Established in December 1992, Créé en décembre 1992, l’Ob Die im Dezember 1992 gegrün Audiovisual the European Audiovisual Ob servatoire européen de l’audio dete Europäische Audiovisuelle servatory is a European pub visuel est un organisme euro Informationsstelle ist eine euro lic service organisation whose péen de service public dont la päische Einrichtung des öffentli- mission is to foster transparen mission est d’assurer une plus chen Rechts. Ihr Auftrag besteht Media cy in the European audiovisual grande transparence dans le in der Schaffung von Transparenz sector and provide information secteur audiovisuel en Europe et im europäischen audiovisuellen services to policy makers and de répondre aux besoins en infor- Sektor durch die Bereitstellung audiovisual professionals. mation des organes gouverne von Informationsdienstleistun for Children mentaux ainsi que des profes gen für die audiovisuelle Fach Its membership consists at sionnels de l’audiovisuel. welt. present of 37 European states as well as the European Union Il regroupe actuellement 37 37 europäische Staaten sowie in Europe: represented by the European Etats membres ainsi que die Europäische Union ver Commission. The Observatory l’Union européenne représen treten durch die Europäische functions within the legal frame tée par la Commission euro Kommission sind zur Zeit Mit The Theatrical Circulation work of the Council of Europe péenne. L’Observatoire s’ins glieder der Informationsstelle and operates in collaboration crit dans le cadre juridique Die Informationsstelle erfüllt of European Children’s Films; with its information network: du Conseil de l’Europe et ihre Aufgabe im rechtlichen partners, correspondents and travaille en collaboration avec Rahmen des Europarates und Television for Children professional organisations. des organismes partenaires, un arbeitet in engem Verbund mit réseau de correspondants et Partnerorgani sationen, Korres The Observatory’s principal ar des organisations profession pondenten und Berufsfach eas of activity are: film, televi nelles du secteur. verbänden. Contient une synthèse en français sion, video/DVD, new audiovi sual media services and public Ses principaux champs d’activi Die Informationsstelle hat die Enthält eine Executive Summary auf Deutsch policy on film and television. té concernent le cinéma, la télé Kernarbeitsfelder: Film, Fern It provides information on mar vision, la vidéo/DVD, les services sehen, Video/DVD, neue audio kets, financing and legal as audiovisuels des nouveaux mé visuelle Mediendienste und pects of the audiovisual sector. dias et les politiques publiques staatliche Maßnahmen für Film Report prepared by the relatives au cinéma et à la té und Fernsehen. Sie stellt Infor Information is made available lévision. L’Observatoire fournit mationen über Märkte sowie European Audiovisual Observatory through print publications, on des services d’information sur Finanzierung und juristische As for the line services, databases and les marchés, les financements pekte des audiovisuellen Sek within the framework of confe et le cadre juridique du secteur tors bereit. CINEKID for Professionals Conference rences and workshops. audiovisuel. at the Die Arbeitsergebnisse stehen 25th CINEKID Festival Les informations sont disponibles in Form von Printpublikationen, sous forme de publications, de Online-Diensten und Datenban services en ligne, de bases de ken zur Verfügung und werden données ou dans le cadre de im Rahmen von Konferenzen conférences ou d’ateliers. und Workshops vorgestellt. Amsterdam, 18 & 19 October 2011
www.obs.coe.int Martin Kanzler Susan Newman-Baudais 76 allée de la Robertsau • 67000 STRASBOURG • France European Audiovisual Observatory Phone: + 33 (0)3 90 21 60 00 • Fax: + 33 (0)3 90 21 60 19 E-mail: [email protected]
EUR 29,50
OEA_Television for Children_Cover_EN V2.indd 1 26/10/11 11:30 Audiovisual Media for Children in Europe: the Theatrical Circulation of European Children’s Films; Television for Children © European Audiovisual Observatory (Council of Europe), Strasbourg, 2011
Director of publication Wolfgang Closs Executive Director European Audiovisual Observatory
Editorial supervision André Lange Head of Department for Information on Markets & Financing European Audiovisual Observatory
Authors Martin Kanzler & Susan Newman-Baudais Analysts – Film Industry Department for Information on Markets & Financing European Audiovisual Observatory
Editorial assistant Valérie Haessig Department for Information on Markets & Financing European Audiovisual Observatory
Marketing Markus Booms [email protected] European Audiovisual Observatory Translation Nathalie-Anne Sturlèse (French) (Executive Summary) Bernard Ludewig (German)
Acknowledgements The European Audiovisual Observatory would like to thank: KIDS Regio, the children’s film sub-group of Cine-Regio, the European network of regional film funds, and in particular Viola Gabrielli, KIDS Regio co-ordinator; CARTOON, the European association of animation film, and in particular Yolanda Alonso and Annick Maes; The European Children’s Film Association, who compile and manage a database of European children’s films.
ISBN 978-92-871-7278-5 print version 978-92-871-7279-2 PDF version 978-92-871-7280-8 print and PDF versions
Price Print edition: 29,50 Euros Electronic edition (PDF): 36,50 Euros Both editions: 38,50 Euros
Cover layout Pointillés, Hoenheim, France
Printed in France
OEA_Television for Children_Cover_EN V2.indd 2 26/10/11 11:30 Audiovisual Media forChildrenin Europe: TheTheatricalCirculationof European Children’sFilms; Television forChildren
Contient unesynthèseenfrançais Enthält eine ExecutiveSummary auf Deutsch
Reportpreparedbythe European Audiovisual Observatory forthe
CINEKIDfor Professionals Conference at the25 th CINEKIDFestival
Amsterdam,18&19 October 2011
MartinKanzler SusanNewman-Baudais European AudiovisualObservatory
Tableofcontents
Foreword...... 5
Executive Summary: AudiovisualMedia forChildreninEurope ...... 7
Synthèse :Les médias audiovisuels pourenfants en Europe ...... 11
Executive Summary: audiovisuelle Medien fürKinderinEuropa...... 15
PART1:THE THEATRICALCIRCULATION OF EUROPEAN CHILDREN'S FILMS
Introduction: objectivesofthe analysis...... 21
Thedata sample...... 21
ProductionofEuropeanchildren’sfilms...... 23
Theatrical circulationofEuropean children's films...... 26
PerformanceofEuropean children'sfilms...... 28
ThemostsuccessfulEuropean children'sfilms...... 31
Theroleofnon-nationalmarkets forthe performanceofEuropean children's films...... 33
PART2:TELEVISION FORCHILDRENINEUROPE
TV channelsfor children: theEuropean landscape ...... 39
Animation on European TV ...... 45
Indexoffigures andtables...... 56
European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Foreword
CINEKID, thefestival forchildren’smedia, is 25years old. This report represents the contribution of the European AudiovisualObservatorytothe anniversaryeditionofthe festival, whichtakesplaceinAmsterdam from12to21October2011. Thereportwill be presented duringthe CINEKIDfor Professionals Conferenceon18October2011.
TheEuropean AudiovisualObservatory is aEuropeanpublic servicebodycomprised of 37 member states and theEuropean Union, represented by theEuropean Commission. It operates within thelegal frameworkofthe Council of Europe and worksalongsideanumber of partner and professional organisations from within theindustryand with anetwork of correspondents.The mission of the Observatoryistogather anddistributeinformationonthe audiovisualindustryinEurope.Inaddition to contributions to conferences,othermajor activitiesare thepublicationofaYearbook,newslettersand reports,the compilation and management of databasesand the provisionofinformationthroughthe Observatory'sInternet site ( http://www.obs.coe.int ).
This reportisdivided into twodifferent parts,eachlookingatdifferent aspects of children’suse of audiovisualmedia. Thefirst partfocuses on thetheatrical market forchildren’sfilms in Europe. Using an extensivedatasample, it examines the production of liveactionand animationfilmsfor children, their circulation among Europeancountriesand howthesefilmsperform on theatrical markets across Europe.
Thesecond part looksattwo aspectsoftelevisionfor childreninEurope. Thefirst aspectstudiedis thesupply of channelsfor younger viewersand theevolutioninthe availabilityofchannels since1990. This sectionthenlooksatthe programmingofanimation–generally aimedatyoungerviewers –ona selectionof137 channelsavailable in Europe, andanalyses the relative importanceofEuropean animationinthe programming mix.
We wouldliketothank our colleagues at CARTOON (YolandaAlonsoand Annick Maes), at the European Children’s Film Association, andatKIDSRegio(ViolaGabrielli) fortheirassistancein preparing thesampleofchildren’sfilmsstudiedinthis report.
While thereportcannot claimtobeacomprehensive overview of eitherthe market forchildren’sfilms or of the European children’s televisionlandscape,itdoes providesomeinteresting insights into two specific areas.Wehope it will provideafactualbasis to atleastsomeofthe discussions takingplace duringthe CINEKIDProfessionalConference….and, of course,wewish CINEKIDavery happy birthday!
Martin Kanzler& SusanNewman-Baudais Analysts –FilmIndustry European AudiovisualObservatory
Strasbourg,October 2011
5 6 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
ENGLISH ExecutiveSummary:AudiovisualMedia forChildreninEurope
The theatrical circulationofEuropean children’s films
In thefirst partofthisreport theEuropeanAudiovisualObservatory analyses the origin,circulationand performanceofasample of Europeanliveactionand animated filmsfor children on European theatrical markets.Circulation is measured in termsofthe averagenumber of releasemarkets for these filmsaswellasin termsofthe percentageoffilms thatget released on at leastone non-national market. Performanceismeasuredbystudyingthe average admissions forthe sample filmsasawhole as well as theiradmissions on national andnon-nationalmarkets.
Thedata sample comprisesatotalof564 European liveactionand animated feature filmsfor children producedand released in cinemas in Europe duringthe period2001to2010. Admissions figures and releasepatterns forthesefilmsare analysed usingdata drawnfromthe Observatory’sLUMIERE databaseonadmissions to filmsinEurope 1 .Comparative data forEuropean fictionfilms(other than children’sfilms),alsodrawn from LUMIERE,has been used to providesomeadditional comparisons.
Thefollowing keyobservationscan be made on the basisofanalysis of the sample:
1. TheBig 5 2 European markets and theScandinaviancountrieswerethe largestproducersof children’sfilms, accounting forabout44% and 30% respectively of the totalsampleproduction volume.With91films,Germany wasthe most prolific producerduringthe referenceperiod, followedbyFranceand Denmark.
2. 78% of the sample filmswerereleasedintwo or more Europeanmarkets andthe children’s filmsstudiedwere, on average,released in atotalof3.9 territories duringthe reference period. Filmsfromthe Big5territories obtained releaseinmorecountriesthanfilmsfrom other regionsinEurope.
3. Overall, children’s animationfilmswerereleasedinmoremarkets thanliveactionfilms. However, liveactionfilmsfromthe Big5territories andfromCentral andEasternEuropewere released in more markets than animation filmsofthe same origin.
4. Themedian number of admissions to aEuropeanchildren’sfilm was116 451. Foralive action film forchildrenthe median was130 525tickets sold.For animation features,the median admission level was92172 tickets.Filmsofboth types originatingfromthe Big5 territories obtained above averageadmissions results. Fictionfilmshad median admissions of 38 886tickets sold,approximatelyone thirdthe median result forachildren’s film.
5. Two-thirds(66%)ofadmissions to Europeanchildren’sfilms(animationand liveaction) were generated on national markets.Animation filmswere, however,lessdependentonnational
1 http://lumiere.obs.coe.int 2 France, Germany,Italy,Spainand theUnitedKingdom 7 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
marketsthan their liveactioncounterparts,generating 44%oftotaladmissions outsidetheir nationalmarkets,compared to 29% of admissions forliveactionfilms.
6. Scandinavianand WesternEuropeananimationfilms were theleastdependent on their nationalmarkets,whereasasliveactionfilms from Scandinavia andCentral and Eastern European countriesreliedprincipally on thedomesticmarketfor theirsuccess.
TV channels forchildren: theEuropean landscape
Thesupply of televisionchannels forchildreninEurope hasfollowedthe generaltrend towardsa multiplicationoftelevisionservices,accessiblevia avariety of platforms.
In December 2010, usingthe MAVISE database3 ,established by theEuropean Audiovisual Observatoryfor theDirectorate General of Communicationofthe European Commission, atotal of 275 children’s channels were identified as being availableinEurope. This compares to an estimated 64 channels availableinthe year 2000.
