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Monitoring Report 2019 Creative Europe MONITORING REPORT 2019 All photos © European Union, unless otherwise stated. PDF ISBN 978-92-76-18984-8 doi:10.2759/758 KK-02-20-378-EN-N Print ISBN 978-92-76-18986-2 doi:10.2759/06694 KK-02-20-378-EN-C More information on the European Union is available on the internet (http://europa.eu). Luxembourg: Publications Office of the European Union, 2020 © European Union, 2020 The reuse policy of European Commission documents is implemented based on Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. 39). Except otherwise noted, the reuse of this document is authorised under a Creative Commons Attribution 4.0 International (CC-BY 4.0) licence (https://creativecommons.org/licenses/by/4.0/). This means that reuse is allowed provided appropriate credit is given and any changes are indicated. For any use or reproduction of elements that are not owned by the European Union, permission may need to be sought directly from the respective rightholders. CREATIVE EUROPE MONITORING REPORT 2019 CREATIVE EUROPE CONTENTS INTRODUCTION 5 EXECUTIVE SUMMARY 6 01. THE CREATIVE AND CULTURAL SECTORS 8 02. THE CREATIVE EUROPE PROGRAMME 11 03. TAKING CULTURE AND AUDIOVISUAL FORWARD 12 Fully engaged on key challenges 13 Sector-specific policy activities 14 Testing new approaches 19 Action on common challenges: gender equality and greening 20 International dimension 27 04. DELIVERING CREATIVE EUROPE 29 Overview of applications and grants by scheme 30 Consistently high absorption capacity 32 A small budget in comparison to the size of the sectors 34 Linking smaller and larger organisations 35 At the service of beneficiaries 36 Supporting collaboration across borders 38 05. SAFEGUARDING CULTURAL DIVERSITY, STRENGTHENING COMPETITIVENESS 41 Reaching wider audiences 42 High quality, internationally recognised content 43 Leveraging investment, supporting growth 48 Spotlight on the support of Creative Europe to the book and publishing sector 50 2 MONITORING REPORT 2019 06. MEDIA FOCUSING ON TALENT, CONTENT, CIRCULATION AND PROMOTION 52 Fostering talent and skills at European level 53 High quality innovative content 57 Circulation and collaboration across borders 59 Promoting European works, reaching audiences 63 07. CULTURE: FOCUS ON EUROPEAN PARTNERSHIPS, PROFESSIONAL MOBILITY AND AUDIENCE DEVELOPMENT 68 Connecting organisations - creating partnerships 69 Funding open to all creative and culture sectors 71 A more international and resilient CCS and a stronger society 72 Digital for Democracy 74 A European level playing field 76 Audience participation and engagement 78 Inclusiveness – showcasing differences and diversity 80 08. SUPPORTING ACCESS TO FINANCE 82 Success stories 85 09. CROSS-SECTORAL COLLABORATION 87 3 CREATIVE EUROPE LIST OF MAPS, FIGURES AND TABLES Map 1: Countries participating in Creative Europe 27 Map 2: MEDIA-supported training programmes by hosting country, 2019 54 Map 4: Locations of Season of Classic Films events 67 Map 4: Guarantee Facility agreements with financial intermediaries, as of end-2019 83 Map 5: Distribution of cultural organisations taking part in cooperation projects from 2014 to 2019 Figure 1: MEDIA - statistics of female applicants and beneficiaries 2014-2018 23 Figure 2: Distribution of MEDIA budget by scheme, 2019 30 Figure 3: Distribution of CULTURE budget by scheme, 2019 31 Figure 4: Increase in success rate in 'Support for European cooperation projects' call 32 Figure 5: Comparison of the budget of Creative Europe in selected sectors and their economic scale 34 Figure 6: Annual budget of Creative Europe, 2014-2020 [€ million] 34 Figure 7: Culture beneficiaries by organisation size 2018-2019 35 Figure 8: MEDIA beneficiaries by organisation size 2018-2019 35 Figure 9: Creative Europe institutional roles 36 Figure 10. Member State shares of MEDIA support relative to share of non-national film releases 38 Figure 11: Co-production in Television Programming scheme between partners from countries of various capacities 39 Figure 12: Examples of the scale of distribution of films selected for wide distribution (Selective Distribution scheme) 39 Figure 13: Examples of split of Television Programming grant between partners from different countries 40 Figure 14: The diversity of translated languages 51 Figure 15: The professional profile of training participants 69 Figure 16: Distribution of grants per sectors for Culture subprogramme 71 Table 1: European Film Forum meetings in 2019 16 Table 2: List of pilot projects and preparatory actions 19 Table 3: Participation of women in selected schemes in 2019 23 Table 4: Schemes with the highest shares of high-quality applications rejected due to insufficient budget, 2019 33 Table 5: MEDIA-supported films recognised with an award announced in 2019 43 Table 6: Culture-supported awards 46 Table 7: Top cinema admission by audience size results for MEDIA-supported films, 2018 60 4 MONITORING REPORT 2019 INTRODUCTION “We are not creating a The coronavirus crisis has accelerated these trends. coalition of States, we are In the lockdown, cinemas, public performance