 128 as the "Mammi Law"). Italian the Constitutional Court does of the Constitution, which was 2. Resolution No 1: passed in 1978, television broad- the future of public law does not yet cover actual not apply to the three channels service broadcasting Hertzian transmission or cable that make up the public system, casting activities are considered The conference affirmed and satellite television. as laid down in Article 24 of the to be an "essential public service the importance of public Mammi Law. under the legal responsibility of service broadcasting for Both the public and private the state". For this reason a the development of demo- radio and television systems Decision No. 420 also laid down concessionary system exists cracy through the offer of come under the Mammi Law; a comprehensive pro- normative conditions governing under which no television broad- gramming service access- this law is based upon a system the basis upon which one or casting or cable network activity ible to all members of the of authorisation (franchise) that more private bodies could gain can be legally undertaken public. prevents any single organisation access to the radio and tele- without a state licence. As no 3. Resolution No 2: from reaching a dominant vision system. Two agencies, regulations existed for cable journalistic freedoms position (as stipulated under Publitalia '80 (run by Finnin- television the government and human rights Article 15 of the law) and which vest) and SIPRA (run by the concluded that until any legis- 4. Statement on applies to both private and violations of RAI) currently manage 84,7% of lation came into effect no cable journalistic freedoms public bodies involved in broad- the advertising market, with activities could be undertaken. casting activities. 5. Action Plan Publitalia's share running at The Spanish Constitutional The participating ministers According to paragraph 4 of this 57,1% (Source: Nielsen, 1993 Courts acted heavily against this also acknowledged the article, no single body can be data). importance of entrusting position. In a ruling on 17 Octo- the development of media granted franchises that amount The situation has become fur- ber 1994 during a constitutional law and policy to the to more than 25% of the total ther complicated with a decision appeal the courts clearly stated Council of Europe, in number of franchises granted to organise referendums on tele- that the absence of regulations areas such as: portrayal of nationwide. As the total number vision as mentioned above and could not be used to limit cable violence in the media: of franchises is twelve, this media and intolerance; the which was ruled admissible by activities as defined by the fight against sound and effectively means that no single the Constitutional Court. The Constitution but constituted a audiovisual piracy; the body can run more than three referendums are due to be held outright ban on all cable activi- protection of right holders; national channels. the protection of journa- this spring. ties. lists; media concentra- What this comes down to in Italians will also be asked to vote In practice, this ruling means tions; new communica- practice, is three channels for on the following three questions: tions technologies. RAI and three for Finninvest, that until cable television regula- Of particular significance not more than one single chan- tions have come into force, all is the ministers' recom- whereas the situation is more nel for any private body holding mendation that the Coun- complex for the remaining fran- existing cable television net- a national franchise; a prohibi- works can rely on the freedom of cil of Europe's Committee chises. of Ministers consider the tion of adversing breaks during expression legislation to conti- advisability of preparing a Two recent events have had a films shown on television; prohi- nue to work. Furthermore, any binding legal instrument wide-reaching impact on the bition for advertising organisa- fines imposed by the authorities or other measures, em- Italian radio and television sys- tions be authorised to obtain in connection with this can be bodying basic principles tem, as drawn up by Law No. on the right of access of advertising revenue from more considered as null and void. the public to official infor- 223/90: firstly, decision No. 420 than two national channels. Moreover, until new regulations mation. of 5th December 1994 of the This is a complex framework come into force, new cable tele- T.L. Early constitutional court and second- within which the legislation, vision companies are permitted Head of Media Section ly, the admissibility of three Directorate of while trying to establish a defini- to exploit the existing legal no Human Rights referendums on the Mammi tive framework for the radio and man's land when establishing Council of Europe. Law, laid down by the constitu- television system, should seek a themselves in Spain. The bill tional Court (Consulta) on 11 Contact: Media Section solution that falls within Judge- provides for transitional regula- Council of Europe January 1995. ment No. 420 of the Cons- tions that legalise this type of F-67075 Strasbourg Cedex Decision No. 420 ruled that titutional Court and that also cable network company. The Tel. (33) 88 41 20 00 Article 15, paragraph 4, was falls in with the possible appro- future cable network legislation unconstitutional with regard to bation of the referendums. will certainly bring in a licensing broadcasting, while stating that system and allow foreign invol- the principle of pluralism that By Giuseppe Santaniello vement in cable television lay behind the Mammi Law was Garante per la radiodiffusione networks by EU non-member not adequately protected. The et l'editori (Italy) states to be limited. court therefore ruled that any Reference: Corte Constitutionale, 5 By Dr José Martin authorisation amounting to 25% December 1994, Sentenza N.420. Avail- Perez de Nanclares of the total number of franchises able in Italian from the Observatory. Faculty of Law that were granted to a single pri- at the University of Rioja vate body was illegal. Spain: The Constitutional Court ruled Constitutional Court ruling Reference: Tribunal Constitutional, Sen- on local cable distribution tencia 281/1994 of 17 October 1994, that, with the exception of tran- BOE num.279 Suplemento of 22 Novem- sitional provisions as provided The legal position of cable tele- ber 1994. Available in Spanish from the for by Statutory Order No. vision networks and cable Observatory.