TheFlemish-speaking Community of Belgium, Poland andFrancehad thelargest offerofchannels available foryounger viewers, more than30asofDecember 2010ineachcase. In terms of the countryofestablishment of channels, theleading territory wasthe United Kingdom, whereatotalof 136 children’s channels arelegally established. This figureincludes multiple linguisticversionsofpan- European children’s channels such as Nickelodeon andthe Disney channels.
Most of the larger European countrieshavenational children’schannels.Thesechannelsare generally private,but notable public examples includeKetnet andLaTrois in Belgium, Ramasjang in Denmark, Gulli (public-private jointventure) in France, KIKA in Germany, 101 TV and Zappelin 4inthe Netherlands,ClanTVE in Spainand RAIGulpand Yoyo in Italy.The only truly pan-European channelsare privatelyand, generally,US-ownedvia European-registered subsidiaries.
AnimationonEuropean TV
Animation represents arelativelysmall segment of the totalfictionofall originsbroadcastonthemajor WesternEuropean televisionchannels coveredinthe studysample. Itsshareofthe total hourly volume of fictionbroadcastis15%,way behind that of series and soaps(43%) and featurefilms (37%).
Almost half(44%)ofthe animation broadcast on themajor WesternEuropean channelscovered is of European origin.Animationproducedinthe broadcasting countryaccounts for15% of the total volume of European animation broadcast, whileanimationimported from otherEuropean countries
3 Availablefree-of-charge at http://mavise.obs.coe.int/
8 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope accounts forafurther 10%.European co-productions areparticularlyimportant in this context, accounting for19% of the overallEuropeananimationtotal.Switzerland,the Netherlands, Franceand Spaindevoted thehighestproportion their totalanimationbroadcaststoEuropean production.
9 10 Observatoire européen de l’audiovisuel-Lesmédiasaudiovisuelspourenfants en Europe
FRANÇAIS Synthèse :Les médias audiovisuels pourenfants en Europe
La circulationensallesdes filmseuropéenspour enfants
Dans la première partie de ce rapport, l'Observatoireeuropéendel’audiovisuelanalysel'origine, la circulation et la performanced'unéchantillon de filmsdefictionetd’animation pourenfants surle marché européen du cinéma.Lacirculationest mesuréeentermesdenombremoyen de marchés de diffusion de cesfilmsetentermes de pourcentage de filmsdiffuséssur au moinsunmarchénon- national. La performanceenest mesuréesur la basedelamoyenne des entréespourles filmsde l'échantillon pris dansson ensemble, ainsique du nombre d’entrées surles marchés nationaux et non-nationaux. L'échantillonanalysécomprend un totalde564 longsmétragesdefiction et d’animation européens pourenfants,produitsetdiffusésdans lescinémas d’Europe surlapériode 2001 à2010. Les chiffres des entréesetles tendances de diffusiondeces filmssont analysés àl’aide des données issues de la baseLUMIERE de l'Observatoire surles entrées desfilms en Europe4 .Des donnéescomparatives pourles filmsdefictioneuropéens(autres queles filmspour enfants), également issues de LUMIERE, ont étéutilisées pourfournirquelques comparaisons supplémentaires.
Voiciles principalesobservationsqui peuvent êtrefaitesàpartirdel’analysedecet échantillon :
1. Les 5grands marchés européens 5 et lespaysscandinavessont lesplusgrosproducteursde filmspour enfants,avecrespectivement 44 %et30%environ du volume de productiontotal de l'échantillon. L'Allemagne estlepays producteur le plus prolifique avec 91 filmssur la période de référence, suivipar la FranceetleDanemark.
2. 78 %des filmsdel'échantillonont été diffusés suraumoins deuxmarchés européens et les filmspour enfants étudiés ont été, en moyenne, diffusés suruntotal de 3,9territoires pendant la périodederéférence. Lesfilmsdes 5grands territoires ontpuêtrediffusésdans plus de pays que lesfilmsprovenantd'autres régions d’Europe.
3. Globalement, lesfilmsd'animationpour enfants ontété diffusés surdavantagedemarchés que lesfilms de fictionpourenfants.Cependant, lesfilms de fictionpour enfants des 5grands territoires et despaysd'Europe centrale et orientaleont été diffusés surunplusgrand nombre de marchés que lesfilmsd'animationdemêmeorigine.
4. Le nombre médian des entrées d’un film européen pourenfants était de 116451.Pourunfilm de fictionpourenfants,lavaleur médianeétait de 130 525 entrées. Pour leslongs métrages
4 http://lumiere.obs.coe.int 5 France, Allemagne, Italie,EspagneetRoyaume-Uni. 11 Observatoire européen de l’audiovisuel-Lesmédiasaudiovisuelspourenfants en Europe
d'animation,lavaleur médiane des entréesétait de 92 172. Les filmsdeces deuxcatégories provenantdes 5grandsterritoires ontobtenu desrésultats supérieursàla moyenne des entrées.Les filmsdefictioneuropéensautres que lesfilmspour enfants ont réaliséune valeur médiane des entréesde38886, soit environuntiers du résultat médian pour un film pour enfants.
5. Deux tiers(66 %) des entréesdes filmseuropéens pour enfants (animation et fiction) ont été produitssur lesmarchés nationaux.Néanmoins, lesfilmsd'animationsesont avérés moins dépendants des marchés nationaux que lesfilmsdefiction,générant44%dutotaldes entrées en-dehorsdeleurs marchés nationaux,comparativement à29%desentrées pour des filmsdefictionpourenfants.
6. Les filmsd'animationscandinavesetd’Europe occidentalesont lesmoins tributaires des marchés nationaux,tandis que le succèsdes filmsdefiction pour enfants despaysde Scandinavie et d’Europe centraleetorientales’appuieessentiellement surles marchés nationaux.
Chaînes de télévision pourenfants :lepaysageeuropéen
L'offredechaînes de télévisionpourenfants en Europe asuivi la tendancegénérale versune multiplicationdes services de télévision, accessibles viades plateformesvariées.
En décembre2010,labasededonnéesMAVISE 6, mise en placepar l'Observatoire européende l'audiovisuel pourlaDirectionGénéraledelaCommunicationdelaCommissioneuropéenne, recensaitautotal 275chaînes pourenfants disponiblesenEurope, alorsqu’en 2000onestimaitce chiffreà64.
La Communauté flamandedeBelgique, la PologneetlaFranceaffichaientleplus grand nombrede chaînes disponiblespour lesjeunes téléspectateurs,soitpourchacunedeces entitésplusde30 chaînes en décembre2010. En termes de pays d'établissement des chaînes,leRoyaume-Uniarrive en têteavecuntotal de 136 chaînes pourenfants légalement implantées.Cechiffreinclutdes versions multilingues de chaînes pan-européennes pour enfants telles queNickelodeonetles chaînes Disney.
La plupartdes grands pays européens ont des chaînes nationalespour enfants. Ceschaînes sont généralement privées,maisilexisteégalement des exemples notoires de chaînes publiquestelles que KetnetetLaTroisenBelgique, Ramasjang au Danemark, Gulli (partenariatpublic-privé)en France, KIKA en Allemagne, 101TVetZappelin4auxPays-Bas, Clan TVEenEspagne, ainsique
6 Disponiblegratuitement sur http://mavise.obs.coe.int/
12 Observatoire européen de l’audiovisuel-Lesmédiasaudiovisuelspourenfants en Europe
RAIGulpetYoyoenItalie. Lesseules chaînes véritablement pan-européennessont privées et généralement détenues pardes sociétés américaines viades filiales enregistrées en Europe.
L’animationàla télévisioneuropéenne
L’animation représente un segment relativement réduit de la fictionglobale de toutes origines diffusée surles principaleschaînes de télévisiond’Europe occidentale couvertes par l'échantillon. Elle correspond à15%du volume horaire totaldefiction diffusée, loin derrièreles séries et feuilletons «soap »(43 %) et leslongsmétrages(37 %).
Près de la moitié (44%)del'animation diffuséesur lesprincipales chaînes d'Europe occidentale couvertespar cette étude estd'origine européenne. Les œuvres d’animation produites danslepays de diffusion représentent 15 %duvolumetotal de l’animationdiffuséeenEurope,tandis que l’animationimportée àpartird'autres pays européens représente10%supplémentaires. Les coproductions européennessont particulièrement importantes dans ce contexte et représentent19% de l’ensemble de l’animation diffusée.
La Suisse,les Pays-Bas,laFranceetl'Espagne ont consacré la plus grandepartduvolumetotal de leursanimationsdiffusées àlaproductioneuropéenne.
13 14 EuropäischeAudiovisuelle Informationsstelle -audiovisuelle Medien für Kinder in Europa
DEUTSCH ExecutiveSummary:audiovisuelle Medien fürKinderinEuropa
DieVerbreitung europäischer KinderfilmeimKino
In dererstenHälftedieses Berichts befasst sich dieEuropäischeAudiovisuelleInformationsstelle mit dem Ursprung, der Verbreitungund demErfolgeiner Auswahl vonReal- und Animationsfilmen für Kinder aufdem europäischen Kinomarkt.Für dieMessung der Verbreitungwirdzum einen die durchschnittliche Anzahl vonMärkten, in denenein Film in dieKinos kommt, undzum anderen der Prozentsatzder Filmeherangezogen, dieinmindestens einem ausländischen Marktgezeigt werden. DerErfolgwirdanhand der durchschnittlichenKinobesucherzahlen fürdie untersuchtenFilme insgesamtsowie der Besucherzahlen im In-und Ausland berechnet.
Dieuntersuchte Stichprobeumfasst 564 europäischeReal-und Animationsfilmen fürKinder,die zwischen 2001und 2010produziert undineuropäischen Kinosgezeigt wurden.Die Besucherzahlen und Veröffentlichungsmuster fürdiese Filmewerdenauf der Basisder DatenbankLUMIERE der Informationsstelle überdie Kinobesucherzahlen in Europa ausgewertet7 .Zudem wurden ebenfalls aus der LUNIERE-Datenbankvergleichende Datenzueuropäischen Fiktionsfilmen (nicht fürKinder) ausgewertet, um weitereVergleichezuermöglichen. Ausder Untersuchung der Stichprobe lassensichimWesentlichen folgende Erkenntnisse ableiten:
1. Größte Produzentenvon Kinderfilmen sind diefünf großen europäischen Märkte8 und die skandinavischen Länder mitrund44% bzw. 30%des Gesamtvolumens der Stichprobe. Mit 91 Filmen warDeutschland der größte ProduzentimVergleichszeitraum, gefolgt von Frankreichund Dänemark.
2. 78% der untersuchtenKinderfilmewurdeninzweioder mehr Ländern Europas herausgegeben.Der Durchschnitt über alle untersuchtenFilmeimVergleichszeitraum liegt bei 3,9 Länder proFilm. DieFilmeaus den fünf großen Märktenwurden in mehr Länderngezeigt alsFilme aus anderen RegionenEuropas.
3. Insgesamtbetrachtet,wurden Kinderanimationsfilmeinmehr Ländern herausgegeben als Realfilme. Allerdings wurden Realfilmeaus den fünf großen Märktensowie aus Mittel- und Osteuropa in mehr Ländernherausgegeben alsAnimationsfilmegleichen Ursprungs.
4. Im Schnitt erreicht eineuropäischer Kinderfilm 116.451 Zuschauer. BeiRealfilmen fürKinder liegt der Medianwertbei 130.525verkauften Kinokarten, gegenüber 92.172 bei Animationsfilmen. Sowohl Realfilmeals auchAnimationsfilmeaus den fünf großen
7 http://lumiere.obs.coe.int 8 Frankreich, Deutschland, Italien, Spanien und dasVereinigteKönigreich 15 EuropäischeAudiovisuelle Informationsstelle -audiovisuelle Medien für Kinder in Europa
westeuropäischen Märktenerzielten überdurchschnittlicheBesucherzahlen.Bei Fiktionsfilmen beträgt der Median derBesucherzahlen mit38.886 verkauften Kinokarten nur rund einDrittel des Wertsbei Kinderfilmen.
5. EuropäischeKinderfilme(Animations- und Realfilme) erreichen rund zwei Drittel(66 %) ihrer Zuschauerauf dem jeweiligen nationalenMarkt.AllerdingshängenAnimationsfilme mit44% der Besucher im Auslandweniger starkvom nationalen MarktabalsRealfilme(29 %).
