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focus 2010 World Film Market Trends Tendances du marché mondial du fi lm Lay-out: Acom*Europe | © 2010, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. Editorial With its key indicators, FOCUS 2010 gives you a Le FOCUS 2010 vous offre, avec ses indi cateurs complete overview of the fi lm industry worldwide, clés, une vue d’ensemble de l’industrie du cinéma and highlights new and up-and-coming areas such mondiale, et met en valeur de nouveaux terri- as Latin America and the Middle East. toires en pleine expansion, comme l’Amérique It is an indispensable guide to understanding Latine ou le Moyen-Orient. the undercurrents and changes in the interna- Un guide indispensable pour comprendre tional market, in a context where it has become les courants et les évolutions du marché inter- vital to anticipate changes as they happen, to national, dans un contexte où il devient indis- adjust strategies. pensable d’anticiper les mutations en cours pour ajuster ses stratégies. Jérôme Paillard Executive Director Jérôme Paillard Directeur Délégué FOCUS 2010 World Film Market Trends, appears FOCUS 2010, Tendances du marché mon- for the thirteenth consecutive year. We are pleased dial du film, paraît pour la treizième année to collaborate once again with the Marché du Film consécutive. Nous nous réjouissons de cette colla- and value highly our work together. boration avec le Marché du Film, à laquelle nous portons toute l’estime qu’elle mérite. Wolfgang CLOSS Executive Director Wolfgang CLOSS European Audiovisual Observatory Directeur exécutif Observatoire européen de l’audiovisuel The European Audiovisual Observatory was set Créé en décembre 1992, l’Observatoire euro- up in December 1992. It is a public-service body péen de l’audiovisuel est un organisme de service whose mission is to gather and distribute information public consacré à la collecte et à la diffusion de on the audiovisual industry (fi lm, television, video l’information sur l’industrie audiovisuelle (cinéma, and multimedia) in Europe. 36 European states are télévision, vidéo et multimédia) en Europe. 36 Etats members, along with the European Community repre- européens en sont membres ainsi que la Communauté sented by the European Commission. The Observatory européenne représentée par la Commission euro- operates within the framework of an extended par- péenne. L’Observatoire fonctionne dans le cadre tial Agreement of the Council of Europe. It carries d’un Accord partiel élargi du Conseil de l’Europe et out its mission with the help of a network of part- remplit sa mission avec un réseau de partenaires, ners, correspondents and professional organisa- de correspondants et d’organismes professionnels. tions. The Observatory provides information on L’Observatoire fournit des services d’informations sur markets, fi nancing and legal aspects of the audio- les marchés, les fi nancements et le cadre juridique visual sector. du secteur audiovisuel. ➦ Internet site (http://www.obs.coe.int) ➦ Site Internet (http://www.obs.coe.int) Editor: Martin Kanzler [email protected] Analyst, Department for Information on Markets and Financing, European Audiovisual Observatory 3 Digital Cinema LEAD ARTICLE Public Aid for Digital Cinema The Lead Article takes a look at the legal questions raised by public support mechanisms aimed at facilitating the digitisation of cinemas. It looks at the legal construction and problems of three diff erent variants of national funding schemes and at the EU law with which these constructions eventually need to comply. It also describes two state aid schemes that have already been approved by the EU Commission and a tax incentive scheme currently under investigation. Finally, the Lead Article points the way ahead by explaining ongoing policy and funding activities of the EU. • Digital Cinema • State Aid for the Digitisation of Cinemas • EU Actions RELATED REPORTING IRISRIS plusplus - DigitalDigital Cinema:Cinema: Reality Check for Digital Roll-out • Electronic edition The Related Reporting supplements the information contained in the Lead Article ISBN 978-92-871-6846-7 and compares EU policy with the reality € 33 - of promoting (or struggling with) digital • Print edition cinema in various countries. ISBN 978-92-871-6838-2 • Aims and Concerns € 24,50 • Spring Boards • Stumbling Blocks • More information: ZOOM www.obs.coe.int/oea_publ/iris/iris_ Market Data plus/publ_iplus2_2010 The Zoom section equips you with a • At the Marché du Film 2010 solid understanding of the market of in Cannes available on the stand of commercial digital cinema screens and the Observatory: Palais des Festivals, sites by providing concrete fi gures on Riviera Booth A6 their country by country development in Europe. • Order on line at: http://www.obs.coe.int about/order • Order by email: [email protected] • Order