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The Exploitation of Film Heritage Works in the Digital Era

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The Exploitation of Film Heritage Works in the Digital Era A publication of the European Audiovisual Observatory A publication of the European Audiovisual Observatory The Exploitation of Film Heritage Works in the Digital Era THE EXPLOITATION OF FILM HERITAGE WORKS IN THE DIGITAL ERA The Exploitation of Film Heritage Works in the Digital Era Director of publication – Susanne Nikoltchev Executive Director, European Audiovisual Observatory Editorial supervision – Gilles Fontaine Head of Department for Information on Markets and Financing, European Audiovisual Observatory Authors Gilles Fontaine, European Audiovisual Observatory Patrizia Simone, European Audiovisual Observatory Contributors Christian Grece, European Audiovisual Observatory Deirdre Kevin, European Audiovisual Observatory Marketing - Markus Booms, [email protected], European Audiovisual Observatory Press and Public Relations - Alison Hindhaugh, [email protected], European Audiovisual Observatory Publisher European Audiovisual Observatory Observatoire européen de l’audiovisuel Europäische Audiovisuelle Informationsstelle 76, allée de la Robertsau F-67000 STRASBOURG http://www.obs.coe.int Tél. : +33 (0)3 90 21 60 00 Fax : +33 (0)3 90 21 60 19 European Audiovisual Observatory, Strasbourg, June 2016 This report was prepared by the European Audiovisual Observatory for the European Commission. The analyses presented in this report cannot in any way be considered as representing the point of view of the members of the European Audiovisual Observatory or of the Council of Europe or of the European Commission. Special thanks to: Edward Humphrey (British Film Institute); Nicola Mazzanti (CINEMATEK); Gian Luca Farinelli (Cineteca del Comune di Bologna); Sandra Den Hamer (EYE Film Institute); Lova Hagerfors (Swedish Film Institute); Laurent Cormier (CNC); Fabio Quade (Murnau Stiftung); Philippe Bober (Coproduction Office); Bruno Deloye (Canal+); Florence Dauman (Argos Films); Nick Varley (Park Circus); Jenny Walendy (The Match Factory); Victoire Thevenin (MK2) ; Jean-Fabrice Janaudy (Les Acacias) ; Philippe Chevassu (Tamasa Film); Barbara Di Girolamo (Filmexport Group); Mathieu Boucher, David Giuge and Karen Byot (ARTE) ; Stanisław Bardadin (Cyfrowe Repozytorium Filmowe); Jerome Chung (Under the Milky Way); Emilie Dijiane (La Cinetek); Bruno Delecour (FilmoTV); Quentin Carbonell (MUBI); Jaume Ripoll (Filmin); Karin Haager (Flimmit); Jean-Yves Bloch (UniversCiné) , Natalie Vrignaud (Cinéma Les Fauvettes). 2 THE EXPLOITATION OF FILM HERITAGE WORKS IN THE DIGITAL ERA Table of contents Executive summary ............................................................................................................................... 9 Classics, cult and catalogue films: how to define film heritage works ..................................... 9 A large proportion of the supply of films ................................................................................. 9 The traditional film heritage market faces challenges ............................................................. 9 The struggle to be on VOD services ........................................................................................ 10 Mainstream vs specialised on-demand services .................................................................... 10 Hurdles for a pan-European distribution on VOD .................................................................. 11 Promotion is key ..................................................................................................................... 11 Investments unlikely to be recouped only with VOD ............................................................. 12 Linking restoration and commercial exploitation .................................................................. 12 European film heritage faces similar challenges to European art-house movies .................. 13 Introduction ........................................................................................................................................ 14 Scope and methodology of the study .................................................................................... 14 Definition of film heritage ...................................................................................................... 14 1 The exploitation of film heritage so far....................................................................................... 16 Key findings .................................................................................................................................... 16 1.1 Film heritage works in cinemas......................................................................................... 17 Methodology .......................................................................................................................... 17 1.1.1 Film heritage works on release in cinemas ....................................................................... 18 Number of catalogue films released in cinemas .................................................................... 18 Origin of film heritage works on release in cinemas .............................................................. 21 Age of film heritage works released in cinemas ..................................................................... 22 1.1.2 Admissions to film heritage works .................................................................................... 23 Weight of admissions to catalogue films ............................................................................... 23 Admissions by region of origin ............................................................................................... 24 Admissions by age of production ........................................................................................... 25 1.2 Film heritage works on television ..................................................................................... 26 Methodology .......................................................................................................................... 26 1.2.1 Number and share of film heritage works broadcast on television.................................. 26 47% of films broadcast are catalogue films ............................................................................ 26 The number of catalogue films broadcast has increased, due to more repeats ................... 28 57% of catalogue films broadcast were produced between 10 to 29 years ago ................... 29 3 THE EXPLOITATION OF FILM HERITAGE WORKS IN THE DIGITAL ERA 1.2.2 Origin of catalogue films broadcast on television ............................................................. 29 The share of EU films is slightly lower for film heritage than for films in general ................. 29 EU catalogue films circulate less than US catalogue films ..................................................... 30 1.3 DVD and film heritage works ............................................................................................ 31 Methodology .......................................................................................................................... 31 1.3.1 Is there a future for DVD? ................................................................................................. 31 2 On demand services: a new window for film heritage works ..................................................... 33 Key findings .................................................................................................................................... 33 2.1 New players for film heritage ........................................................................................... 33 Types of on demand services ................................................................................................. 34 2.2 The availability of film heritage works on on-demand services ....................................... 35 Methodology .......................................................................................................................... 35 Shares of film heritage works on selected VOD services in the EU ........................................ 35 Shares of catalogue films on VOD services in the EU ............................................................. 36 Catalogue films by age on VOD services in the EU ................................................................. 37 Origin of film heritage works on selected VOD services in the EU ......................................... 38 Availability of theatrically re-released film heritage works on VOD services ........................ 41 2.3 The visibility of film heritage on on-demand services ...................................................... 42 Methodology .......................................................................................................................... 42 Video on-demand services primarily promote recent films ................................................... 42 How are film heritage works promoted? ............................................................................... 43 2.4 VOD in perspective with cinema and television ............................................................... 44 Methodology .......................................................................................................................... 44 TV and SVOD rely more on film heritage than cinemas and TVOD ........................................ 45 Catalogue films released in SVOD tend to be more recent than those on TVOD, TV or in cinemas ...............................................................................................................................................
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