6. Skandinavischeund westeuropäischeAnimationsfilmesindamwenigsten aufden nationalen Marktangewiesen,wohingegen Realfilmeaus Skandinavienund Mittel-und Osteuropavor allembei einheimischen Zuschauern Erfolg haben.
Fernsehen fürKinder: dieeuropäischeLandschaft
DasAngebot an Fernsehsendernfür Kinder in Europa folgtdem allgemeinenTrend hinzueinem ständig wachsenden Angebot an Fernsehdienstenüberunterschiedlichste Plattformen.
LautMAVISE-Datenbank9 ,die vonder Europäischen Audiovisuellen Informationsstelle im Auftragder GeneraldirektionKommunikationder Europäischen Kommission entwickeltwurde, gabesim Dezember 2010inEuropainsgesamt275 Kinderkanäle, gegenübergeschätzten 64 im Jahr 2000.
Dasgrößte Fernsehangebotfür jüngere Zuschauer gibt es mitjeweils über 30 verfügbaren Sendernin der Flämischen GemeinschaftBelgiens,Polen undFrankreich(Stand Dezember 2010).Was den Sitz der Sender betrifft,sosteht das Vereinigte Königreich mitinsgesamt136 rechtmäßig niedergelassenenKindersendern an derSpitze. Darinenthalten sind diverseSprachversionen von paneuropäischen Kindersendern wieNickelodeon oderdie Disney-Kanäle.
In den meistengrößeren Ländern Europas gibt es nationaleKinderkanäle.Dabei handelt es sich in der RegelumPrivatsender,aberesgibtaucheinigeöffentlich-rechtliche Sender,darunter Ketnetund La TroisinBelgien, Ramasjang in Dänemark,Gulli (öffentlich-privates JointVenture)inFrankreich, KIKA in Deutschland,101 TV und Zappelin4in denNiederlanden, Clan TVEinSpaniensowie RAI Gulp und Yoyo in Italien.Die einzigen wirklichpaneuropäischen Kanäle sindinaller RegelUS- amerikanischePrivatsender bzw. ihre europäischen Tochtergesellschaften.
AnimationimeuropäischenFernsehen
Animationsfilmemachen nur einenvergleichsweise geringenTeilder Fiktionaus,die im Vergleichszeitraum vonden hier ausgewertetengroßen westeuropäischen Fernsehsendern
9 Frei zugänglichunter http://mavise.obs.coe.int/
16 EuropäischeAudiovisuelle Informationsstelle -audiovisuelle Medien für Kinder in Europa ausgestrahlt wurde. So beträgt der Anteil der Animationsfilmeander Gesamtsendezeit fürFiktionnur 15 %, weit hinter Serien undSoaps (43%)und Spielfilmen(37 %).
Fast dieHälfte(44 %) dervon dengroßen westeuropäischen Sendern ausgestrahltenAnimationist europäischen Ursprungs.ImLanddes Senders produzierte Animationsfilmemachen 15 %des Gesamtvolumens der im europäischen Fernsehen ausgestrahlten Animation aus,weitere 10 % entfallenauf Importe aus anderen europäischen Ländern. Besonders wichtigindiesem Zusammenhang sind europäischeKoproduktionen, die19%der europäischen Animation ausmachen.
DieSchweiz,die Niederlande,Frankreichund Spanienverzeichnenden höchsten Anteil an europäischen ProduktionenamGesamtvolumender im Fernsehen ausgestrahltenAnimation.
17 18 Part 1: Thetheatricalcirculation of Europeanchildren’s films
19 20 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Introduction: objectivesofthe analysis
Theobjective of thisstudy is to analysethe theatrical circulationand performanceofasample of European liveactionand animation filmsfor children. Thoughthe sample aims forextensivecoverage of the children’sfilmsproduced in Europe between 2001 and2010, thecomprehensivenessofthe data cannotbeguaranteed.Pleaserefer to the followingsection foradescriptionofthe data sample underlyingthe analysis and to Appendix1on page 43 fordefinitions and information on the methodologicalapproachapplied.
Theanalysis focusesonthe following four keyquestions:
1. Whichregions in Europe areparticularlyactiveinproducingchildren’sfilms?Are there any differences between regions in termsofpreferences forliveactionoranimationproduction?
2. HowdoEuropean children’s filmstravel ,i.e.onhowmanymarkets dotheyget released on average? What percentageoffilmsgets anon-national release? Canany differences between the career of achildren’sanimationfilm and achildren’sliveactionfilm be identified?
3. HowdoEuropean children’s filmsperform,i.e.how many admissions do theygenerate on average? Do animation or liveactionfilmsperform best?
4. What role do non-national markets play forEuropeanchildren’sfilms, i.e. what is the shareofnon- nationaladmissions to total admissions forthesefilms?Are there noticeable differences between liveactionand animation filmsinthisregard?
The data sample
Thechildren’sfilm data sample used in this report has been created in twodifferent ways.For children’sliveactionfilms, an initialsamplewas drawnupin2009 usinglists suppliedbythe European Children’s Film Association (ECFA)10 andsupplemented with lists offilmspresented at relevant festivalsbythe KIDS Regiosub-groupofCine-Regio 11,the European network of regionalfilm funds. This listwas updated by ECFA /KIDSRegioin2011and further identification of filmswas carried out by theObservatory.For animation films, existingdatainthe Observatory’sLUMIERE databasewas supplemented with theassistanceofCARTOON12,who provided lists ofthe completedanimationtitles presentedatCARTOON Moviesince 1999. Anumber of animationfilms, clearly intended foryoung adultsoradults,wereexcluded from thesample. In relationtoanimationfeatures,itshouldbenoted that theLUMIERE databasecannot claimtobecomprehensiveinits recognitionofthisgenre of film.
Thesampleusedinthisreport comprisesatotalof564 European children’s filmswithcumulative admissions of 311.5 milliontickets sold between 2001and 2010. 227ofthese filmsare animation features,withtotal admissions of justover100 millionand 337 of theseare liveactionworks,witha totalof211 milliontickets sold over the period2001to2010.
Figure1puts thedatasampleinto theoverall perspective of admissions to filmsinEuropebetween 2001and 2010.Duringthisperiod64.4% approximatelyoftotal admissions were to US films. A
10 http://www.ecfaweb.org/ 11 http://www.cine-regio.org/ 12 http://www.cartoon-media.be/
21 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope further 6.1% of admissions were to filmsproduced in Europe usingUSfinance (shownas EURinc here),and filmsfromthe rest of worldaccounted for2.1%oftotal tickets sold.All these types of films areexcluded from the data sample.The remainingadmissions,27.4%,weretoEuropean films. The data sample studiedhereisasub-setofthisgroup.
Figure1:Datasampleinrelationtothe totalmarket volume in termsofadmissions 2001-2010
TotaladmissionsinEurope Breakdownofadmissions to 2010-2010 European films2001-2010
Admissionsto 7.9% EURinc** European feature 6.1% documentaries
80.2% US 64.4% Europe* Admissionsto 27.4% European fictionfilms
Other 2.1% Admissionstosample 11.9% European children'sfilms
*Europereferstofilmsproduced in the37memberstatesofthe European Audiovisual Observatoryfor whichdataonmarkets arecollected. ** EURinc refers to filmsproducedinEuropewithincominginvestmentfrom theUS, e.g. Harry Potter
Source:European AudiovisualObservatory
TheEuropean AudiovisualObservatory estimatesthat the European children’s film data sample used forthisreport represents about 3.2% of total admissions to filmsofall originsoverthe periodand just under 12% of alladmissionsgeneratedbyEuropean filmsbetween 2001 and2010.
22 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Production of European children’sfilms
Within thegiven sample,Germany,with91films, wasthe most prolific producer of children'sfilmsin theperiodstudied. Francetook second placewith66films, followedbythe Denmark(58),Sweden (54),Spain (45) andthe Netherlands (39).SmallerWestern Europeanand Central and Eastern European countriesproduced significantly smallernumbersoffilms specifically forchildren, but this is of course within thecontext of alower general level of production, giventhe smallermarketsizes.
Table1:Liveactionchildren'sfilmsbycountryoforigin2001-2010
Total number Number of Number of of children's ISO children’s children’slive # Country of origin Region films produced code animation actionfilms between2001 films produced produced and2010 1DE GermanyBig5 33 58 91 2 FR France Big5 42 24 66 3DK Denmark Scandinavia 12 46 58 4 SE Sweden Scandinavia 29 25 54 5ES SpainBig5 38 745 6 NL TheNetherlands WesternEurope 2 37 39 7NO NorwayScandinavia 729 36 8 GB UnitedKingdom Big5 5 20 25 9CZ CzechRepublic Central /Eastern Europe 10 14 24 10 FI Finland Scandinavia 7 17 24 11 IT Italy Big5 813 21 12 BE Belgium WesternEurope 4 9 13 13 PL Poland Central /Eastern Europe 5 4 9 14 RU Russian Federation Central /Eastern Europe 6 2 8 15 HU HungaryCentral /Eastern Europe 156 16 AT Austria WesternEurope 5 5 17 CH SwitzerlandWesternEurope 145 18 EE Estonia Central /Eastern Europe 2 2 4 19 IE Ireland WesternEurope 44 20 IS Iceland WesternEurope 1 3 4 21 LU Luxembourg WesternEurope 3 1 4 22 PT Portugal WesternEurope 2 2 4 23 TR Turkey Central /Eastern Europe 4 4 24 LV Latvia Central /Eastern Europe 1 2 3 25 BG Bulgaria Central /Eastern Europe 1 1 2 26 LT Lithuania Central /Eastern Europe 2 2 27 RO Romania Central /Eastern Europe 1 1 2 28 HR Croatia Central /Eastern Europe 1 1 29 SI SloveniaCentral /Eastern Europe 11 TOTAL 227 337 564
Source:European AudiovisualObservatory
Table1illustratesquite clearly thedifferent nationaltrendsinterms of thetypes of production. CountriessuchasFrance, Spainand the Russian Federationshow apreferencefor animation production, whilethe liveactiongenre is preferredinGermany,Denmark,the Netherlands,Italy and
23 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope theUnitedKingdom.Sweden,Estonia,Polandand Portugal show approximatelyequal production levelsinthe twogenres.
Another waytoanalysethe relative importanceofliveactionchildren'sfilmsinaspecific countryisto relate thenumber of liveactionchildren'sfilmsproducedtothe estimatedtotal productionvolumeof featurefiction filmsinthe referenceperiod. This ensuresmorebalanced treatmentofcountrieswith smalloverall production volumes. Measured as apercentageoftotal fictionfilm production, thedata indicatesthat Denmark, Norway andLuxembourg dedicate thehighest shareoftheirtotalproduction activity to producingchildren'sfilms(both animation and liveaction),which account for29% of total productioninDenmark,24% in Norway and20% in Luxembourg.Liveactionchildren'sfilmsalso account forasignificant share(between 19% and10%)inSweden,Finland,the Netherlands,the CzechRepublic,Germany and Latvia.
Figure2:Liveactionchildren'sfilms’ shareoftotalfictionfeatureproduction 2001-2010
91
29%
24% 66
58 19% 20% 18% 54 45 16%
36 11% 39 10%10% 9% 25 24 24 7% 7% 21 5% 6% 4% 4% 4% 4% 3% 3% 3% 8 2% 13 2% 2% 2% 2% 5 4 1% 4 3 44 2 9 2 1 4 6 1 2 5 0 4
DK NO LU SE FI NL CZ DE LV EE IS BE AT ES FR BG GB IE PL PT HU IT HR RO CH RU SK LT SI TR
Percentageshareofchildren’sfilmsinestimated total fiction Number of children’sfilms produced productionactivity2010-2010
Source:European AudiovisualObservatory
Looking at theproduction activity of liveactionchildren'sfilmsfromaregional perspective,the data suggeststhat thebig 5countriesproduceabout 44%ofall children’s filmsand that Scandinavia producesabout 30%. WesternEurope accounts forabout 14%and Central/EasternEurope for12%. Taking into considerationthe total estimatedfictionproduction activity in these regions, Figure3 showsclearly that children's filmsaccount foramuch larger shareoftotalproductionvolumeinthe Scandinavianregions,accountingfor 22% of total fictionproduction, compared to just5%oftotal productionvolumeinthe bigfivemarkets.