Sequentia No. 3 MARCH/APRIL/MAY 95 17 Publications

Dictionaries / Lexica Statistical Yearbooks of Contacts. London, (International & Europe) B.F.I., 1994. 328p., Bushby, A. A-Z of Film, ISBN 0-85170-492-1, £18.95. Televison and Video Terms. European Market & MediaFact London, Blueprint, 1994. 186p., 1995. London, Zenith Media de Espana, R. Directory of ISBN 0948905891. Worldwide,1994. £ 40. Spanish and Portuguese Film- r Makers and Films. Kramer, T. (Ed). Reclams European Trowbridge, Flick Books, 1994. Lexicon des Deutschen Films. Audiovisual 388p., ISBN 0-948911-476, £ 40. Leipzig, Reclam Verlag GmbH, Observatory 1995. 480p., Statistical Rosier, C. (Ed) Annuaire des ISBN 3-15.010410-6, 54 DM. Yearbook. producteurs 1995. Paris, Dixit, Cinema, 1995. 332p., (Le guide de Multimedia Handbuch. Television, l'audiovisuel), 300 FF. München, Hightext Der nes Video and Multimedia Verlag,1994. 600p., New Media livre78 DM. in Europe. Media Policy Notaise, J., & Barda, J., & 1994/95 Edition. Strasbourg, EAO / Gruber, B. Medienpolitik der Dusanter, O. Dictionnaire EG. Constance, UVK Medien / du multimédia : Council of Europe, 1995. 280 p., 800 FF. Ölschläger,1994. 268p., audiovisuel, informatique, (Schriften der Deutschen télécommunications. Paris, Television in Europe to the Gesellschaft für COMNET, AFNOR, 1995. 886p., 345 FF. Year 2004: 6th Annual Band 12), 58 DM. Report. London, Zenith Media Reed, R.M. The facts on File Worldwide. £ 230. dictionary of television, cable, Humphrey, P. Media and and video. N.Y., Facts on File, Media Policy in Germany: 1994. 226p., ISBN 0816029474. The Press and Broadcasting Statistical Yearbooks Since 1945. 2nd edn, Thompson, D. A Biographical (National) Leamington Spa, Berg Pubs., Dictionary of Film. New York, 1994. 381p., Belgian Film Annual. Brussels, A.A. Knopf, 1994. 834p., ISBN 0-85496-8539, £ 19.95. ISBN 0394581652. The Royal Film Archive of Belgium, 1995. 700p., 950 BEF. Kleinsteuber, H.J., Les chiffres clés de la & Rossmann, T. Europa als Handbooks / Indexes / télévision et du cinéma, Kommunikationsraum. haandbogLeverkusen-Opladen, Verlag Catalogues France. Paris, La Documentation française, 1994. 210p., 125 FF. Leske & Budrich,1994. 350p., Dubbing and Subtitling: ISBN 3-8100-1280-7, 48 DM. Guidelines for Producers and Indicateurs statistiques de Distributors. Düsseldorf, l'audiovisuel. Cinéma, Urban, M.-P., Les institutions et E.I.M., Kaistrasse 13, télévision, vidéo. Données la dimension régionale de D- 4000 Düsseldorf 1, 1993. Paris, La Documentation l'espace audiovisuel européen. Tel. (49) 211 901 040. française, 1994. 286p., 140 FF. Strasbourg, Presse Universitaire de Strasbourg, 1994. 160p., Cleve, B. Film Production Filmevkönyv 1994 : A magyar ISBN 2-86820-616-6, 90 FF Management. Boston, Focal film egy eve. Budapest, Press, 1994. 217p., Hungarian Film Institute, 1994. ISBN 0240801067. 383p. ISSN 0230-2047. E Cinema kitapKino Handbuch. Munich, Kulturstatistik 1985-1992: ekonomi, verksamhet, Cinemagoing Europe. London, Entertainment Media Dodona Research. £ 295. Verlag,1994. 400p., 66 DM. kultur- och medievanor. Stockholm, SCB, 1994. 257p., Cravenne, R. Le tour du monde Levison, L. Film Makers and ISBN 91-618-0628-5. du cinéma français: Histoire Financing: Business Plans for du cinéma français à Independents. Boston, Focal Medienbericht '94 : Bya Press, 1994. 218p., radiolagen. Stockholm, l'étranger de la libération de ISBN 0240802071. Jurisförlaget, 1994. 88p. Paris au centenaire du cinéma. Paris, Dixit, 1995. Wredlund, B. (Ed). Litwark, M. Deal Making in the 350p., ISBN 2-906587-54-0. Filmarsboken 1993. Stockholm, Film & Television Industry : Proprius Förlag, 1993. 253p., from Negociations to Final Hill, J., & McLoone, M., & (Swedish Film Institute). pu Contracts. Los Angeles., Silman Hainsworth, P. Border James Press, 1994. 349p., Crossing: Film in Ireland, skyrsla Britain and Europe. London, ISBN 1879505150. Directories B.F.I., 1994. 174p., Television Annuario degli attori 1995. ISBN 0-85170-4891, £ 8.95. Business Rome, STAR Edizioni Stephenson, R., & Phelps, G. International Cinematografiche s.r.l., Yearbook 95. 1995. 1000p. Cinema as Art. Penguin London, 21st Books,1994. Century B.F.I. ISBN 140-119817, £ 7.99. Publishing, Film and 1995. 408p. Television Strasser, C. The Sound of Klein- Handbook Hollywood: Filmproduktion in Video 1995: A Salzburg - Salzburg im Film - Handbuch. Survey of Mit einem Filmlexikon. Munich, the Year in Vienna, Österreichischer Kunst- Entertainment Media UK Film, TV u. Kulturverlag,1994. 600p., Verlag,1994. 400p, 68 DM. and Video (Neue Aspekte in Kunst- u. Tel. (49) 89 420 903 0, with a Kommunikationswissenschaft, Fax (49) 89 420 903 11. Directory Band 3), 83 DM.

