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Public Aid Mecanisms for Film and Television in Europe : a Comparative Analysis 1 Public Aid Mecanisms for Film and Television in Europe : a Comparative Analysis 1 Public Aid Mecanisms for Film and Television in Europe Vol.I Comparative Analysis © Centre national de la cinématographie, European Audiovisual Observatory, 1998. Not to be reproduced without the formal autorisation of the European Audiovisual Observatory. Opinions expressed in this report are those of the authors and do not necessarily represent the views of the European Audiovisual Observatory , its members or the Council of Europe, nor those of the Centre national de la Cinématographie. Public Aid Mecanisms for Film and Television in Europe : a Comparative Analysis 3 Public Aid Mecanisms for Film and Television in Europe Vol. I: Comparative Analysis Vol. II: National Monographies : Austria, Belgium, Switzerland, Denmark, Spain, Finland, France, United Kingdom, Greece, Iceland, Italy, Luxembourg, Netherlands, Norway, Portugal, Sweden. ISBN : 92 871 3642 4 (Second print, July 1999). Steht auch bei der Europäischen Audiovisuellen Informationsstelle (http://www.obs.coe.int) in deutscher Fassung zu Verfügung. La version française de ce rapport est diponible auprès du Service des études, Centre national de la cinématographie. This report is mainly based on a large-scale questionnaire survey conducted on the reference year 1995. Consequently, and in order to have a common baisi for analysis, most of the comparative data refer to this reference year. However, important and lastest developments relating to the organisation and regulations for national funding systems have, when ever possible, been taken into account in our analysis. Authors : Catherine Bizern and Anne-Marie for the Centre national de la cinématographie and the European Audiovisual Observatory.. Updates of data and individual country profiles have been carried out by Lone Le Floc-Andersen (European Audiovisual Observatory). Scientifique and editorial coordination : Jean-Marc Vernier and Benoït Danard former and present Head of the Research and Documentation Department (SESDOC), Centre national de la cinématographie and Lone Le Floch- Andersen, expert/Internet coordinator (European Audiovisual Observatory). Director of publications for the English edition of this report : Nils Klevjer Aas, (European Audioivisual Observatory) Co-published by : Centre national de la cinématographie European Audiovisual Observatory 12 Rue de Lübeck 76 Allée de la Robertsau F-75116 Paris F-67000 Strasburg http://www.cnc.fr http://www.obs.coe.int E-mail: [email protected] E-mail: [email protected] Tél. +33 (0)1 44 34 34 40 Tél. +33 (0)3 88 14 44 00 Fax +33 (0)1 44 34 34 73 Fax +33 (0)3 88 14 44 19 © Centre national de la cinématographie / European Audiovisual Observatory, 1998. © Centre national de la cinématographie, European Audiovisual Observatory, 1998. Not to be reproduced without the formal autorisation of the European Audiovisual Observatory. Opinions expressed in this report are those of the authors and do not necessarily represent the views of the European Audiovisual Observatory , its members or the Council of Europe, nor those of the Centre national de la Cinématographie. Public Aid Mecanisms for Film and Television in Europe : a Comparative Analysis 5 Foreword The Centre national de la cinématographie and the European Audiovisual Observatory have come together to create a comparative analysis of the film and television public funding agencies in Europe. This study is a "first". It demonstrates that all European countries provide financial assistance to their film and television industries, according to specifically adapted national and regional terms and conditions. Among the main conclusions of this analysis, it emerges that in most countries, funding agencies receive their financing predominantly from public contributions. Television companies make direct or indirect contributions through taxation in seven countries. In the film sector, most of the funding is directed at production. While automatic funding is widespread, its impact is relatively weak, and in the main, only affects film production. France is the exception in also providing automatic funding for distribution, exhibition, video production and television production. Finally, the rules and conditions of funding are subject to constant change at a time when the film and television industries are undergoing major upheavals. Filmmakers and those responsible for public agencies will find in this first volume a comparative analysis of direct funding and information on the rules which apply. The second volume provides detailed monographs of twenty eight European countries. The Centre national de la cinématographie and the European Audiovisual Observatory intend to continue their collaboration to offer all those involved in film and television complete and comparative information on public funding sources. Jean-Pierre HOSS Nils Klevjer AAS Director General Executive Director Centre national de la cinématographie European Audiovisual Observatory © Centre national de la cinématographie, European Audiovisual Observatory, 1998. Not to be reproduced without the formal autorisation of the European Audiovisual Observatory. Opinions expressed in this report are those of the authors and do not necessarily represent the views of the European Audiovisual Observatory , its members or the Council of Europe, nor those of the Centre national de la Cinématographie. Public Aid Mecanisms for Film and Television in Europe : a Comparativ Analysis © Centre national de la cinématographie, European Audiovisual Observatory, 1998. Not to be reproduced without the formal autorisation of the European Audiovisual Observatory. Opinions expressed in this report are those of the authors and do not necessarily represent the views of the European Audiovisual Observatory , its members or the Council of Europe, nor those of the Centre national de la Cinématographie. Public Aid Mecanisms for Film and Television in Europe : a Comparative Analysis 7 Table of Contents Introduction and Methodological Notes................................................................13 1. Summary: The Main Characteristics of the Funds in Europe..........................15 1.1 Common Objectives..................................................................................................................... 15 1.1.1 Writing and Production are Central to all the National Funding Mechanisms ................... 15 1.1.2 Productions as a Higher Priority than Companies ............................................................. 15 1.1.3 Funds for Television Productions in the Majority of the Countries .................................... 16 1.1.4 Finding a Balance Between Economic Considerations and Cultural Aims in the Selective Funds................................................................................................................ 17 1.2. Some Distinctive Features.......................................................................................................... 17 1.2.1 Public Funds Mainly Financed by Public Contributions..................................................... 17 1.2.2 but with Significant Levies on the Resources of the Market in Several Countries................................................................................................................................ 17 1.2.3 The Modest Presence of Automatic Funding which Fulfils a Wide Variety of Functions................................................................................................................................ 19 1.2.4 Funding Other Sectors ....................................................................................................... 20 1.2.5 The Importance of the Regions.......................................................................................... 20 1.3 National Characteristics Asserted by the Main Countries ........................................................... 21 1.3.1 Germany Characterised by its Regional Structure ............................................................ 21 1.3.2 The Dominance of Investment in Co-production in the United Kingdom and its Unusual Funding Through the National Lottery ................................................................ 22 1.3.3 France Favours the Redistribution of Resources Raised from the Market and Adopts a Systematic Approach in its Interventions......................................................... 22 1.3.4 Italy: a System Based on Mechanisms of Loans and Bank Guarantees........................... 23 1.3.5 Central and Eastern European Countries: a Complete Reform of the System due to the Transition to a Market Economy .............................................................. 23 2. The Systems of Public Funding of Film and Television in the Member States of the European Union, Switzerland, Norway and Iceland..................................................................................................................25 2.1. The Main Stages in Establishing the Funding Systems ............................................................. 25 2.1.1. The First Funding Systems, Funding for Film................................................................... 25 2.1.2 The Birth of Regional Funding ........................................................................................... 26 2.1.3 The Introduction of Subsidy for Film and Television Since the 1980s............................... 28 2.1.4 The Financing of the Public Funds ...................................................................................
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