24 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Figure3:Children'sfilmproduction by region andas%of totalfictionproduction 2001-2010
Split by region of origin Children’sfilms as a%oftotal fictionproduction estimated 248 22.3% WesternEurope 172 13.8%
44% Big5 66 78 6.8% Scandinavia 30.5% 4.8% 3.2% 11.7% Big5 Central/Eastern Scandinavia WesternEurope Central/Eastern Europe Europe
Totalnumberofchildren's filmsproduced
Percentageshareofchildren’sfilmsin estimatedtotal fiction production activity
Source:European AudiovisualObservatory
25 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Theatrical circulationofEuropean children'sfilms
Theatrical circulationinthe contextofthischapter is measured by theaverage number (mean)of marketsonwhich thedifferent types of filmsare released. Thepropensity of afilm to obtain anon- nationalrelease ,that is thepercentage of filmsineachcategorythat getreleasedinatleastone market other than thedomesticmarket, will be analysed in section 9onthe role of non-national marketsfor Europeanliveactionchildren'sfilms.
Analysis of the datasampleshows that theaverage number of releasemarkets foraEuropean children’sfilm is 3.9 markets (that is arelease on thedomesticmarketplusafurther 2.9 territories). Figure4showsthe averages foreachtypeoffilm.Onaverage Europeanchildren’sanimation films arereleased in atotal of 4.1 European territories,thatisonthe domesticmarketaswellasin3.1 further European markets.Children’sliveactionfilms show aslightlylower figure: on averagetheyare released on 3.7 markets,that is,onthe film’s domesticmarketand in 2.7 other European territories. Both ofthesetypes of film circulate better thanEuropean fictionfilms, whichare released,onaverage, in atotal of 3.1 European markets.
Mean number of releasemarkets Mean number of releasemarkets by region of origin 5.4 4.1 4.7 4.9 3.7 3.1 3.8 3.6 3.0 2.6 2.7 2.3 2.3 2.1 2.0
Children's Children'slive Fiction Big5 Central /Eastern ScandinaviaWesternEurope animation action Europe
Children'sanimation Children'sliveaction Fiction
Figure4:Mean numberofrelease marketsbyfilm typeand region 2001 -2010
Source:European AudiovisualObservatory
Comparingfilmsfromthe different regions, thesampledata showsthat liveactionchildren'sfilms originatinginone of the Big5countriesget released in more countriesthan filmsfromotherregionsin Europe.Liveactionfilms fromthe Big5getreleased on averageon5.4 markets compared to 3.0 releasemarkets forWestern European and 2.6 releasemarkets forScandinavian films. Children’s animationfilmsshow adifferent pattern. Here thefilmswhich circulatemostsuccessfully comefrom WesternEuropean countries,withanaverage of 4.9 European releasemarkets forthesefilms, just ahead of filmsfromthe Big5,which arereleased in 4.7territories on average.Both Western European and Scandinavian children’s animation circulatesbetter that children’s liveactionfilmsfrom thesameregions.
Analysis of the distributionpatternshown in Figure5revealsthat 21.8%ofchildren'sfilmsinthe sample were released on just onemarket. That means that 78.2%ofall samplefilmswerereleased 26 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope on twoormoremarkets.About16.7% of the sample filmswerereleasedontwo markets,12.6% on threeand justover9%onfour markets.4.3%ofthe sample filmswerereleasedin10European territories.
Figure5:PercentageofEuropean live actionchildren'sfilmsbynumberofrelease markets
53.4%
21.8% ms il
ff 16.7% eo 16.2% 12.6% entag
rc 9.2% 9.1%
Pe 7.4% 4.3% 4.3% 1.8% 2.8% 1.3% 2.1% 2.0% 4.4% 0.9%0.0% 1.3% 3.4% 1.2% 1.4% 0.6%0.0% 2.9% 2.5% 1.5% 0.9% 1234567891015202530
Number of releasemarkets Fiction Childrens films
Source:European AudiovisualObservatory
Comparingthispatternwiththe distributionpatternofEuropean fictionfilms, it canbeobservedthata higher percentage of fictionfilmsthan children’s filmsare released on only oneEuropean market: 53.4% of fictionfilms haveasingle releasemarket, compared to 21.8% of children’s films. This means that 46.6% of fictionfilmsare released on 2ormoremarkets.Ataround 8release markets,the patterns forfictionand children’s filmsbecomecloser, with 3.4% of fictionfilmsreleased in 10 markets, compared to 4.3% of children’sfilms.
27 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
PerformanceofEuropean children'sfilms
In thecontext of thisstudy,the comparative performanceofEuropean children'sfilmsismeasured by lookingataverage admissions.Asmean admissions values aresignificantlyinfluenced by filmswith extremelyhighorlow admissions,median values give aclearer view of the ‘average’admissions that aEuropean film actually generates,and arethus preferredhere.
As has beenoutlined in thedescription of the datasample, the 564children’sfilmsstudiedhere generated atotal of 311millionadmissions in the29European countriesstudied.Figure6showsthe regional distributionoftheseadmissions.Almostthree-quartersofthe totalnumber of tickets sold to these filmsweresoldinthe five largeWesternEuropean markets (the Big5). Themid-sized and smallerWesternEuropean markets accounted for11% of admissions to children’sfilms and Scandinavia and Central andEasternEuropefor 9% and 7% of admissions respectively.
Figure6:Admissions andnumberofsamplefilmsreleased by region 2001-2010
Admissions by region Number of filmsonrelease by region
11% 328 9% 304 258 Totaladmissions 7% to children’sfilms 311million 193
73%
Big5 Central/ Scandinavia WesternEurope Big 5 Central/EasternEurope EasternEurope
Scandinavia WesternEurope
Source:European AudiovisualObservatory
Unsurprisingly,the Big5markets also had thehighest number (328) of children’sfilm on releaseover theperiodstudied,closely followedbythe WesternEuropean countrieswith304, partly due the linguisticcharacteristics shared with twoofthe Big5markets,Franceand Germany, by some countriesinthisgroup.The number of filmsonrelease in Scandinavia, wheremarkets arerelatively small, contrasts with thelower figurefor Central and EasternEurope,which includes such large marketsasPoland.
On average –using themedian value-aEuropean children'sfilm generatedcumulativeadmissions of 116 451tickets sold.Medianadmissions forananimation film was92172 tickets sold and foralive action film 130 525admissions.Both medians aresignificantly higherthanthatfor aEuropean fiction film,whosemedian admissions were 38 886.
28 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Examiningmedian admissions by region of origin allows acomparison of the performanceof children’sfilms of different origins. Both animation and liveactionfilmsoriginatinginthe Big5 countriesachieved above-averageresults.Outsidethe Big5only liveactionchildren'sfilmsfrom Scandinavia reached the overallaverage figurefor this film type. Live actionfilms from allregions except Central andEasternEuropescoredhigher median figures thantheir animation counterparts. Central andEasternEurope animation thus achieved abetter median result than children’sliveaction filmsofthe same origin.
Figure7:Median admissions for European children's filmsbyregionoforigin2001-2010
398760
200725
130 525 116 451 130525 92 172 90 559 41 570 38 886 32 151 34 620 47 191 21 336 20 885 11 494
Europe Big5 Central/Eastern ScandinaviaWesternEurope Europe
Allchildren'sfilms Children'sanimation Children's liveaction Fiction
Source:European AudiovisualObservatory
Figure8showsthe distributionpattern of filmsfalling into aspecific admissions bandwidth. Thelargest number of filmsfalls into twocategories: 19.9%ofall filmsattracted between 100000 and250 000 admissions in thetimeperiodcovered, and18.3% generated between 10 000and 50 000admissions.
On acumulative level, one third (33%)ofall children’sfilms in thedatasample, generated less than 50 000admissions in thetimeperiodcovered andthe vast majority (80%)did not top500 000 admissions.Nonetheless, 13% of the filmsgeneratedover1millionadmissions,with40films registeringbetween1and 2millionadmissions and 32 filmsgeneratingmorethan 2million. Three filmsinthisgroup sold more than 10 million tickets across Europe.
29 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Figure8:PercentageofEuropean live actionchildren'sfilmsbyadmissionbandwidths
38.1%
22.8% Percentageoffilmsfallingintoeachadmissionsbandwidth
19.9% 18.7% s 18.3% lm fi 14.7%
of 13.7% 14.0% 12.8%
ge 10.8%
ta 10.1%
en 7.3% rc
Pe 4.7% 4.6% 4.1% 2.3% 1.4% 2.4% 2.2% 1.8% 0.2% 0.4% 1.4% 0.9% 1.4% 0.5% 0.7% 0.2% 0.1% 5000 10 00050000 100000 250000 500000 1.0M 1.5M 2.0M 2.5M 3.0M 5.0M 10.0 M15.0M Fiction Childrens films
Admissionbandwidths
Source:European AudiovisualObservatory
Measuringthe market shareofthe top filmscan also serveasanindicator formarketconcentration. Thetop 20 children’sfilms, i.e. 4% of the total number of films, accounted for46% of total admissions and thetop 50 films, i.e. 9% of the totalnumber of films, accounted for64% of totaladmissions.80% of total admissions were generatedbythe top100 films(18% of the totalnumber of films).
30 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
The mostsuccessful European children's films
Arthuretles Minimoys and Planet 51 were themostsuccessfulanimationfilmsfor childreninterms of admissions,selling 8.7and 5.6 millioncinematickets respectively from releaseuntilend 2010across Europe.Table2showsthe full top25listofEuropeananimationfilmsranked by admissions.French and German filmsaccountedfor 20 filmsout of the top 25, and theremaining five filmsincluded one Spanishfilm,two Belgianand twoScandinaviananimationtitles. Onacumulative basis thetop 25 animationfilms accounted for67% of totaladmissionstothe children’s animation filmsinthe data sample.
Table2:Top 25 European animationfilmsfor children 2001-2010
Prod- Cumulative Number #Film Country of origin uction Director Admissions release year 2001-2010 markets
1Arthur et lesMinimoysFR 2006 Luc Besson 8656 389 27
2 Planet 51 ES /GB 2009 J. Blanco &J.Abad 5608 702 21 Arthur et la vengeancede 3 FR 2009 Luc Besson 4944 345 22 Maltazard Sammy'savonturen: De geheime 4 BE /US 2010 BenStassen 3656 093 17 doorgang 5Astérixetles VikingsFR /DK2006 S. Fjeldmark &J.Moller3636 280 23 T. Rothkirch & 6 Der Kleine Eisbär DE 2001 3635 822 6 P. De Rycker 7Arthur et la guerre des2mondes FR 2010 Luc Besson 3321 930 6 8 Lissiund der WildeKaiser DE 2007 Michael Herbig 3112 749 10
9Niko -lentäjän poika FI /DE/DK /IE2008 M. Hegner &K.Juusonen 2878 456 20 10 TheMagicRoundabout FR /GB 2005 D. Borthwick&J. Duval 2598 293 12 11 Hui BuhDE 2005 Sebastian Niemann 2348 574 4
12 Kirikouetles bêtes sauvages FR 2005 M. Ocelot &B.Galup 2299 429 16 Der Kleine Eisbär 2-Die T. Rothkirch & 13 DE 2005 2080 578 8 geheimnisvolle Insel P. De Rycker 14 DieKonferenz der Tiere DE 2010 H. Tappe &R.Kloos 1947 578 4
15 Azur et AsmarFR /BE/ES/IT2006 Michel Ocelot 1890 472 10 T. Rothkirch & 16 Lauras Stern DE /BG 2004 1873 826 7 P. De Rycker 17 Fly Me to theMoon BE /US2008 BenStassen 1798 900 21
18 Urmel aus demEis DE 2006 H. Tappe &R.Kloos 1532 927 10
19 Felix -Ein Hase auf Weltreise DE /IT2005 G. Lagana&G.M. Lagana 1525 112 5
20 Happily N'Ever After DE 2007 Y. Kaplan &P.Bolger 1471 277 17
21 Les triplettesdeBelleville FR /BE/CA/GB 2002 SylvainChomet 1442 621 22
22 La prophétiedes grenouilles FR 2003 J.R. Girerd 1283 941 13
23 TheUglyDucklingand Me! DK /DE/FR/IE 2006 M. Hegner &K.Kiilerich 1221 339 14
24 Chasseursdedragons FR /LU/DE 2008 F. Hemmen&G. Ivernel 1195 522 18 25 Prinzessin Lillifee DE 2009 A. Simpson&A.Niebuhr 1096 251 7 Total Top25 67 057 406
Source:European AudiovisualObservatory 31 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
In numericterms,Germanfilmsdominate thelistofthe topliveactionfilmsfor childreninthe sample, with atotal of 14 filmsappearing. Only five Frenchfilmsearnaplace, though twoofthem occupy the firstand third places aheadofthe most successfulGermanfilm, 7Zwerge ,infourth place. Four Britishfilms, an Italianand aNorwegian film complete theranking. On acumulativebasis,the top25 liveactionfilmsaccounted for64% of total admissionstothe liveactionfilms in thesample, thus demonstrating aslightly lowerlevel of concentration than foranimation.