18 Sequentia No. 3 MARCH/APRIL/MAY 95 Stenderup, T. Har kort- og Rom, Cd-I, 3DO, MMCD, CD32, länderna. Copenhagen, Nordisk We inform dokumentarfilmen i Norden en Multimedia & Electronic Book Statistisk Sekretariat, 1993. professionals fremtid?: forslag til at styrke Products. Westport, 178p., (Nordisk Statistisk about the publication den uafhoengige produktion of Mecklermedia, 1995. 1200p., skriftserie; 62), of your book. distribution. Copenhagen, ISBN 0-88736-983-9. ISBN 87-88083-63-2. Nordisk Ministerrad, 1994. 79p., raamatFacteurs clés du succès des Liikkanen, M., & Pääkkönen, H. Sequentia offers you the (TemaNord; 1994 : 602), produits multimédia (Eds). Leisure and Cultural opportunity of informing ISBN 92-9120-528-1. interactifs: Etude-guide Participation in 1981 and its readership of new Undersogelse af film og TV destinée aux acteurs et 1991. Helsinki, Statistics publications, conference distribution i Norden. commanditaires ou Finland, 1994. 135p., (Culture proceedings and reports Copenhagen, Nordisk prescripteurs de l'offre and the Media; 1994:3), relevant to the film, Ministerrad, 1994. 63p., multimédia. Bry-sur-Marne, ISBN 951-47 television, video and (TemaNord; 1994 : 598), INA, 1994. 6 500 FF. multimedia sectors in sriyat Europe. ISBN 92-9120-524-9. Holsinger, E. Le Multimédia... Law comment ça marche ? Pour Television comprendre le multimédia : Becker, J., & Dreier, T. If you wish your publi- un panorama commenté et Urheberrecht und digitale cation to be mentioned in Chaniac, R. illustré. Paris, Dunod, 1995. Technologie: Arbeitssitzung future issues of La télévision 208p., 178 FF. des Instituts für Urheber- und Sequentia, please send de 1983 à Medienrecht am 22. April detailed information as Ichbiah, D. Planète 1993. 1994. Baden-Baden, Nomos well as a copy of the multimédia. Paris, Dunod, Chronique Verlagsgesellschaft, 1994. 184p., document to the Editor at 1994. 296p., 125 FF. des ISBN 3-7890-3497-5, 49 DM. least six weeks before the programmes Santiard, B. Les chiffres clés du date of publication. Henry, M. Publishing and et de leur multimédia. Paris, Observatoireguia Multimedia Law. London, public. Paris, des industries du multimédia, In 1995, Sequentia will be Butterworths, 1994. 800p., £ 75. Documenta- 1994. 177p., 5 337 FF. published on the following tion fran- Hermann, G. Rundfunkrecht - Tabizel, D. A Survey or the dates: çaise, 1994. Fernsehen und Hörfunk mit Video and Computer Games No. 3, March/April/May: 259p., neuen Medien. Munich, Verlag Industry. London, Durlacher & 10 March ISBN 2-86-938-109-3, 180 FF. C.H. Beck, 1994. 789p., Co, 1995. £ 250. No. 4, June/July/August: Davies, J. Broadcasting and the (Juristische Kurzbücher für 1 June BBC in Wales. Cardiff, Wales Studium und Praxis), 78 DM. No. 5, September/ U.P., 1994. 445p., Advertising La nouvelle loi fédérale sur le October/November: gISBN 0-7083-1273, £ 15.95. droit d'auteur. Lausanne, Ed. 18 September Advertising Expenditure En radio och tv i allmänhetens Fabio Marchetto, 1994. 