by fax: +33 (0) 3 90 21 60 19 76 Allée de la Robertsau F - 67000 STRASBOURG is part of Phone +33 (0) 3 90 21 60 00 - Fax +33 (0) 3 90 21 60 19 www.obs.coe.int 4 focus 2010 Contents Introduction 7 World 11 Europe European Union 14 France 22 Germany 24 Italy 26 Spain 28 United Kingdom 30 Russian Federation 32 Other Western Europe 34 Nordic Countries 36 Central and South-Eastern Europe 38 Poland 40 Turkey 41 Americas North America 42 Latin America 46 Australia 50 Asia 52 China 54 Japan 56 India 58 South Korea 59 Africa 60 Middle East 62 Sources 64 5 6 Introduction Saving Na’vi cinemas he pace of cinema digitisation in Europe is cinema policy-makers worthy of the name is Tundoubtedly quite surprising. Ten years after concerned: the existence of a network of inde- the unveiling of the fi rst equipment, it seemed pendent cinemas that ensure the diversity of to be very slow but, to the surprise of many, the fi lms offered and the circulation of minority accelerated in the latter half of 2009. According interest works – European fi lms and fi lms origi- to Screen Digest, the number of digital screens nating from production and distribution chan- worldwide went up by 89% in 2009 and repre- nels other than the Hollywood based compa- sented about 15% of all modern screens at the nies, such as Asian, Indian, South American and end of December. African fi lms and independently produced fi lms The role of James Cameron’s fi lm Avatar in from North America or Oceania. this development is undeniable. What is para- The conference entitled “The independent doxical about this pleasantly ecological fi lm is exhibition and the challenges of digitisation” that it is in fact itself, the terrible weapon of the organised in Barcelona (4-6 March 2010) by the logic that it illustrates: the destructive effi ciency Spanish presidency of the European Union served of technologies once blindly unleashed on tradi- to highlight the concerns of independent exhibi- tional environments. At this point in time, many tors and the diffi culties in introducing national or European cinema professionals suddenly feel just European policies. (1) The participants agreed that as threatened as the Na’vi in Avatar. it was preferable for the transition process to be as short as possible since it led to cost duplication Various elements have contributed to this and therefore delayed achieving the economies acceleration of the digitisation process: the des- of scale that could be generated for the benefi t ignation of the DCI format as the international of the fi nancially weakest. standard, the development and propagation of the Virtual Print Fee (VPF) model by which dis- Risk assessments for the fi lm exhibition sector tributors contribute, through third-party investors, in the European Union have been produced by to fi nancing the digitisation of cinemas, and the the European Investment Bank, according to arrival of 3D, which fi nally provided ex hibitors with whose fi gures 4.4% of screens are already digi- a commercial argument by offering the public a tised without recourse to the VPF. In most cases, new cinema experience. The history of the cinema these are screens belonging to certain major cir- teaches us that major innovations become fairly cuits that have decided to fi nance their transition quickly established throughout the world cinema themselves. About 5 400 screens out of 30 185 system as soon as the costs are borne by the (or approx.17%) are allegedly unable to access majors and the big cinema networks. The move the VPF system. However, this estimate presup- to digital is now clearly underway and it is impos- poses that the integrators’ rollout potential has sible to see anything that could stop it. been fully achieved. The integrators have already signed agreements for 4.7% of screens and are in There is no reason to doubt that the digi tisation negotiations with distributors for another 15.2%. of distribution is a step in the right direction. Like In addition to the 17% considered at risk, there the development of multiplexes around ten years are accordingly more than 17 500 cinemas (or ago, the DVD and, more recently, Blu-ray and 58%) for which the validity of the VPF model video on demand, digital cinema is an aspect of still has to be demonstrated. This means there the modernisation of distribution that helps to are considerable uncertainties. The fi nancial situ- keep the industry in good health. ation of the third party integrators is not under However, this enthusiasm must not blind discussion here but it seems clear that these us to the risks inherent in the transition. These new players are dependent on access to bank risks are obvious as far as something dear to the loans, which has been made more diffi cult by hearts of cinema professionals, cinéphiles and the crisis.

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