Table3:Top 25 European live actionfilmsfor children 2001 -2010
Number Prod- Cumulative Country of of #Film uction Director Admissions origin release year 2001-2010 markets Astérix&Obélix :Mission 1 FR /DE2002 AlainChabat22 010 841 26 Cléopâtre GB /FR/DE / 2 Mr.Bean'sHoliday 2007 Steve Bendelack 15 527 899 27 US FR /DE/ES/ F. Forestier &T. 3Astérixaux jeux olympiques 2008 13 579 449 27 IT Langmann 4 7Zwerge DE 2004 Sven UnterwaldtJr. 7901 072 5
5Nanny McPhee GB /US/FR2005 Kird Jones 7499 166 25
6 Le petit Nicolas FR /BE 2009 Laurent Tirard 6975 910 11
7Pinocchio IT /FR/DE 2002 Roberto Benigni 6720 864 13
8 Wickieund diestarken Männer DE 2009 Michael Herbig 6647 819 6 Nanny McPhee and theBig 9 GB /US/FR2010 Susanna White5679 172 22 Bang 10 Bend It Like Beckham GB /DE 2002 Gurinder Chadha 4803 367 22
11 Oliver TwistFR /CZ/GB 2005 Roman Polanski 4734 928 23 7Zwerge -Der Wald istnicht 12 DE 2006 Sven UnterwaldtJr. 4343 542 5 genug 13 Le Renardetl'enfant FR 2007 Luc Jacquet 3125 773 23
14 DieWilden Kerle4 DE 2007 JoachimMasannek 2773 197 3
15 Nirgendwo in AfrikaDE 2001 CarolineLink2464 343 19
16 Bibi Blocksberg DE 2002 Hermine Huntgeburth 2402 981 3
17 DieWilden Kerle3 DE 2006 JoachimMasannek2400 087 7 Hexe Lilli: Der Dracheund das DE /AT/ES / 18 2009 StefanRuzowitzky 2314 138 11 magische Buch IT 19 Das FliegendeKlassenzimmerDE 2002 Tomy Wigand 2193 132 6
20 Das Sams -Der Film DE 2001 BenVerbong 1967 268 5
21 Emil Und DieDetektive DE 2001 Franziska Buch 1963 651 6
22 DieWilden Kerle5 DE 2008 JoachimMasannek 1952 501 3
23 Werfrüherstirbt,ist länger tot DE 2006 Marcus H. Rosenmüller 1841 965 4
24 Elling NO 2001 PetterNaess 1783 765 15
25 Diewilden Kerle2 DE 2005 JoachimMasannek 1703 563 7
Total Top25 135 310 393
Source:European AudiovisualObservatory
32 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
The role of non-nationalmarkets forthe performanceofEuropean children'sfilms
To what extent do Europeanchildren'sfilmsdepend on atheatrical releaseoutside of theirnational markets? Figure9showsthe overallshare of national and non-nationaladmissions forthe three types of filmsinthe datasample.
Figure9:Comparisonofnationalvs. non-nationaladmissions by film type
AllChildren'sFilms Children'sAnimation Children'sLiveAction Fiction
34% 44% 29% 28%
66% 56% 71% 72%
National admissions Non-national admissions
Source:European AudiovisualObservatory
Fictionfilmsare themostdependent on nationalmarkets fortheirsuccess, with 72% of theirtotal admissions registered in thedomesticmarkets ofthesefilms. Children’sliveactionfilmshavea similarprofile,with71% of tickets to thesefilmsbeing sold in theproducingcountry. Unsurprisingly, animationfilmsare notablylessdependent on theircountryofproduction to generate admissions, registering56% of admissions on thenational market and ahighlevel of 44% of admissions in other European territories.Thisresultgoesintandem with thehigheraverage number of releasemarkets foranimationfilms(4.1 releasemarkets onaverage, as opposed to 3.7 forliveactionfilms).
Figure10overleafshowsthe importanceofnon-national releases forthe three types of filmsinthe sample.Liveactionfilmsfromthe Big5countriesdemonstrated the highestregionalpropensityto non-nationalrelease(83%).Thiswas theonlyregionfor whichliveactionfilms showed ahigher propensitytonon-national releasethanthatofanimation films. In Central and EasternEurope, in Scandinavia andinWesternEurope, children’s animationfilmswereeither more likely or equallylikely to bereleasedinatleastone Europeanterritory outsidethe domesticmarket. As aresult, for European children’s filmsasawhole, animation and liveactionhavesimilarpropensitiestonon- nationalrelease, with 69%ofanimationfilmsand 68% of liveactionfilmsreleased in at leastone non- domesticmarket. European fictionfilms, on thecontrary,show afar lowerpropensitytonon-national release, with just51% of them circulating outsidethe national market. Fictionfilmsfromthe Big5 countriesdoslightlybetter than the European average, with 57% of them released outsidethese markets. Nonethelessthisisclearly inferior to thenon-national releaserates forthe children’s films from these countries, whichachieve non-national releaserates of 71% foranimationand 83%for live action.
33 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Figure10: Percentage of filmswithnon-nationalreleasebyregionoforigin2001 -2010
83%
71% 69% 69% 69% 68% 67% 64%
57% 58% 51% 45% 47% 41% 41%
Europe Big5 Central/Eastern Scandinavia WesternEurope Europe
Children'sanimation Children'sLiveAction Fiction
Source:European AudiovisualObservatory
Comparingfilmsfromthe different regions, it becomes clear thatnon-national admissions arevery important to animation filmsproduced in Scandinaviaand in WesternEuropeancountrieswherenon- nationaladmissions accountfor 70%and an estimated98% respectively.Liveactionchildren'sfilms generally depend more heavilyonsuccess in their home markets, with non-nationaladmissions only accounting for10% and 12% respectively of admissions to liveactionfilmsfromCentral and Eastern Europe andScandinavia.
98%
70%
40% 43% 37% 33% 31% 30% 26%
10% 10% 12%
Big5 Central/Eastern ScandinaviaWesternEurope Europe
Children'sanimation Children'sLive Action Fiction
Figure11: Shareofnon-nationaladmissions by region of origin 2001-2010
Note Theshareofnon-national admissions forWestern European animationfilms is estimated.
Source:European AudiovisualObservatory
34 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Whichfilmswereparticularlysuccessful outsideoftheirnationalmarkets?Table 4shows the15 animationfilmswhich generatedthe highestnumber of non-national admissions in thereference period.
Table4:European children’s animationfilmswithhighest non-nationaladmissions 2001-2010
Cumulative %share Number Produc- Country of non- non- of non- #Film tion origin Director national national national year admissions admiss- release 2001-2010 ons markets 1Arthur et lesMinimoysFR 2006 Luc Besson 4598 767 53% 26 J. Blanco & 2 Planet 51 ES /GB 2009 3766 508 67% 20 J. Abad Sammy'savonturen: De 3 BE /US2010 BenStassen 3701 172 96% est .17 geheimedoorgang* FI /DE/DK / M. Hegner & 4 Niko -lentäjän poika 2008 2645 173 92% 19 IE K. Juusonen S. Fjeldmark & 5Astérixetles VikingsFR /DK2006 2271 614 62% 22 J. Moller 6 Fly Me to theMoon BE /US 2008 BenStassen 1740 362 97% 20
7TheMagicRoundaboutFR /GB2005 D. Borthwick1692 629 65% 11 Arthur et la vengeancede 8 FR 2009 Luc Besson 1607 149 33% 21 Maltazard Y. Kaplan & 9Happily N'Ever AfterDE 2007 1431 924 97% 16 P. Bolger DK /DE/FR/ M. Hegner & 10 TheUglyDucklingand Me! 2006 1113 045 91% 13 IE K. Kiilerich T. Rothkirch & 11 Der Kleine Eisbär DE 2001 893 031 25% 5 P. De Rycker H. Tappe & 12 Urmel aus demEis DE 2006 851 639 56% 9 R. Kloos Pettsonoch Findus 3: SE /DK/GB / J. Lerdam& 13 2005 828715 78% 8 Tomtemaskinen HU A. Sorensen 14 Lissiund der WildeKaiser DE 2007 Michael Herbig 825 795 27% 9
15 Disco ormene DK /DE2008 T.B. Nielsen739 845 82% 8
*3D animation.Nodataonadmissions in thenational market,Belgium,isavailable, butthe ratioofnational to non-national admissionshas been estimatedonthe basisofdatafor acomparablefilm, FlyMetothe Moon,also3Danimation.
Source:European AudiovisualObservatory
35 European AudiovisualObservatory –Audiovisual Mediafor ChildreninEurope
Table5:European children's liveactionfilmswithhighest non-nationaladmissions 2001-2010
Cumulative %share Number Prod- Country of non- non- of non- #Film uction origin Director national national national year admissions admissi release 2001-2010 ons markets GB /FR/DE / 1Mr.Bean'sHoliday 2007 Steve Bendelack11 149 873 72% 26 US Astérix&Obélix :Mission 2 FR /DE 2002 AlainChabat 8053 768 37% 25 Cléopâtre FR /DE/ES/ F. Forestier&T. 3Astérixaux jeux olympiques 2008 7209 725 53% 26 IT Langmann 4 Nanny McPhee GB /US/FR 2005 Kirk Jones 3975 333 53% 24
5Oliver TwistFR /CZ/GB 2005 Roman Polanski 3433 868 73% 22 Nanny McPhee and theBig 6 GB /US/FR 2010 Susanna White 2849 491 50% 21 Bang 7Bend It Like BeckhamGB /DE2002 Gurinder Chadha2414 896 50% 21 Wickieund diestarken 8 DE 2009 Michael Herbig 1726 030 26% 5 Männer 9Le petit NicolasFR /BE2009 Laurent Tirard1603 519 23% 10
10 Le Renardetl'enfant FR 2007 Luc Jacquet 1343 211 43% 22 Sven Unterwaldt 11 7Zwerge DE 2004 1127 490 14% 4 Jr. Hexe Lilli: Der Dracheund DE /AT/ES / Stefan 12 2009 1068 274 46% 10 das magische Buch IT Ruzowitzky 13 Elling NO 2001 PetterNaess 1026 534 58% 14
14 Nirgendwo in Afrika DE 2001 CarolineLink 811 743 33% 18 7Zwerge -Der Wald istnicht Sven Unterwaldt 15 DE 2006 763 558 18% 4 genug Jr.
Source:European AudiovisualObservatory
36 Part 2: Television for children
37 38 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
TV channels forchildren: theEuropean landscape
Televisionfor childrenhas beenanareaofstronggrowthinEuropeoverthe last10years and oneof themoststrikingillustrationsofthisdynamismisthe multiplicationofchannels specifically dedicatedto children. Youngviewers,eventhose whoseaccess is limited to free channels, havemoreand more choices, not only in termsoftelevisionchannels butincreasinglyalsointerms of when andhow to view televisioncontent.
Themultiplication of televisionservicesoverthe last 20 yearshas beenunderpinnedbothby technologicaladvances(digitaltechnology,increased capacityonEuropean satellitesystems,advent of IPTV,…)but also by changes in theregulatory environment. Figure12provides agraphic illustrationofthe expansion in offer, taking as itsstartingpoint research by BritishconsultancyScreen Digest. In 1990Screen Digestanalysts estimated thenumber of televisionchannels in Europe at around103 andten yearslater thesamesource estimatedthe European totalat849.Bythe endof 2010, usingthe MAVISE database,the EuropeanAudiovisualObservatory countedatotalof4,731 nationaland internationalchannels availablein29European countries.
Figure12: Numberoftelevisionchannels by genreinEurope 1990 -2010
Estimated
4731
849
103
Channelgenre 1990 2000 2010 General 75 210 455 Sport 0 68 549 Film 7 120 422 Music 3 56 309 Children's 1 64 275 Other 17 331 2721 Total 103 849 4731
Note Datafor 1990 and 2000 does not include smalllocal channels.2010datacoverschannelsavailablein29Europeancountries and includes extra-European channels availableinEurope. It excludes regional and localchannels. Coherencyof measurement methodology between thetwo series cannot be gauranteed, hence dataisestimated.