275p., No. 6, December/ Forecasts December 1994. 15th tjänst !.Stockholm, Fritzes, 350 FF. January/ February 1996: edn, London, Zenith Media 1994. 36p., ISBN 91-38-13700-3. 1 December Worldwide,1994. £ 195. Lucas, A., & Lucas, H.-J. Traité Gilder, G. Life after Television, de la propriété littéraire et revised edn, New York, W.W. Evans, C.R. Marketing artistique. Paris, Litec, 1994. European Audiovisual Norton, 1994. Channels: Infomercials and the 1104p. Observatory ISBN 0-393-31158-9, $ 11. Future of Televised Marketing. Sequentia Englewood Cliffs, N.J., Prentice Owen, L. Selling Rights. 2nd Ms Lone Andersen, Rosier, C. Télévision 1995. Hall, 1994. 308p., edn. London, Blueprint Pub, Editor Mode d'emploi. Paris, Dixit, ISBN 0130751510. 1994. 248p., ISBN 1-85713- 76, allée de la 1994. 320p., (Le guide de la 0073, £ 29.95. Editor Robertsau communication), Ettema, J.S., & Whitney, C. VerlagPontier, J.-M. Le droit du F-67000 Strasbourg ISBN 2-906587-52-4. Audience Making: How the Media Create the Audience. cinéma. Paris, PUF, 1995. Tel. (33) 88 14 44 07 Silverstone, R. Television and London, Sage, 1994. 242p., 128p., (Que sais-je ?), Fax (33) 88 14 44 19 Everyday Life. London, 300 FF. ISBN 2-13046786-5, 40 FF. Routledge, 1994. 204p., ISBN 0415016460. Rutherford, P. The New Icons? : Questions juridiques relatives aux oeuvres multimédias. Stuiber, H.-W., & The Art of Television Advertising. Toronto, Paris, Syndicat national de Schneiderbauer, C., & Wich, A. l'édition, 1994. 150 FF. Medien in Deutschland. Band University of Toronto Press, 2: Rundfunk. Constance, UVK 1994. 270p., ISBN 0802029280. Säfsbeck, L. Regleringen av Medien / Ölschläger,1994. 500p., svensk marksänd reklam-TV: ISBN 3-88295-203-2, 48 DM. om avtalet mellan TV4 och ublikatsioonMarket Analysis staten samt nya radiolagen. The World Stockholm, Jurisförlaget, Programmes Television 1994. 88p. Coulomb-Guilly, M. and Film Santaniello, G. Garante per la Les informations télévisées. Market. Radiodiffusione e l'Editoria : Paris, PUF, 1995. 128p., Vol.1 relazione al parlamento (Que sais-je ?), Industries sull'attivita svolta dals garante ISBN 2-13-046706-7, 40 FF. and Markets; per la radiodiffusione e Zimmermann, P. (Ed). Vol.2 The l'editoria e sullo stato di Fernseh-Dokumentarismus: Players. applicazione della legge Bilanz und Perspektiven. Montpellier, 06/08/90, N°223, al 31 marzo 2.Aufl. Constance, UVK Medien / IDATE, 1994. 1994. Rome, Vita Italiana; Ölschläger,1994. 384p., 10 000 FF. Istituzioni e comunicazione, ISBN 3-88295-226-1, 54 DM. 1994.edito 172p., 20 000 L. Vandoorne, B., & Depreiter, C. Consumer Practice La nouvelle loi sur les droits Multimedia Ahlin, T. Kulturvanor i Norden: de l'auteur dans le domaine CD-ROMS In Print 1995: An en undersökning av kultur- des oeuvres visuelles. Brussels, International Guide of CD- och medievanor i de nordiska Ed. SOFAM Sccrl, 1994. 140p.