venues and uniting people.” theatres had zero revenues, and production companies lost half their turnover. Advertising revenues dropped by Jean Monnet, one of Europe's founding father 40-80% and book sales by 35%. Museums and galleries were closed whilst concerts and festivals were cancelled and the two European Capitals of Culture 2020, Rijeka The Cultural and Creative Sectors (CCS) contribute and Galway, came to a standstill. directly to the European project, as summarised so clearly in this fundamental quote from Jean Monnet, one The European Commission responded by taking immedi- of Europe’s founding fathers. The CCS are important eco- ate measures to allow Creative Europe beneficiaries to nomic sectors in their own right, but their value is also so- adapt their activities to the new circumstances and by cial and cultural. They represent and express our shared adapting the timing of calls for proposals. On a longer identity, values and image. When people around the term, the Commission has suggested that the Culture world think of Europe, they think of our culture. and Creative Sectors should become an essential part of the Recovery Plan for Europe proposed on The Creative Europe programme aims to enhance the 27 May 2020, identifying the sector as one of 14 priority economic, social and international dimensions of the Eu- ecosystems. The Recovery Plan, financed by the new Next ropean Culture and Creative Sectors, promote its diversity Generation EU combined with the EU budget, includes a and boost its competitiveness. mix of instruments that can support the CSS such as Member States’ national recovery plans, Structural Funds, This 2019 Monitoring Report describes how the InvestEU, Horizon Europe and other EU programmes. The Programme was fully deployed and highlights its challenge now is to mobilise this unprecedented package main achievements. The report reflects the vitality of of measures to build a shared vision with professionals the sectors, which enthusiastically come together at the and the Member States on how to recover from the coro- European level, scale up and innovate, and achieve inter- navirus crisis, transform the cultural and creative eco- national critical acclaim. It shows that the value of the system to be more competitive and resilient, and ensure financial support provided by Creative Europe lies in the Europe’s cultural sovereignty. creative relationships and networks which make up our European cultural space, which can then fully bring Euro- The new Creative Europe, which is expected to en- pean cultural diversity to all Europeans. ter into force in January 2021, will play a key role in the recovery and long term development of the CCS by Europe can be rightly proud of its talents and creativ- bringing our creative talents together, across borders ity, of its films, theatre, concerts and festivals, of its herit- and between sectors, to create and to distribute their age, of its artists. But they should not be taken for granted. productions to audiences in Europe and beyond. Now European CCS face many challenges in this changing and more than ever, it is important to adopt a Programme uncertain world, as competition from the US and Asia in- which is equipped with the objectives and the budget tensifies and digitisation changes audience expectations, commensurate with the challenges faced by Europe’s especially those of the younger generations. Cultural and Creative Sectors. 5 CREATIVE EUROPE EXECUTIVE SUMMARY The Report begins by looking at how Creative Europe high-quality TV content, and contributing to the distri- in 2019 accompanied the development of policy in the bution of another at least 290 films. MEDIA also helped cultural and creative sectors. The Programme has fur- professionals access audiovisual markets and promoted ther developed specific measures in close dialogue with European cinema, in particular by supporting film festivals stakeholders and experimented with new forms of sup- and audience development as well as a European network port in key areas such as circulation of audiovisual con- of cinemas and promoting European works on-line. tent, music diversity, mobility of artists, international cul- tural relations, greening and gender equality. The Culture Sub-programme covers a wide diversity of cultural and creative sectors from performing arts, books The second chapter illustrates how policy was translat- and publishing to architecture, design, fashion or visual ed into practice through the effective implementation of arts. Its guiding principle is to foster collaboration and Creative Europe. The Programme spent up to the limit cooperation in Europe. Through its funding, more than of the money available to it and has thus shown that it 3 100 organisations have worked together through 501 can easily absorb additional funds. Although improving, projects, giving rise to many co-creations and coproduc- selection rates are still low due the high demand from the tions, and bringing European creativity and talents to a sector. Many very good-quality projects are not funded wider audience.
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