Sources: 1990and 2000 –Screen Digest, 2010 –MAVISE database/European AudiovisualObservatory.
Thoughthe number of generalistchannels grew strongly,one of the more notabletrendsoverthe period1990to2000 wasthe emergence of amultiplicityofniche or thematicchannels. Among these, 39 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope certainchannel genresprovedmorepopularthanothers.Thiswas the case particularlyfor film channels, with approximately 113additionalchannelsofthistypeestablishedinthe period between 1990and 2000.Though no dedicatedsports channelswereregisteredin1990, thistypeofchannel multiplied rapidlyoverthe followingyears. By 2000 atotalof68channelsinthisgenrewereavailable. Channelsfor children multiplied at an equivalent rate,withanadditional 63 channelsavailable in 2000 compared to 1990.
In the decadewhich followed, thefilm and sportgenresmaintained their popularity, with thenumber of channelsofthesetwo typesgoing from 188 in 2000 to 971 at theend of 2010. Once again,channels forchildrenwerealsopopular,with275 dedicated channels availableatthe endof2010,compared to 64 in 2000, anet gain of 211channels.
The2010 channel data showninFigure12isbased on thechannels available in Europe,thatis, the number of channelswhich canbeseenbyviewers in Europe,providedtheyhavesuitable equipment and/orsubscriptions.Figure13below illustratesthe patternofavailabilityofchannels forchildren across Europe andshows thatthere arelarge differences in thenumber of channelsavailableto youngviewers depending on theirgeographicallocation.
Figure13: Numberofchildren’schannels available percountry
Number of children’s channels available
More than 30 More than 20 More than 10 Less than 10 Notanalysed
Note As of December 2010
Source:MAVISE database/EuropeanAudiovisual Observatory
With 45different children’schannels available ,the Flemish-speaking Community of Belgiumhas the the largestofferinthischannelgenre. Poland,Estonia, Franceand Lithuaniaall have over 30 channelsfor children available. TheUnitedKingdom, Spain, theNetherlands,Italy,Germany and a number of smallerWestern European markets allhavebetween 20 and 30 channelsavailable for younger viewers. TwoScandinaviancountries,Denmarkand Sweden, areamong thesmallergroup of countrieswithlessthan10channels available.
Channelsavailable in thesecountriesinclude both European channelsand extra-European channels accessibletoviewers in Europeancountries.However,another approachtochannelsupply is to look 40 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope at the number of channelswhich areestablished in European countriesand whichare specifically for children. Thesechannels maytarget countriesotherthan theircountriesofestablishment. Figure 14 showsthe number of children’schannelsestablished in each of thefivelarge WesternEuropean markets. TheUnited Kingdom standsout in termsofthe number of thistypeofchannelestablished there,with136 different children’s channelslicensed. This reflects the fact thatnumerous pan- European channelsare licensed in Britainand that eachlinguistic versionofthesechannels is countedhereasaseparatechannel.
Figure14: Numberofchildren’schannels established in majorterritories
136 21
14 23
14 Note As of September 2011 Linguisticversionsofchannelsare considered as distinctchannels.
Source:MAVISE database/EuropeanAudiovisual Observatory
Thereare currentlythree broad categories of children’schannel availableintelevisionhouseholds in theEuropean Union. Theseare:
1. National televisionchannels; 2. Foreignnationaltelevisionchannels; 3. Pan-European children’s televisionchannels.
1. National televisionchannels forchildren
Most European Unioncountrieshaveanationallyestablishedchannelwhich targets children. Exceptions to this rule include some of the smallertelevisionmarkets such as Estonia,Slovenia, Slovakia,Malta,Latvia, Lithuania andHungary. Fewniche channelsare establishedinthese countries giventhe lackofpotentialrevenues andthe absence of the resourcesnecessary to support them.An exception to this rule is Cyprus,wherethere is onenational privatechildren’schannel, CapitalJunior. Larger countrieshavemultiplechildren’schannels,including tenchannels in Italy,eight in Franceand four in Germanyand Spain. Among the smallercountries,Belgium benefitsfromsix nationalchildren’s
41 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope channels. Table6lists theprinciple national television channels forchildrenestablished in EU countries–most of theseare establishedbyprivate ratherthanpublic broadcasters.
Table6:Nationaltelevision channels forchildren
Country PublicChildren’s Channels PrivateChildren’s Channels
AustriaSuper RTLÖsterreich(window of German channel)
Belgium Ketnet,LaTrois Club RTL, Studio100 TV,VTMkzoom,VTMkzoom+
Bulgaria Super 7, DKTE (Ekids)
Cyprus Capital Junior
CzechRepublic CS Mini,Minimax
Denmark Ramasjang
Finland SubJuniori Gulli (a jointventurebetween public and Berbère Jeunesse,Canal J, Mangas,Piwi, Télétoon, France privateTV) Tiji,Boing (France) GermanyKIKA Junior,Loko, Super RTL BoingTV, Cooltoon, DeaKids,FastGame, Fast Kids, Italy RAIGulp, RAIYoyo Frisbee, Hiro,K2 Netherlands 101 TV,Zappelin 4PebbleTV
Poland Mini Mini,ZigZap
Portugal Canal Panda, Panda Biggs TV,SIC K, TVCHD
Romania Boom Hop,BoomSmarty!
SpainClan TVEBoing(Spain),Canal Infancia,Pocoyo
Sweden SVTB
UnitedKingdomCBBC Cartoonito,CITV, Kix, Pop!,Popgirl
Note As of December 2010.Thislistdoes not include channels targetting babies and children under6,suchasBaby TV,Baby First, Bebe TV,Cbeebies, etc.
Source:MAVISE database/EuropeanAudiovisual Observatory
2. Foreignnationalchannels
In most countries, non-national channelstargettingchildrenare available. Examples includethe availability of the German children’schannelsinAustria andthe Britishchildren’schannels in Ireland (easilyexported duetothe shared languages).Two of the German children’s channels, in particular thepublicchannelKIKAand theprivate channelSuper RTL, areavailable in awiderange of European countries, though possibly onlyonalimited number of platforms.Anumber of channels whichare notbased in theEuropeanUnion,suchasthe Al JazeeraChildren’schannel(Qatar), are also quitewidelyavailable.
42 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Table7:Foreignnationalchildren’schannels
Country Channel Also available in
CzechRepublic MinimaxSlovak Republic,Romania, Hungary (versions in Romanian and Hungarian)
France Canal J BelgiumFlemish and French-SpeakingCommunities,Luxembourg
Gulli BelgiumFlemish and French-SpeakingCommunities,Luxembourg
Mangas BelgiumFlemish and French-SpeakingCommunities,Luxembourg
Tiji BelgiumFlemish and French-SpeakingCommunities,Luxembourg, Slovenia Télétoon BelgiumFlemish and French-Speakingcommunities
Austria, BelgiumFlemish-SpeakingCommunity,Bulgaria,Czech Republic,Denmark, GermanyKIKA Estonia, France, Hungary, Lithuania, Luxembourg, Netherlands,SlovakRepublic, Slovenia
Junior Austria, Luxembourg
Austria, BelgiumFlemish-SpeakingCommunity,Bulgaria,Czech Republic,Denmark, Super RTL Estonia, Finland, France, Hungary, Latvia, Lithuania, Luxembourg, Netherlands, Poland, Romania, Slovak Republic,Slovenia, Belgium(French-speaking Community), Belgium(Flemish-speakingCommunity), Italy RAIGulp Luxembourg, Poland Sweden SVBT Finland
UnitedKingdom CBBC BelgiumFlemish and French-SpeakingCommunities,Ireland, Netherlands
TinyPop CzechRepublic Cartoonito, CITV,Pop!, Ireland PopGirl,Kix
Source:MAVISE database/EuropeanAudiovisual Observatory
3. Pan-European children’s channels
Thoughanumber of European children’s channels areavailable in more than oneEuropeancountry (asillustratedinTable7), theonlytruly pan-European channelsfor childreninthe European Unionare those ownedbyUScompanies and arethus private. Thesecompanieshavesubsidiaries in theEU from wherethey license their channels,generally in theUnitedKingdom (manyofthe linguistic versions),the Netherlands (including Nordic language versions), theCzech Republic (manylinguistic versionsfor Centraland EasternEurope), France, Germany, Italy andSpain.These areall availablein awidevariety of linguistic versions.Table8overleaf givesanoverviewofthe companies,their channels, andthe countrieswheretheyare available.
43 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Table8:Pan-European children’schannels
Channels (availablein Company different linguistic Oneormorechannelsavailable in: versions) Liberty Global Austria, Belgium, Bulgaria,Cyprus,Czech Republic,Greece, Hungary, JimJam,Minimax (and via Italy,Netherlands,Poland, Portugal,Romania, Slovenia Chellomedia) Belgium, Cyprus,UK, France,Germany,Greece, Hungary, Poland, NBC Universal Kidsco Portugal,Romania, Slovenia, Spain
Disney Channel,Disney Austria, Belgium, Bulgaria,Cyprus,Czech Republic,Denmark, TheWalt Cinemagic, Disney Travel, Estonia, Finland, France, Germany,Greece, Hungary,Ireland, Italy, Disney Disney XD,PlayhouseDisney, Latvia, Lithuania, Luxembourg, Malta, Netherlands,Poland, Portugal, Company Toon Disney Romania, Slovakia,Slovenia, Spain, Sweden,UnitedKingdom.
Time Warner Austria, Belgium, Bulgaria,Cyprus,Czech Republic,Denmark, Boomerang, Cartoon Network, Estonia, Finland, France, Germany,Greece, Hungary,Ireland, Italy, Cartoon Network Too, (via Turner Latvia, Lithuania, Luxembourg, Malta, Netherlands,Poland, Portugal, Cartoonito Entertainment Romania, Slovak Republic,Slovenia, Spain, Sweden,UnitedKingdom Networks)
ViacomINC Austria, Belgium, CzechRepublic, Denmark,Estonia, Finland, France, Nickelodeon,Nickelodeon HD, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, (via MTV Nick,NickJr, Nick Hits, Luxembourg, Malta, Netherlands, Poland, Portugal,Romania, Networksand Nicktoons,NickReplay, Nickelodeon UK) Slovenia, Spain, Sweden and theUnitedKingdom.
Note As of December 2010
Source:MAVISE database/EuropeanAudiovisual Observatory
44 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Animation on European TV
Animation is consistentlyamong the most popular programming both on children’s channelsand in children’ssegments on generalistchannels. Forexample,data from the Médiamétrie –Eurodata TV Kids TV Report 13 forthe periodJulytoDecember 2010showedthat animation programmes were the most popular among the4to 14year-old agegroups in four outofthe five largeEuropeanmarkets. Forthe periodthatfollowed(January to June 2011)animationreigned unchallengedasthe most popular programme in allfiveofthe majormarkets.
Thoughubiquitous US series such as TheSimpsons and SpongeBob Squarepants areamong those popular programmes, they arenot alone: European and Japaneseanimation series arethe most popular programmesfor children andyoungpeopleintwo outofthe five countriescovered by the Eurodata TV survey.Given these nationaldifferences,thischapter takes abroader look at theorigin and volume of animationbroadcastonagroup of 137 channelsin15different Europeancountries.
About the data
Data on thenumber of animationbroadcasts andthe hourly volume of animation programmed is provided by Infomedia/RoviInternationalSolutions,asupplierofTVlistingsdata servingall of Europe.The sample of channelsanalysed,drawn up in collaboration with theEuropean Audiovisual Observatory, hasbeenchosen to providearepresentativeviewofeachofthe fifteen Western European markets included. Generalistchannelswithchildren’ssegments arewellcovered, with 47 public servicechannelsand 40 majorcommercialchannelsincludedinthe sample,but not allthe dedicated children’s channels availableinthe countriesstudiedare included.
Themainfocus of thedata is on the programmingoffiction on the137 channelstracked. This fiction offering has been splitintofivedifferent categories:1)featurefilms; 2) TV films; 3) shortfilms;4) series and soapsand 5) animation. It should be notedthat animated featurefilmsare included in the category ‘featurefilms’, ratherthanunder ‘animation’ and that theshort film category maycontain some animation.
Thedata studiedinthissectioncoversthe year 2009 but, giventhe relative stabilityovertimeboth in thevolumeofanimationprogrammedonthe sample channelsand in theoriginofthat animation, but is nonethelessalmostcertainly still representative of animationprogramming on Europeantelevision at thetimeofwriting.