Sequentia No. 3 MARCH/APRIL/MAY 95 19

Statistical information A guide to European databases

This is the first of a series Observatory is well acquainted 3.- Analyses and surveys: Cerica of three features that Sequentia with and which can be relied on carries out surveys and analyses will be presenting on the main for their professionalism and on economic, financial and legal Europe-wide, audiovisual-rela- overall accuracy. All the data- aspects of the cinema and audio- ted databases and reference bases outlined in this file are visual sectors in Europe. files. We will be presenting a available to the public through synthesis of these specialist the contacts indicated. information sources for the European various audiovisual sectors. This If you know of any other data- Broadcasting Union first edition focuses on statisti- bases with European coverage Ancienne Route 17A cal databases, whereas the next that you think might be of use to Case postale 67

Observatory file no. 3 issues will be examining at data- in the audiovisual professionals CH-1218 Grand-Saconnex (GE) bases for practical (production / sector in our thirty-three mem- Tel. (41) 22 71 72 411 distribution / catalogues) and ber states and to our interna- Fax (41) 22 71 72 481 legal information. The series tional readership, please contact Tlx: 415 700 ebu ch Ms Lone Andersen, editor of the Dermot O'Sullivan, Chairman of the does not claim to be exhaustive, EBU Statistics Group (RTE, Ireland) but is intended as a guide to the magazine before the next dead- Michael Type, Secretary of the EBU organisations whose work the line, 28 April 1995. Statistics Group (EBU Data & Refe- rence Centre, Switzerland). In Alphabetical order: Acamedia provides both surveys Person responsable and standard or specific services for the database: on the basis of the information Dermot O'Sullivan (but data Acamedia processing will be moving in 1995 2 Avenue C. Mermillod held in the database. to the EBU Data & Reference CH - 1227 GENEVA Centre in Geneva). Tel. (41) 22 300 19 50

March / April May 1995 Cerica Fax. (41) 22 300 19 60 The EBU's database of broad- Paolo Baldi, General Director. Avenue Everard 59 casting statistics for the purpose B-1190 Brussels of international comparison, Acamedia is a Swiss company Tel. (32) 2 345 39 73 resulted from a two year study specialising in surveys on the Fax (32) 2 344 57 80 (between 1975 and 1977) to development of television pro- Michel Gyory, lawyer. examine the problems involved gramming in Europe. To enable Cerica is mainly a centre of legal in arranging co-ordinated broad- it to carry out its consulting and expertise, but it has two statisti- casting statistics between research briefs, Acamedia set up member organisations, and to cal databases relating to the a database in 1989 that keeps devise a system for co-ordinated track of the programming of audiovisual sector. statistics which would be of twenty-six European channels - Cinema statistics: this database mutual benefit to their mem- in Germany, United Kingdom, contains cinema statistics for bers. Data was collected initially Spain, France and Italy - as well seventeen western European in 1977 and now covers every as the main satellite-broadcas- countries, with the majority aspect of European broadcasting ting channels. dating back to 1950. The Cerica in the public service sector, databases also include audio- including station/channel infor- Programming data is structured visual-related data. mation, programmes, audiences, channel-by-channel, by "macro- finance, personnel, production type" (fiction, current affairs, Audiovisual and cinema finan- and transmission facilities, cable etc.), format (mini-series, maga- cing: contains laws and statis- and satellite distribution, tele- zine, etc.) type (western, tics relating to audiovisual and text and external radio broad- thriller, etc., for fiction pro- cinema financing, a breakdown casting. grammes), time-slot, production of sources of finance within the The data is processed using various European countries as type and country of origin. Microsoft Excel (Version 5.0) well as an analysis of how public Acamedia draws up and analyses and Microsoft Word (Version the programming data according financing can be gaired in its dif- 6.0) on an IBM PC compatible to its client specifications, for ferent forms. computer. The text are in instance: according to country, Cerica is also able to offer the English and French. by type, according to the kind of following services through its The database is updated on the channel (general interest, the- databases: basis of an annual questionnaire matic or special interest), or 1.- Consultation of databases: and revised regularly in the light cross-country comparisons, etc. this involves ordering docu- of experience and broadcasting Video format can also be provi- ments or information, identified developments. ded with surveys on specific by the document title, a descrip- Full acces to the information programming categories, such as tion of its contents or by the contained in the database is only the development of "entertain- Cerica information bulletin refe- available to EBU Active Mem- ment" programmes. Acamedia rence number. The documents bers replying to the annual also specialises in surveys on the and information are sent by post questionnaire. It is produced in new trends in televised produc- or fax. three volumes, namely: tion (especially for fiction) and 2.- Full search capacity: this is to Volume 1: Synthesis of Compa- in surveys of potential new mar- facilitate the search for texts or rative Statistics kets. documents where the informa- Volume 2: Graphical Analysis The working languages are tion as a subject is limited or and Key Statistics French, English, Italian and difficult to identify for existing Volume 3: Organisation Des- Spanish. Programme monitoring texts or documents that the per- criptions of the twenty-six European son making the request is In addition to the printed version, channels tates place annually. unable to fully identify. "disk" versions of the data are

Sequentia No. 3 MARCH/APRIL/MAY 95 Observatory file

A guide to European databases

available to Statistics Group mem- Franck Si-Hassen, records the development of the bers for their own analysis. The Manager of Eurodata TV. companies listed together with long-term intention is for the data Guillemette Faure, their financial results (systema- to be available on-line. Survey Manager. tic collection and analysis of annual financial statements). With regard to external availabi- All daily audimetric data for lity of the data, the EBU has fourteen European countries, IDACOM provides IDATE with decided to publish and sell per month, per channel, per pro- one of its main sources for its an edited paper publication gramme and per audience: yearly survey The World Audio- containing non-sensitive infor- Belgium, Denmark, France, Ger- visual and Film Market. mation. Selected data is also many, Greece, Ireland, Italy, IDACOM, within the framework provided to the European Audio- Netherlands, Norway, Portugal, of the partnership agreement visual Observatory following an Spain, Sweden, Switzerland, with the European Audiovisual agreement on the terms of colla- United Kingdom. Observatory, also provides a spe- boration. Depending on the Eurodata TV covers eighty chan- cific section on audiovisual nature of an enquiry, certain nels in Europe. production, distribution and ser- vice companies in Europe. data can also be made available The databank also gives access in response to direct requests. IDATE has also been developing to the Nielsen viewing figures other specific databases concer- for the USA and to the IBOPE ning : ETS figures for Latin America. The - experiments in interactive tele- Essential Television languages which are used are vision, throughout the world; Statistics Ltd (ETS) French and English. Data is - audiovisual indicators in Euro- Pinewood Studios updated every month on disk. pe, the USA and Japan; Iver Heath How to consult the database. - emerging markets in the audio- GB-Buckinghamshire SL0 0NH Tel. (44) 1753 656 762 1. Specific queries visual sector. Fax (44) 1753 630 860 For specific queries concerning Apart from specific surveys, Modem (44) 1753 653 701 one or more programmes (film information can be obtained Paul Madigan, Managing Director or football), a viewing period from IDATE databases by Martin Ellis, Director and Database Manager (prime time), a target audience requesting the "fast information Chloë A. Barbier, (children), etc. service" of the Observatory. Operations Manager 2. The tracking service ETS monitors 200 channels for Keeps a month-by-month track Media focus foreign scheduled transmissions of programmes and includes on eastern cities audience statistics. in twenty countries across Eu- Mediametrie rope and the Pacific Orient. 3. Subscriptions 55/63, rue Anatole France English and original languages All the broadcasting and audien- F-92532 Levallois Perret are used for the processing. ce figures on one or more TV Tel. (33) 1 47 58 97 49 The following criteria are used channels for one or more coun- Fax (33) 1 47 58 64 24 Jacques Braun, for each broadcast: channel, tries are provided each month on disk. International Director. data, start time, finish time, pro- Thomas Reboulleau, gramme title (original language), The data can be obtained in the Survey Manager and Database episode title (if applicable), time third week after the end of the Manager. slot, duration, country of origin, month concerned. production year, programme The Media Focus on Eastern type (feature film, TV movie, Cities plurimedia survey concen- series, serial, special), classifica- Innovacom trates on the cities of eastern tion (genre), co-production and IDACOM Europe (Bucharest, Budapest, countries, literal translation (if Moscow, Prague, etc.) and is IDATE published in English and applicable), repeat, director, Audiovisual Department French. two main actors, synopsis, alter- BP 4167 F- 34092 Montpellier cedex Information included in the native titles. Broadcasted infor- database: mation is also available for forty France Tel. (33) 67 14 44 44 – spontaneous and prompted European channels (increasing Fax (33) 67 14 44 00 recall of the radio stations and to eighty channels in mid-1995) Gilles Fontaine, Director of the TV channels; in association with Eurodata TV. Audiovisual Department – audience per medium and per The schedules of over 115 chan- (Montpellier). radio station and TV channel nels are entered on a daily basis, Jean Dacié, Project Manager and per fifteen minute period; one month in arrears. (Paris). – listening and viewing patterns IDATE manages two databases : per medium, per radio station Programme data is supplied on and TV channel; an adhoc basis for any number • INNOVACOM – levels of household audiovisual of titles over a requested period. A thematic database for mar- equipment and consumer goods kets, technology and regulations (car, electrical equipment, etc.); governing the media, telecom- – daily and weekly press reading Eurodata TV munications and information Mediametrie technology. habits; 55/63 Rue Anatole France - frequency of visits to the cine- F-92532 Levallois Perret • IDACOM ma. Tel. (33) 1 47 58 97 49 IDACOM is an industrial databa- Fax (33) 1 47 58 64 24 se containing details of over 1 All data is regularly updated, as Jacques Braun, 300 companies, including 300 indicated in the following sche- International Director. from the media sector. It also dule:

Sequentia No. 3 MARCH/APRIL/MAY 95 First half 1995 tains fifty tables giving the low- – statistical information - kept in – Budapest - Wave 2 down on the main audiovisual master spreadsheets - from – Warsaw - Wave 5 markets. These fifty tables are which extracts are made for – Minsk - Wave 1 given for each of the EU mem- publication purposes. This – Kiev - Wave 1 ber countries as well as for the covers all media for over one – Prague - Wave 6 whole of the European Union. hundred and thirty countries – Bucharest - Wave 3 Each indicator is covered over and can provide historical – Moscow - Wave 6 the period 1981-93 and gives information, for example, the – St. Petersburg - Wave 6 estimations for 1993-95. number of cinema screens from 1906, TV households from 1950 Second half 1995 It also contains a monetary infor- and VCRs from 1976. Other – Warsaw - Wave 6 mation is expressed in a single spreadsheets contain statistics – Prague - Wave 7 currency, which is inflation- derived from the master spread- – Moscow - Wave 7 adjusted French francs. The sheets and are on related topics; – St Petersburg - Wave 7 results can, however, be given in – extensive printed material. – Sofia - Wave 3 any currency requested by our The monthly publication itself, On the basis of media focus, clients: European currencies, with its internal cross referen- Médiamétrie offers: Ecu, dollar, yen, etc. cing, binder and extensive annual – survey reports; Indicators for which no sources index (over eight thousand refe- – syntheses of these reports; are available are computed by rences), was designed from its – specific operations. modelling and the results veri- launch in 1971 to form a readily fied by network experts. accessible printed database. All Screen Digest material is publi- The MERGE network The 195000 items of informa- shed and stored in English. tion contained within MERGE BIPE Conseil are organised according to a sta- The database of material as Immeuble Axe Seine 21 published is updated monthly. 12, rue Rouget de Lisle tistical architecture designed to work alongside the national Statistical material is continuous- F-92442 Issy les Moulineaux ly updated and reviewed, in Tel. (33) 1 46 62 33 44 accounting system and based upon a flow logic within the TV, particular, according to a regular Fax (33) 1 46 62 62 20 cycle of publication of data for Nathalie Coste-Cerdan, Director of cable, video and cinema sectors. the Audiovisuel Department key media topics; historical data MERGE is based upon fourteen is added periodically. A network of economists from major categories, such as The database is not open to EU countries. "house-hold" expenditure, com- direct public access, although pany expenditure revenue of published material is available • MERGE - Media Economics publishers/distributors/retailers, Research Group of Europe - is a on-line via Dialog, Datastat, FT audiovisual publisher-distributor Profile, Maid, Questel, Dow network of experts from EU programme expenditure, expen- Jones news. countries, specialising in the diture on new productions, asset economics of the audiovisual expenditure, programme ex- Details: Information Access sector and that of communica- ports, programme imports, Company, 362 Lakeside Drive, tion in general. revenue of copyright holders Foster, California 94404, USA. and production financing Tel. (1) 415 358 4643; • The network was set up by sources. Fax (1) 415 358 4759. BIPE in 1990 and aims to satisfy Screen Digest's own Screenfax the needs of the sector pro- Screen Digest service will undertake a customi- fessionals with regard to infor- sed search of themes on request, mation and international expert 37 Gower Street the keywords for the search are GB-London WC1E 6HH analysis. The experience of part- determined by the client ners of the BIPE means that Tel.: (44) 171 580 2842 Fax: (44) 171 580 0060 (although guidance is available if quality information can be sup- John Chittock, Editorial Chairman necessary). The results of the plied on a fully reliable basis. David Fisher, Editor search can be faxed or mailed Ben Keen, Executive Editor and a fee is chargable for this • The network focuses mainly Mark Smith, Assistant Editor service. on the constitution of MERGE databases for the audiovisual All key members of the editorial A new series of Screen Digest markets. The work comes under team deal with enquiries; the Dossiers is in preparation, in the form of collated published and the "Eureka Audiovisual" label. database itself is managed by David Fisher. background material from the • The database contains a range database about specific topics, of methodologies and informa- The Screen Digest database countries or regions. covers all media (film and cine- tion, which also offers an Requests for information are effective way of allowing the net- ma, television, video, cable, satellite and multimedia) and only dealt with by fax, with spe- work's experts to get together to cial priority is given to Screen carry out international surveys. comprises three main elements: – all news, references and Digest subscribers. • This database is updated research material published from The database is also indirectly annually. 1986 onwards is kept on compu- ter files, including cumulations available, along with other edito- The Merge database is a logical of statistical tables (from data rial resources and the services of information system on the box feature) and other listings specialist consultants, as a basis economics of the European (financial results, mergers and for more extensive single client audiovisual sector which con- acquisitions, events diary, etc.); commissioned research projects.