13 http://www.mediametrie.com/eurodatatv/
45 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Figure15: Shareofanimationinfictionofall originsbroadcast in Europe 2009
In %oftotal hourly volume of fiction Shortfilms (0.3%) TV Films
Animation 5% 15% Series andsoaps 43%
37%
Featurefilms
Note Covers15Europeancountries and137 different television channels
Source:European AudiovisualObservatoryafter Infomedia
Animation represents arelativelysmall segment of the totalfictionofall originsbroadcastonthemajor WesternEuropean televisionchannelscovered in thesample. Series andsoaps account foralmost half(43%)ofthe total hourly volumeoffictiontransmittedand featurefilms(whichincludesanimated features)account forafurther 37%. At 15% the shareofanimation(generally animated series)is relatively modestcompared to thesetwo leadinggenres.Animation’s shareofthe volume of European fictionbroadcastissomewhathigher,at17%,and this is partlyatthe expense of feature filmsand series and soaps, whichaccountfor 35% and 41%respectively of the total of European fictionbroadcast.
Figure16: Origin of animationbroadcast in Europe 2009
In %oftotal hourly volume of animationbroadcast
Others Domestic production
14% 15% Other European 10%
41% 19%
US & European non-European co-productions co-productions Note Covers15Europeancountries and137 different television channels
Source:European AudiovisualObservatoryafter Infomedia
Figure16illustrates theoriginofthe animationbroadcast on the channelsinthe sample.Though animationsourcedfromthe United States or co-financed/co-producedbynon-Europeancountries accounts forover40% of the volume of animationbroadcast, European animation is in fact more present on European television, accountingfor atotal of 44% of animationhoursbroadcastin2009.
46 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
This totalfor Europeananimationsplitsintothe followingelements.Firstly,domesticallyproduced animationscreened on thenationalpublic andprivate channels–this accounts for15% of the total. Secondly,animationimported by national channelsfromotherEuropean countriesamounts to 10% of the hourly volume,and lastly, animation produced as European co-productions is akey component, accounting for19% of the overalltotal. The‘other’segment hereincludes in particularJapanese anime,apopularelement of animationprogramming foryounger viewersoncertainEuropean channels, notablyinFrance.
Figure17: ShareofEuropean animationbycountryin2009
In %oftotal hourly volume of animationbroadcast
91% 83%
64% 62% 59% 56% 51% 50% 44% 44% 42% 39% 39% 38% 34%
) ) d e n ia r k d d h y ds c ai tr a ay n s an en al an n n s m w l an l a It UK rl la ra Sp n r n e r ench mi rm ed r F e o Ir l e ze e Au N Fi F F Ge Sw it th D e m( Sw N m( lgiu lgiu e e B B Source:European AudiovisualObservatoryafter Infomedia
European televisionchannels accord varyingimportancetoEuropean animation in theirprogramming. During 2009 theSwiss channels coveredinthe studysample(SF1, TSI1and TSR1)programmeda relatively lowvolumeofanimation,but this wasalmostexclusivelyofEuropean origin.Dutch, French and Spanishchannels also integratedsubstantial proportions of Europeananimation in their programming. At theotherend of the spectrum,the channelscovered in Sweden, Italyand theUnited Kingdomaccorded relatively lessimportancetoEuropean animation. This is partlyinfluenced by the choice of channels–forexample theSwedish channelscovered do not include the dedicatedpublic servicechildren’schannel. In contrastthe UK sample includes anumber of dedicated animation channels, such as CartoonNetworkand Nickelodeon, whoseprogramming is principallynon- European in origin.For example78% of the animation programmedonNickelodeoncomes from non- European sources. In contrast,91% of the animationprogrammedonBBC channel,Cbeebies,isof European origin,principally domestic. Nonetheless, thesheer volume of animationprogrammedby channelssuchasCartoonNetwork and Disney XD means that theoverall figurefor the United Kingdomisthe lowest in thesample.
Therelativeimportanceofdomesticanimationproductionintelevisionschedules is illustratedin Table9.The Spanish channelscovered didnot importany animation at allfromotherEuropean countries, preferring to concentrate on domesticproduction andsupplementing this with animation
47 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope imported from theUSand Japan.Italian channelsalsogenerally preferreddomesticallyproduced animationoverimports from other European countries(despite programmingsmall amounts of Spanish, Frenchand German-origin animation). Nonetheless, these channels weightedtheir overall mixheavily in favour of US and Japaneseproductions.
Table9:Importance of domestic animationproduction
Domestic animationasa shareofEuropean Domestic animation as a # Channels in … animation shareofall animation 1Spain 100% 62% 2 Italy 76% 29% 3France51% 33% 4 Switzerland 46% 42% 5UK28% 10% 6 Denmark 26% 15% 7Netherlands22% 19% 8 German 18% 7% 9Belgium(Flemish) 15%6% 10 Ireland 12% 5%
Note Domesticanimation excludes European co-productions,which maybeconsidered as domestic in more than one European country. Not allcountries covered in thesampleare shown.
Source:European AudiovisualObservatoryafter Infomedia
TheGermanchannels coveredinthissamplehad thethird highestoverall totalvolumeofanimation programming, after the United Kingdom and France. Despitethis, theproportion of domestic animationprogrammedwas relatively low, representing 18% of total European animation programmed, and just7%ofall animation.Two smallermarkets,the Flemish-speakingCommunity of Belgiumand Ireland,alsoprogrammedlow volumesofnationally-producedanimation,though in both casesthe exclusionofEuropean co-productions has an impactontheoverall percentage.
*******
48 Appendices
49 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
50 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Appendix1:European live actionand animationfilmsfor children –methodologyand definitions
As has been stated, theobjective of this study is to analyse theorigin, theatrical circulation and performance of a representativesample of European children’s filmsand to comparethe relativeperformanceofliveactionand animationfilms within thesample. This analysisisrendered possible by theestablishmentofasetof methodologicalparameters. To allow thereader to understandthe methodology appliedand thedatapopulation used in theanalysis, themajor parametersusedindesigning thestudy aredescribedinthe following paragraphs.
What is a‘children’s’film’?
Thereisnouniversally accepted and consistent definition of a‘children’s film’whichcould be appliedacross Europe. Hence, thedefinition of ‘children’s film’usedinthe contextofthisreportisthat implied by thesample population whichaimstocover featurelengthfilms,either liveactionoranimation,madefor children up to 12 years. As ageneral rule,the filmsincludedhavereceivedanage recommendation no higher than 12 yearsfrom theGermanFSK ( Freiwillige Selbstkontrolle derFilmwirtschaftGmbH ). However, not all filmsinthe sample have received an FSK rating andsomemay havereceived alocal rating higher than 12 yearsinother countries.
Europeanliveaction vs. animation filmsvs. fiction films?
Liveactionfilms aredefinedasfilms featuringliveactingbyactorsand animated filmsthose principally composed of sequences made usingany kind of animationtechnique (cell,CGI,claymation,puppet animation, etc...).Films includingbothliveaction as well as animation, such as HuiBuh or Arthur et les Minimoys, havebeen included in theanimationcategorywhereitisconsidered that theanimation element prevails.Fiction filmsare dramafeature filmsother than filmsappearing in thechildren’s film data sample andexcluding, of course,feature documentaries.All thefilms studiedinPart1ofthis reportare considered as of Europeanorigin by the EuropeanAudiovisual Observatory.
What is thetimeperiod covered?
When analysing thecirculation of filmsitiscrucial to captureasmuchofafilm’s theatrical life cycle as possible. In order to do so thestudy looksatcumulativeadmissions forthe sample filmsbetween 2001 and2010.Films releasedin2010 will thereforehaveonly part of theirentirecareer included.
Wheredoesthe datacomefrom?
Thechildren’s film data sample usedinthisreporthas beencreated in twodifferent ways.For children’s live action films, an initialsamplewas drawnupin2009using lists supplied by theEuropeanChildren’s Film Association (ECFA)and supplementedwithlists of filmspresented at relevant festivalsbythe KIDS Regio sub- group of Cine-Regio, theEuropean networkofregional film funds.This listwas updatedbyECFA/KIDS Regio in 2011 andfurther identification of filmswas carried out by theObservatory.For animation films, existing datain theObservatory’s LUMIERE database wassupplemented with theassistanceofCARTOON,who provided listsof completed animationtitlespresented at CARTOON Moviesince 1999. A number of animation films, clearly intended foryoungadultsoradults, were excluded from thesample. In relation to animation films, it should be noted that theLUMIERE databasecannot claimtobeentirely comprehensiveinits recognitionofanimation films.
Thedataonfilm admissions whichisusedtostudy thecirculation andperformanceofthe filmsinthe sample comesfromthe European AudiovisualObservatory’s LUMIERE database.Dataonfilmadmissionscollated in the LUMIEREdatabasecomes from awide varietyofsources, includingnational film agencies and statistics offices, inter-industry bodies,distributors’ andexhibitors’ associations,the tradepress and asmall number of private
51 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope tracking bodies.This is supplemented and completedbydatafromthe European Union’sMEDIA Programme,on thebasis of declarations made by distributors to itsAutomatic DistributionSupportscheme.
Which marketsare covered by theLUMIERE database?
Though theLUMIERE database aims to cover37different European markets, in practice coverage ratesvary across individual territories.The overall coverage of thedatabasefor thereferenceperiodisestimated at around 86%ofthe totalEuropeanmarketinthe sample period.
A point to note concerns thedataavailableinthe databasefor theUnited Kingdom and theRepublic of Ireland. Admissions datafor thesetwo countries areavailable to theObservatory only on acumulative basis, i.e. the admissionsfor an individual film coverthe tickets sold both in theUK andinIreland. On theother hand, the databasedoesdistinguish between filmsoriginating in theUnited Kingdom and filmsoriginating in theRepublicof Ireland, even if it is notpossible to split admissions resultsfor thesetitlesintoUK and Irishadmissions respectively.Thisapproach results, forcertain calculations,inaminorbias that is without invalidating consequences forthe analysisasawhole. It should also be noted that 2010 data is still provisionalfor anumber of countries as some information,e.g.fullresultsfor Spain as well as distributordeclarations to theMEDIA programme,isstill missingatthe time of writing.Thismeansthatthe coverage for2010 is slightly less comprehensivethanthatfor earlier years.
Howisafilmallocated to its‘country of origin’?
Each film is allocated aunique countryoforiginwithin theLUMIERE database.This countryoforigincorresponds to thecountry of theproducer(s)ofthe film.Inthe case of productions involving producersfrommorethanone country, thefilmisassignedtothe countrywhichprovidesthe majorityshareofproductionfinancing.
Howis‘circulation’measured?
Circulationinthe contextofthis study is measured by theaverage numberofterritories in whichthe different types of filmsare released.Another indicator forcirculation is thepropensity to travel,i.e.the percentage of films obtainingarelease outside of their domestic (national) markets.
Howis‘performance’ measured?
Theperformance of liveactionchildren’s filmsinthe contextofthis study is measured by their average admissions, on their national andnon-national marketsaswellasonatotallevel.
What are‘admissions’?
Admissions aredefined as thenumber of tickets sold.
Howis‘average’ defined?
In the contextofthisstudy an average value canbeexpressed eitherasthe ‘mean’ or the‘median’ value.Itwill be pointed outateachoccurrenceinthe text to whichofthe twoterms theword‘average’ refers.The mean refers to thearithmeticaltotal of all thevaluesinthe arraydividedbythe number of values.The median is found by arranging thevalues in orderand selecting themiddlevalue.
Howare ‘national’ and‘non-national’markets defined?
Nationaladmissionsare definedasadmissions in thecountryoforiginofthe film.All othermarkets –including other co-producing countries –are considered as non-national markets. For example Italy is considered the national market for Pinocchio, an Italian, Frenchand German co-production. Thereleases in France and Germany arecounted as non-national releases.
52 European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Howare theregions defined?
Severalindicatorsare also analysedbyregionsoforigin. In thecontext of this studythe following four regionsare defined:
... Big5:
France, Germany,Italy,Spainand theUnitedKingdom;
... WesternEurope:
Austria, Belgium, Ireland, Iceland, Ireland, Luxemburg, theNetherlands, Portugaland Switzerland;
... Scandinavia:
Denmark, Finland, Norway and Sweden;
... Central/Eastern Europe (CEE):
Bulgaria, Croatia, CzechRepublic,Estonia, Latvia, Hungary, Poland,Romania, theRussian Federation,Slovakia, Slovenia and Turkey.
Understanding thedatasample
As has been outlined, thecirculationofEuropean children's filmsisanalysedhereonthe basis of adatasample drawnupbythe European Audiovisual Observatorywiththe assistance of anumber of external sources, and on thecorrespondingadmissionsdatadrawn from theObservatory’s LUMIERE database.
Which filmsare takenintoconsideration?
Thesample used in this report comprisesatotalof564 European children’s filmswithcumulative admissionsof 311.5million ticketssold between 2000and 2010. 227 of thesefilms areanimatedfeatures,withtotal admissions of justover100 million and337 of theseare live action works, with atotal of 211million ticketssoldoverthe period 2000 to 2010.
53 Appendix2:Major European children’schannels in termsofdistribution
Nb of Country (2) (1) MediaGroup/Groups Broadcasting company Channel chan- Statute Distribution nels (2) VRT-De VlaamseRadio- En Ketnet /Canvas,Ketnet/Canvas HD, BelgiumVRT 6Public BE,LU, NL Televiseomroep Ketnet+/Canvas+
Č eskoslovenská filmová CS Mini 1 Private CZ,SK spole č nost,s.r.o. Czech LibertyGlobal Chello Central Europe, S.R.O. Minimax(3) 3 Private CZ,HU, RO Republic Viacom INC MTVNetworkss.r.o. Nickelodeon (2) 2 Private CZ,PL, SK TheWaltDisney Company JetixEurope ChannelsB.V. Disney Channel (7) 7 BG,CZ, HU, RO,RU, SK,SI ARDKIKA KIKA 1Public AT,BG, CZ,DE, DK,EE, FR,HU, LT,LU, SK
EM TV Merchandising& Junior TV GmbH Junior 1PrivateAT, DE,LU Aktiengesellschaft
RTLGroup/ Walt Disney Super RTLDisney Fernsehen Super RTL(windowsinSuper RTL AT,BG, CH,CZ, DE,DK, EE,FI, FR,HU, LT,LU, 3Private Company GmbH Österreich, Super RTLSchweiz) SK
Sony PicturesTelevision Sony PicturesTelevision Animax Deutschland 1PrivateAT, DE Germany International International Deutschland GmbH
RTVD Video- und Detski Mir1PrivateBG, DE,EE, FR,LT, LV,RU Filmproduktions GmbH Nickelodeon,Nicktoons,Nick(Austria), Viacom INCMTVNetworksDEGmbH 4PrivateAT, DE Nick junior PlayhouseDisney DE,Disney Channel TheWaltDisney Company TheWaltDisney Company 4PrivateAT, DE DE,Disney XD,Toon Disney
TheWaltDisney Company Iberia Disney Channel España, Disney Channel Spain TheWaltDisney Company 4 Private ES,PT S.L. Portugal,Disney XD,PlayhouseDisney Groupe Canal+SAGroupe Canal+SAPiwi,Télétoon (2) 3PrivateBE, FR,Africa, Madagascar GROUPE AB SA AB SAustria Mangas 1PrivateFR, LU Lagardère CANALJ Canal J, Tiji2PrivateFR, LU France Lagardère/ France JEUNESSETVGulli FR RU 2MixedFR, LU,LV Televisions TheWaltDisney Company Disney XD France, Disney Channel TheWaltDisney Company 2PrivateBE, FR FranceSA France, PlayhouseDisney France European AudiovisualObservatory-AudiovisualMedia forChildreninEurope
Nb of Country (2) (1) MediaGroup/Groups Broadcasting company Channel chan- Statute Distribution nels (2) Mediaset S.P.A./Time BOING S.P.A. BoingTV 1 Private GB,IE, PL WarnerINC RAI RAI-Radiotelevisione Italiana SP RAIGulp, RAIYoyo 2 Public DE,ES, FR,GB, HU, PT,SI,TR TurnerEntertainment Networks Time WarnerINC Boomerang Italia,Cartoon Network Italia 2 Private GB,IE, CZ, Italy International Ltd AT,BE, BG,CY, CZ,DE, GR,HR, HU, IT,LT, LV, Viacom INC Viacom NetworksItalia Nickelodeon Italia,NickJunior Italia 2 Private MT,NL, PL,PT, RO,RU, SI,SK, TR, Disney Channel Italia,Disney Channel TheWaltDisney Company Italia BE,CY, DE,ES, FR,GR, HR, HU,LT, LU,MT, PL, TheWaltDisney Company Mobile Italia,Disney in English, Toon 5 Private SPA PT,RO,RU, SI,SK, TR Disney Italia,PlayhouseDisney Italia
LatviaSIAVoxellBalticSlAVoxellBaltic4multimania(4) 4PrivateEurope wide (but not Nordicstates) Nick Hits,Nicktoons,NickJunior (2), DK,EE, ES,FI, FR,GB, GR,IE, NO,PL, PT,SE, The Viacom INC MTVNetworksB.V. 9 Private Nether- Nickelodeon (5) TR lands TheWaltDisney Company JetixEurope ChannelsB.V. Disney Channel Nederland, Disney XD 2 Private BE,EE, FR,GB, GR,HU, IE,PT, RO,RU, DREAMIA-Serviços de Portugal LibertyGlobal Canal Panda (2), Panda Biggs TV 3PrivateIT, FR Televisão, S.A. Sweden Sveriges TelevisionAB STV SVTB 1 Public IT,LU Slovakia Mega MaxMedias.r.o Mega MaxMedias.r.o Duck TV,DuckTVHD2PrivateIT TürkiyeRadyove Turkey TurkeyT TurkeyTÇocuk 1 Private IT TelevizyonKurumu BritishBroadcasting BBC CBBC,CBeebies (2) 3Public IT Corporation BFTV LtdBFTV LtdBaby First(6) 6PrivateEE, LT,LV, RU CSCMediaGroupLtd CSCMediaGroupLtd Tiny Pop, Pop!,Pop Girl!3PrivateBE, DK,FI, NL,NO, SE LibertyGlobal JIMJAM TelevisionLtd JimJam (16)16 PrivateBE, NL United Kingdom NBCUNIVERSAL KIDSCO LtdKidsco (12)12 PrivateES, PT News CorporationBaby Network LtdBaby TV (11)11 PrivateDK, FI,NO, SE Disney Cinemagic(5), Disney XD (7) AT,BE, BG,CY, CZ,DE, EE,HR, HU, LT,LU, MT, TheWaltDisney Company TheWaltDisney Company Ltd 25 Private PlayhouseDisney (5) Disney Channel (8) NL,PL, RO,SK Viacom INCNickelodeon International LtdNickelodeon (7), Nickelodeon Junior (3) PrivateFR, TR Note As of December 2010
Source:MAVISE database/EuropeanAudiovisual Observatory
55 Indexoffigures andtables
Figures
Figure1:Datasampleinrelationtothe totalmarketvolumeinterms of admissions 2001 -2010 ...... 22
Figure2:Liveactionchildren'sfilms’share of total fiction featureproduction 2001-2010 ...... 24
Figure3:Children's film production by region and as %oftotal fictionproduction2001-2010...... 25
Figure4:Mean number of release marketsbyfilmtypeand region 2001 -2010...... 26
Figure5:PercentageofEuropean live action children's filmsbynumberofreleasemarkets ...... 27
Figure6:Admissionsand number of filmsreleased by region 2001 -2010...... 28
Figure7:Median admissionsfor European children's filmsbyregionoforigin2001 -2010...... 29
Figure8:PercentageofEuropean live action children's filmsbyadmission bandwidths ...... 30
Figure9:Comparison of national vs.non-nationaladmissionsbyfilmtype...... 33
Figure10: Percentageoffilms with non-national release by region of origin2001-2010...... 34
Figure11: Shareofnon-nationaladmissionsbyregion of origin 2001 -2010...... 34
Figure12: Number of television channels by genreinEurope estimated 1990 -2010...... 39
Figure13: Number of children’s channels availableper country...... 40
Figure14: Number of children’s channels establishedinmajorterritories...... 41
Figure15: Shareofanimationinfiction of alloriginsbroadcast in Europe 2009 ...... 46
Figure16: Origin of animationbroadcast in Europe 2009 ...... 46
Figure17: ShareofEuropeananimationbycountry in 2009...... 47
Tables
Table 1: Live action children's filmsbycountry of origin 2001 -2010...... 23
Table 2: Top25European animationfilmsfor children 2001 -2010 ...... 31
Table 3: Top25European liveactionfilms forchildren 2001 -2010...... 32
Table 4: European children’s animation filmswithhighestnon-national admissions 2001 -2010...... 35
Table 5: European children's live action filmswithhighest non-nationaladmissions2001-2010 ...... 36
Table 6: National television channels forchildren...... 42
Table 7: Foreignnational children’s channels ...... 43
Table 8: Pan-European children’s channels ...... 44
Table 9: Importanceofdomesticanimationproduction...... 48
56
Established in December 1992, Créé en décembre 1992, l’Ob Die im Dezember 1992 gegrün Audiovisual the European Audiovisual Ob servatoire européen de l’audio dete Europäische Audiovisuelle servatory is a European pub visuel est un organisme euro Informationsstelle ist eine euro lic service organisation whose péen de service public dont la päische Einrichtung des öffentli- mission is to foster transparen mission est d’assurer une plus chen Rechts. Ihr Auftrag besteht Media cy in the European audiovisual grande transparence dans le in der Schaffung von Transparenz sector and provide information secteur audiovisuel en Europe et im europäischen audiovisuellen services to policy makers and de répondre aux besoins en infor- Sektor durch die Bereitstellung audiovisual professionals. mation des organes gouverne von Informationsdienstleistun for Children mentaux ainsi que des profes gen für die audiovisuelle Fach Its membership consists at sionnels de l’audiovisuel. welt. present of 37 European states as well as the European Union Il regroupe actuellement 37 37 europäische Staaten sowie in Europe: represented by the European Etats membres ainsi que die Europäische Union ver Commission. The Observatory l’Union européenne représen treten durch die Europäische functions within the legal frame tée par la Commission euro Kommission sind zur Zeit Mit The Theatrical Circulation work of the Council of Europe péenne. L’Observatoire s’ins glieder der Informationsstelle and operates in collaboration crit dans le cadre juridique Die Informationsstelle erfüllt of European Children’s Films; with its information network: du Conseil de l’Europe et ihre Aufgabe im rechtlichen partners, correspondents and travaille en collaboration avec Rahmen des Europarates und Television for Children professional organisations. des organismes partenaires, un arbeitet in engem Verbund mit réseau de correspondants et Partnerorgani sationen, Korres The Observatory’s principal ar des organisations profession pondenten und Berufsfach eas of activity are: film, televi nelles du secteur. verbänden. Contient une synthèse en français sion, video/DVD, new audiovi sual media services and public Ses principaux champs d’activi Die Informationsstelle hat die Enthält eine Executive Summary auf Deutsch policy on film and television. té concernent le cinéma, la télé Kernarbeitsfelder: Film, Fern It provides information on mar vision, la vidéo/DVD, les services sehen, Video/DVD, neue audio kets, financing and legal as audiovisuels des nouveaux mé visuelle Mediendienste und pects of the audiovisual sector. dias et les politiques publiques staatliche Maßnahmen für Film Report prepared by the relatives au cinéma et à la té und Fernsehen. Sie stellt Infor Information is made available lévision. L’Observatoire fournit mationen über Märkte sowie European Audiovisual Observatory through print publications, on des services d’information sur Finanzierung und juristische As for the line services, databases and les marchés, les financements pekte des audiovisuellen Sek within the framework of confe et le cadre juridique du secteur tors bereit. CINEKID for Professionals Conference rences and workshops. audiovisuel. at the Die Arbeitsergebnisse stehen 25th CINEKID Festival Les informations sont disponibles in Form von Printpublikationen, sous forme de publications, de Online-Diensten und Datenban services en ligne, de bases de ken zur Verfügung und werden données ou dans le cadre de im Rahmen von Konferenzen conférences ou d’ateliers. und Workshops vorgestellt. Amsterdam, 18 & 19 October 2011
www.obs.coe.int Martin Kanzler Susan Newman-Baudais 76 allée de la Robertsau • 67000 STRASBOURG • France European Audiovisual Observatory Phone: + 33 (0)3 90 21 60 00 • Fax: + 33 (0)3 90 21 60 19 E-mail: [email protected]
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