Sequentia No. 3 MARCH/APRIL/MAY 95 bases, it provides rapid access to the main contact details for the information on the various organisations and sources of national bodies which provide public funding in the cinema information used in the Euro- sector, as well as a list of refe- pean area. oRiel can be rence publications for statistical, consulted using the rapid infor- legal, practical and institutional mation service for address information for the country The Observatory's provision and is invoiced on a concerned. databases flat-rate basis. Twenty contacts or more amount to the price of RAP - Resorces for Audiovisual European Audiovisual for example one hour's proces- Production : a database for Observatory sing (200 FF for a non-trading sources of financing within the 76, allée de la Robertsau company in Germany), each sub- audiovisual sector. This databa- 67000 Strasbourg se is the direct result of close Tel. (33) 88 14 44 00 sequent contact is charged at Fax (33) 88 14 44 19 or 17 5 FF. co-operation between the Obser- Dr André Lange (Persky and vatory, Eurimages, the Council Melies). Persky is a database for televi- of Europe's fund for European Lone Andersen and sion. The first survey carried out co-productions and the Centre John Hunter (oRiel and RAP) by the Observatory indicated national de la Cinématographie Although the Observatory uses that there were approximately (Paris). It will contain data of a its partner organisations for col- sixty corporations running Her- mainly practical nature (informa- lecting most of its data, one of zian transmission networks, tion on public and private its prime concerns was to set up approximately 10000 cable net- funding and financing mecha- its own databases in the various work operators, 9 satellite nisms, distributors, sales agents, information areas: operators, approximately 250 etc.). The database is currently regional, national or Europe- being developed and should be oRiel: is a mailing and contact wide broadcasting companies completed by the end of 1995. database designed to provide an and around 2000 local stations. You can already gain access to effective computerised market The Observatory established the certain information by contac- and management system for the Persky database in order to ting the Observatory. Sequentia Observatory's institutional, keep track of the developments Vol II, No. 5 (September 1995) scientific and business contacts. within the television corpo- will give full details of the It has been designed to utilise rations (transmission and contents and relevance to the highly specific sorting parame- broadcasting) and service sec- audiovisual sector. ters (especially for matching tors. Persky contains basic data organisation types and professio- on these companies: ownership Frequency of updating: The nal functions, so that any structures, activities, financial oRiel, Persky, Melies and RAP contact address list can be results, programming and databases are regularly updated extracted for manipulation by audience figures. in co-operation with the Obser- the Observatory of our clients. vatory's network of partners and The oRiel database already Melies is a cinema database correspondents. contains some 15 000 contacts containing data on the classic from over 10 000 organisations. indicators for production, distri- Access to the databases: All of An exhaustive coverage of audio- bution and operation, so that the the Observatory's databases can visual organisations is provided Observatory obtains directly be consulted, via the informa- indexed by categories. oRiel is, from the relevant national tion service. Prices are as in effect, a database of data- sources. Melies also provides follows:

WESTERN EUROPE EASTERN AND CENTRAL EUROPE NON MEMBER STATES Non-profit Private Non-profit Private making company making company organisation organisation RIS* REPLY PROCESSED 200 FF 465 FF – 200 FF 1.330 FF IN 1 HOUR REPLY PROCESSED 465 FF 930 FF – 465 FF 1.330 FF IN 5 HOURS ORIEL LIST OF 1 TO 20 200 FF 465 FF – 200 FF 465 FF ADDRESSES LIST OF MORE 200 FF + 5 FF 465 FF + 5 FF – 200 FF + 5 FF 465 FF + 5 FF THAN 20 per address per address per address per address ADDRESSES

*RIS: Rapid Information Service

Sequentia No. 3 MARCH/APRIL/MAY 95